All Day | ||||
---|---|---|---|---|
![]() | ||||
Studio album by | ||||
Released | November 15, 2010 | |||
Genre | Mash-up | |||
Label | Illegal Art | |||
Producer | Gregg Gillis | |||
Girl Talk chronology | ||||
|
All Day is the fifth studio album by American musician Gregg Gillis, known by his stage name Girl Talk. The album was originally released as a free digital download by Illegal Art on November 15, 2010. Gillis composed the album using overlapping samples of 372 songs by other artists. [1] All Day was released as one seamless 71-minute file and as 12 separate tracks, available in MP3 and FLAC. [2] As with prior Girl Talk albums, the Illegal Art website states that All Day was "intended to be listened to as a whole," but was "broken up into individual tracks only for easier navigation." [3]
Illegal Art later published a complete list of samples used on the album on their website. [4] Other sources have created time listings [5] to assist in studying the music. [6] The album, segmented into twelve "episodes", is used as the soundtrack to the 2011 feature-length Jacob Krupnick dance video, Girl Walk All Day . [7]
Aggregate scores | |
---|---|
Source | Rating |
AnyDecentMusic? | 6.2/10 [8] |
Metacritic | 79/100 [9] |
Review scores | |
Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
Alternative Press | ![]() ![]() ![]() ![]() ![]() |
The A.V. Club | B+ [12] |
The Boston Phoenix | ![]() ![]() ![]() ![]() |
MSN Music (Expert Witness) | A [14] |
Now | 3/5 [15] |
Paste | 8.2/10 [16] |
Pitchfork | 8.3/10 [17] |
Rolling Stone | ![]() ![]() ![]() ![]() ![]() |
Slant Magazine | ![]() ![]() ![]() ![]() ![]() |
All Day was well received by most music critics upon its release. On the review aggregate site Metacritic, the album has a score of 79 out of 100, indicating "Generally positive reviews." [9]
The samples in the album were described as "instantly recognizable hooks". [20] Reviewers frequently praised the innovation of the music style, saying that it is "like nothing you've ever heard", [21] "[rehabilitation for] disposable pop", [22] among those "tricks [that] just don't get old", [23] with appeal "first for the sampled songs themselves, [and] second for the thrill of the novelty of early mash-ups", [13] and that "the entire mega-mash-up is stupendously danceable". [12]