Feed the Animals is the fourth studio album by American musician Gregg Gillis, released under his stage name Girl Talk by Illegal Art on June 19, 2008. Illegal Art originally released the album as a digital download through their website using a "pay what you want" pricing system. Like much of his previous work, Gillis composed Feed the Animals almost entirely using samples of other artists' music and minor elements of his own original instrumentation.
Gillis stated that with Feed the Animals, he wanted to produce an album "you can sit down, relax, and listen to over and over again, finding out new things", in contrast with the fast-paced, frenetic nature of his live performances. Feed the Animals builds on the mashup format of previous Girl Talk albums, with Gillis using over 300 samples of music by other artists to compose the album's fourteen tracks. He produced the album as one long piece of music, which was then subsequently broken into individual songs. Gillis felt that the album "works towards a bigger whole" and initially considered releasing the album as a single piece without track divisions, but ultimately decided against the idea, as he felt that "the end of the album would get so neglected, and if your favorite moment was a 30-second bit at the 40-minute mark, it would be really annoying to have that."
Though a historical indie landmark, Girl Talk’s brand of sampling hasn’t aged well. There’s a pretty clear line in sampling between creating something wholly unique/new out of a million recognizable pieces (The Avalanches, Justice, Boards of Canada) vs. the wholesale recontextualization of entire songs going on here. Familiar pieces are presented with a winking nod and thrown together for 30 seconds at a time, making the LP feel like a speed run of “remember this?” in the vein of Ready Player One. It would play well as a DJ mix or on the dance floor, but as a listening experience it’s just exhausting and hard to endure. Less novel artistic product and more tired relic of the aughts in my opinion.
The brief period of time where mashups ruled the word were good Obama era dancing carefree days. Girl Talk always a champ and it still rules. Always catch a new sample on a relisten
This album was a bit of a conundrum for me… the mix was pretty darn incredible - I heard everything from ? And the Mysterions to Radiohead to The Carpenters to Nine Inch Nails to Kelly Clarkson and pretty much any other pop music you might imagine.
My initial inclination was to lower the rating because this is music built largely from samples. But it was so masterfully mixed it was constantly putting a smile on my face and was perfect accompaniment to my workout.
The title of this list is “1001 Albums to Listen to Before You Die” - not the 1001 best albums of all time or the best new original music or whatever… so thinking about the theme I’m very happy to recommend listening to this before you die. Maybe the artist isn’t using traditional instruments to create songs, but the mixing artistry and incredible expanse of material being sampled does merit a strong listen to this recommendation!
Trodde aldrig att jag skulle ge en platta med den här typen av musik högsta betyg. Men det här är kul. Sen är det i och för sig samplingar av andra låtar som gör albumet.
An eclectic mix/mash-up of way too many samples and way too many genres, but somehow sounds wonderfull. Any moment you can try to define where a particular sound comes from. Or to guess what will come next.
Girl Talk is a master in what he does 5*mm
It's come up before on this list that I'm really not a fan of mash-up. I know I'm on the wrong side of history on this one and there are artistic counter-arguments going as far back as you care to look for them. Really its all mash-up blah blah blah. Whatever: I continue to feel like better than 9 times out of 10 whatever I'm liking in this kind of thing, I liked better in its sources: the virtue is fully borrowed. A whole lot of this is the single trick of running rap lines over classic instrumental bits from pop classics. Ooh critical insight: the opening hook from Billie Jean is catchy.
Disco original, divertido y diferente. Mezcla bases de canciones de los 80/90 con ritmos de temática electrónica. Bien mezclado. Es un soplo de aire fresco. Me gusta la idea, pero tampoco me encandila.
Very high energy and the juxtaposition between the genres got a nod of approval and a chuckle out of me. A bit too long however. For mashup, a 3 is probably the highest i could ever give.
No wonder this isn’t on Apple Music. It’s a copyright nightmare. Who added this song should be required to make every original sample. That being said this is kind of hilarious. Just a mash up of 2000s hip hop and a bunch of older beats. If I didn’t know a good amount of these songs I’d find this unbearable. It was alright but just absurd. 5.5/10
This reminds me of one of those variety shows of the 1970s, like Sonny and Cher or Donnie & Marie, when they would always pull out some medley of hits to close the show. It was like, look how versatile we are and how clever to have melded these songs together in the way that we did. And sure, it is kind of impressive that Donnie and Marie can play a little bit country, a little bit rock 'n' roll, but still. 2 stars.
The other comments have summarised my thoughts quite well. I enjoy a good remix, but this is just remixing a bunch of songs together and not really changing anything about them. It just feels incoherent and it's just throwing everything and hoping it works.
In the year of 2026, this style just feels so dated and I would point to Bill McClintock or There I Ruined It for doing a much better version where they take songs and make them unique and fresh and new.
Many times it sort of works but then it goes into something else and just too many ideas. I'd rather listen to many of the original songs.
My personal rating: 2/5
My rating relative to the list: 2/5
Should this have been included on the original list? No.
It takes a special talent to ruin classic songs this badly, and this proves it in record time. What’s pitched as a “celebration” of pop history is really just dumpster fire of chopped-up hooks, smashed together with the subtlety of a car crash. Instead of clever mashups, you get a relentless barrage of samples with a thick layer of piss poor rapping..
It's like Jive Bunny lying on his back, naked, and pissing all over the ceiling of the Sistine Chapel. A crass, tasteless, but admittedly very impressive achievement.
In my review of The Avalanches’ “Since I Left You”, I lamented that the plunderphonics label got applied to their music, because it implies they’re doing something recklessly, with a disregard for history and lack of grace.
This record, to me, is plunderphonics. Lifting big chunks of songs, smashing them together without doing much to augment them or bring something new to the table.
It feels more like an excuse to compile a ton of random songs into an album, must’ve been expensive copyright wise??? In some ways I’m glad the guy didn’t make it one continuous track (tho not on either list as of today) I can’t stand albums such as long season that do that 40 minute plus minute song for a whole album thing. Honestly it’s the first one on the user list I had to DNF on but the stuff I did hear I didn’t like at all.
1/5