In fact, for listeners not already intimate with the crunk scene, I would almost caution against listening to the original version of “Wild Out.” It just doesn’t sound as good without Rob Zombie behind it. The two tracks blend together so naturally that you wonder that they weren’t made for each other. This evokes the rough howling of Zombie in “Thunderkiss ‘65.” The link between the two lies in the guttural vocals – Rob Zombie’s in “Thunderkiss ‘65” and Kaine’s in “Wild Out.” Kaine punctuate D-Roc’s verse with deep, throaty growls at the end of each line (“smack that HONEY, make that MONEY”). This mashup speaks more to Gillis’s ear for musical themes than any hidden irony. It’s an interesting contrast between the glamorous world of modern pop and the unadorned folk revival of the 60s and 70s.ħ. Especially because, in the early Seventies, “Simon and Garfunkel” were still one discrete unit of music, not a pop powerhouse that had combined forces. One last observation: there’s more than a little irony in mashing up a song that credits three distinct artists (Lil’ Jon, the Eastside Boyz, the Ying-Yang Twins) with a song that credits one folk duo (Simon and Garfunkel). And because, ultimately, it’s only dancing. Because she can have just as much power over the guy as the guy has over her. The woman doesn’t have to do any of this if she doesn’t want to. The man yells “Get low! Stop! Wiggle with it!”, etc. The guy is bold the girl acts unimpressed. The male approaches the female withdraws. Rather, mashing “Cecilia” – a song about a woman playing games with a man’s heart – with “Get Low” – a song about a man ordering a woman to present her ass – illustrates the whole give-and-take game of seduction. No one will hear this song and say “Finally!” People have not stopped dancing to “Get Low” just because of its dark tone. It’s already plenty damned catchy as it is. The irony, of course, is that the peppy production values of “Cecilia” don’t make “Get Low” any more catchy. Lil Jon’s commands to “back, back, back it up” now have a spirit of fun behind them. Suddenly, you have something everyone can enjoy. Mashing “Cecilia” with “Get Low” makes a terrifying song friendly. Everyone else loves it! They can’t wait for that “skeet skeet” part) I’ve been to my share of trashy dance clubs and Top 40 nights and I’ve found only one woman who dislikes this song. But Teddy Pendergrass had one way to talk a woman out of her clothes, and Lil’ Jon has his.
Best songs mashup full#
It’s catchy and full of variety, if a bit overproduced. The lyrics reduce the act of seduction to the most deconstructed level: nothing but bodily secretions (“till the sweat drip from my balls”, “skeet skeet”) and loud noises. Every verse is either growled or screamed.
“Get Low” is dominated by heavy beats, minor keys and unexpected bird calls. This says a great deal about how tone can impact a song’s reception, on which more in a moment) I mean, the guy’s got Cecilia back at his apartment and she starts two-timing him while he’s in the bathroom. (Of note: I’ve found this song to be incredibly popular among young women, despite the fact that (A) it’s forty years old and (B) it doesn’t portray women in the best light. But Simon and Garfunkel turn it into a cheery anthem. You could write an incredibly depressing song on the same subject (e.g., “Famous Blue Raincoat”). The subject matter of “Cecilia,” a fickle woman who frustrates the narrator, isn’t inherently fun. Clap your hands to the syncopated rhythm. Listen to those animated bongo drums and those merry pipes.
“Get Low” (Lil’ Jon and the Eastside Boyz featuring Ying-Yang Twins) vs. (As before, all timestamp references are to the unabridged 71-minute track)Ħ. You’ll definitely want to check out the album in its entirety before going any further.
Welcome back! If you missed Part One of the 10 best mashups on “All Day,” you might want to check that out first.
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