Hi, everyone. My name is Giggens, and we're here today to chat about professional funny man and music historian, Kyle Gordon, and his second full-length album, Kyle Gordon is Wonderful.

If you're unfamiliar with Kyle Gordon, you've probably seen him online somewhere on Instagram or on TikTok or on YouTube. His videos are all over the place, and his attention to detail, covering genres of music all over the shop is wonderful. This second album plays like a VH1 countdown of the most wonderfully ridiculous songs of all time. And before each track, there's a introduction about the artist themselves who he portrays.

What's amazing about Kyle is his attention to detail. He takes these genres and absolutely owns them. It's amazing. And this album is set up, like I said, VH1 countdown style, so you get an introduction of each song where he mentions who the band is, who the artist is, which is, of course, him. But he jumps through these genres so seamlessly and with such precision. I mean, obviously, he lived through a lot of the genres that he performs, but the attention to detail, the humor behind it all, and highlighting what made those genres either fascinating or just popular in general is mind-blowing.

He really takes you back in time. It feels like you're either watching TRL or waking up at 3: 00 in the morning with those greatest hit CD commercials on the TV blaring at you.

Coming in at number 10, Giovanni Ice, "Girl of the Heart". Big hair, huge sweeping, anthemic choruses, and those perfectly punchy, stabby synths. Lyrically, it's got the whole desire/fire, thing, which is a generic '80s dance track, if you will. But it sounds like something that would play during a workout video. If you put on a VHS tape to work out in the '80s, this is what would get you going.

Coming in at number 9, Kody Redwing and the Broken Hearts, with "We Will Never Die". It truly captures that hey-ho era of the early 2010s. It's wild. It sounds like fun and the Lumineers and New Girl and How I Met Your Mother all wrapped into one. The optimism, the jokes, the playfulness. This would have worked so perfectly on a playlist at Books a Million in 2011. It just transports you back to those nights that will never end, the parties that won't stop, and you're being young and doing a thing and being adorkable. Forever.

But in all seriousness, if this song was released in 2011, unironically, it would have been a smash hit.

"Crawl to Me" comes up next, and this is just nu metal goodness, man. It sounds exactly like Limp Bizkit and all the stuff that was happening around that time. It's insane, and I've used that word several times, but it is insane how accurately he captures that spirit, because the song itself has that kid denied mozzarella sticks and sent to their room energy, and they're writing angry AIM away messages. The fat guitar sound, the gentle, creepy picking, the huge chorus. This thing really has it all, including a Bill Clinton outro. What? The brutal call out to celebs at the time was very trendy, and it happens today, too. But the nu metal thing loved that back in the day. Then you got the record scratching. The chorus itself, like I said, it's just delicious on the ears. It sounds exactly like something that would have come out back in 2001.

"Satan Will Molest You", a classic by Elmer Sunday and His Blessedaires. This is one of those anti-rock and roll, anti-sin songs that would have come out in the late '50s, early '60s. It's reminding you that Jesus is the answer in those sinful ways. Don't do those sinful things. The picking is expert. The twang in his vocal is spot on. And the Satan screaming solo is an album highlight. Check that one out.

Up next, here's the '70s classic from the Polyesters, "I Love Cheating on My Wife". It sounds like a Spinners B-side or something. The wah wah pedal effect, the syrupy strings. It's got that it's okay feel. Obviously, it's not, but a lot of the songs back then were like, Hey, we're doing sexy stuff. It's the '70s. The passion in his vocals, the rubbery bass, and there's a bridge section that sounds like Michael McDonald. Everything wrapped up to make this into an early '70s Philly soul classic.

Up next, there's Penn Stilla with "When Will College End ... Never." The Darien, Connecticut shoutout is hilarious. But it sounds like everything from that early 2010s, like L-M-F-A-O, Keisha, 3oh!3, Asher Roth, the big, fuzzy, synthy thing, with a little sprinkling of Blink-182 in the chorus. The excessive swearing, the flexing, the four-loco, the nonstop partying. It's just every toxic bro that you went to college with.

Up next is "Ooh My Boy" by Felonius, and this one, it's insane. The crisp, tight, dry production of the beat of this song is perfect. The rapping on top of the girls singing the chorus. If this came out back in the day, there would have been a slow motion video. It would have been on TRL for 15 weeks at number one. This would have been massive. Also, the mention of a pioneer radio and a PS2, a Pimp My Ride thing. Love that detail.

Then who could forget Selekta by Albie Wobble. The mix of gibberish with actual lyrics and the super Britishisms like the chip shop or trainers. Wonderful. Trixie B on the chorus, the super precise delivery and flow, the articulation in that flow lands every single time. The horn sample sound, the big dreamy chorus, everything that made those songs pop off back then is here. I'd like to read off my favorite quote from this song: "With the bum to the boom boom / boom de boom de boom / Boom with the boom boom." I felt that when he said that.

"My Husband's Ghost (This Christmas)" comes in at number 2, but on the record, he says number 9. It is the ninth song on the album. But did he mean number 2? Because we're doing a countdown, so I'm assuming him on number 2, but he says number 9. Maybe I'm reading too deep into this.

It starts off like a huge Bonnie Tyler song in the '80s, or Meetloat or Heart, those huge '80s vocalist tracks. It then becomes this speed rock thing. It's about this woman wishing her dead husband's ghost would come back for a crazy night of fun. The kid ends up seeing the ghost, and it's like, Hey, are you here for me? And the dead father is like, No, just my wife. I'm home for the holidays.

And then coming in at number one, "Every 1950s Rock N' Roll Song (For Some Reason)" by Johnny Tornado. This thing shreds along in all the best 1950s rock and roll goodness you can imagine. He's doing the Little Richard "woo!" There's a huge guitar solo. And lyrically, it's about the creepy weird stuff people sing about in the 1950s, like marrying a 13-year-old.

Beyond being a musical comedy album, the attention to detail and the skill and the talent behind this record is truly something to admire. You can tell that Kyle has studied music his whole life. He's been a musician for a long time. He knows how to play these songs, and he's been watching and observing and cataloging in his brain the context in which the era of these songs existed. He appreciates and remembers in insane detail the cultural significance of these tracks.

If you weren't around when Limp Bizkit was a big band, you missed that whole era where everything they did was public and all these songs were just huge. All these callouts, it was just how music was back then. So he brings you back in time. It's like you're watching one of those I Love the '80s shows, or TRL again and falling in love with all that stuff that you heard back in the day that was so prevalent, but now it's a weird, distant memory. This album truly is wonderful. Have yourself an epic night. I'm feeling a strong hee-hee-haha. A strong He He Ha Ha. Get it? Because it's a comedy album. Is that not enough for you? All right, we can give it a light eight. Light eight is fine. It's fine.

Anthony Fantano, Kyle Gordon. Forever. (He's a funny guy.)