So, what the hell is it? Well, it's yet another chapter in the world of bootleg/cut-up/bastard pop that continues to be the only musical genre that seems to be interested in innovation nowadays. At a base level, it's a kind of musical dinner party game, a track where one song continues on from the previous, for example: "Maybe, you're gonna be the one that saves me, and after... all the small things". Get it? But it's not just a Virgin Radio jingle stretched out to four minutes. Oh no. No no no. It's more like a paean to pop. Because every track used in this whole thing, from the opening "One Is The Loneliest Number", to the ending art-whine of "Tonight Tonight" by Billy Corgan and His Smashing Pumpkins, is great pop music. It may be shit on a stick, but it's great pop music. Good music is rarely good pop, and vice versa (the ongoing fight between music that affects the brain vs music that affects the body).

The whole point of the exercise is, the reason that I actually love it is that, when you strip away all the bullshit, the distortion pedal, the Timbaland production, the gospel choir backing... all chart music is very, very similar. There's a formula, a formula that you use to whichever means you feel necessary, and everyone in this track, from the James Brown to Britney Spears to Weezer, uses it. The lack of time you notice when the songs change from one to another prove as much. The Ramones morph into the Spin Doctors, and it seems like the most natural thing in the world. James Taylor duets with Daft Punk, and it becomes a good thing. And when Milli Vanilli, The Doors, and Eminem all hook up together to point out "Girl you know it's true, ooo ooo oooh I love you, won't you tell me your name is Slim Shady", we have a new contender for the greatest moment in musical history.