‘Vous Avez Dit Bizarre’ N°670 – 2010s Music Videos
How well do you know the music of Arctic Monkeys, Remady P&R, AJR, Take That, Owl City, Fall Out Boy, You Me At Six, Muse, Mumford & Sons, Plan B, Rudimental, Paloma Faith ? Take our 12-track quiz.
How well do you know the music of Arctic Monkeys, Remady P&R, AJR, Take That, Owl City, Fall Out Boy, You Me At Six, Muse, Mumford & Sons, Plan B, Rudimental, Paloma Faith ? Take our 12-track quiz.
How well do you know the music of Alphabeat, 10,000 Things, O-Town, The Music, Longwave, Boy Kill Boy, The Hives, Towers Of London, Magic Numbers, The Polyphonic Spree, Death From Above 1979, Amen ? Take our 12-track quiz.
How well do you know the music of Céline Dion, Stevie B, Kelly Clarkson, Annie Lennox, Scarlet, Europe, East 17, Nik Kershaw, Tracy Chapman, Gloria Estefan, Kylie Minogue, Belinda Carlisle ? Take our 12-track quiz.
How well do you know the music of Timbuk 3, Fischer-Z, Morrissey, It Bites, Throwing Muses, John Fogerty, Dusty Springfield & Pet Shop Boys, Ozzy Osbourne, The Flying Lizards, Marillion, David Essex, This Mortal Coil ? Take our 12-track quiz.
How well do you know the music of The Ting Tings, Daphne & Celeste, Bob Marley vs. Funkstar De Luxe, Junior Jack, Goldfrapp, Timo Maas , Kira, Girls Of FHM , Commander Tom, 2Play, allSTARS, Dario G ? Take our 12-track quiz.
How well do you know the music of Zhané, Deni Hines, Shanice, Kleshay, Honky, Young Disciples, Total, C+C Music Factory, P.M. Dawn, For Real, Black Men United, Oui 3 ? Take our 12-track quiz.
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Lenny Kravitz's "Fly Away" delivers effortless grooves with its four-chord simplicity, blending pop-rock and funk for wide appeal—it even snagged a Grammy and topped the UK charts. Jamiroquai’s "High Times" stands out with polished R&B-funk, showcasing tight production and Jay Kay's vocal charisma, though its tame lyrics on travel fatigue leave it feeling safe rather than bold.
Urban Cookie Collective's "Sail Away" rides the ’90s Eurodance wave with radiant vocals by Diane Charlemagne, climbing charts across Europe while sticking to a familiar formula. Meanwhile, "Crispy Bacon" by Laurent Garnier masters minimalist techno, its relentless bassline and stripped-back intensity epitomizing late '90s club culture with playful menace.? Take our 12-track quiz.
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Dumdums’ "Army of Two" blends crisp production, plaintive vocals, and rhythmic precision, capturing early-2000s British guitar pop but plateauing at number 27 like their previous singles. JJ72’s "Snow," marked by melancholic energy and Mark Greaney’s theatrical vocals, saw a delayed rise to number 21 on its re-release, contrasting their fragile yet defiant presence with peers like Coldplay and Embrace.
Oasis’s "Songbird," Liam Gallagher’s tender ode, strips back typical bombast for raw simplicity, maintaining a modest spot in their catalog. Beth Orton’s "Conceived" is understated and intimate, leaning on her folk-pop blend yet leaving ambitions underexplored. Meanwhile, Freefaller’s "Do This! Do That!" delivers catchy, straightforward pop/rock, reflecting early-2000s radio's formulaic appeal.? Take our 12-track quiz.
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Black Sabbath's "N.I.B." from their 1970 debut is a bold blend of Tony Iommi's heavy riffs and Geezer Butler's bass intro, complemented by Ozzy Osbourne's haunting vocals, depicting Lucifer's transformation through love. Metallica's "Damage, Inc.," closing their 1986 "Master of Puppets," delivers raw thrash energy, driven by Cliff Burton's layered bass intro and technical precision, cementing its place as a live favorite.
AC/DC's "Thunderstruck" from 1990’s "The Razors Edge" thrives on Angus Young's hypnotic guitar riff, bringing arena rock fervor despite its catchy simplicity. Guns N' Roses' "Welcome to the Jungle" unleashes urban chaos with Slash's slithering guitar riff and Axl Rose’s piercing wails. Rush's "YYZ," a prog-rock marvel from 1981's "Moving Pictures," dazzles with its 10/8 time signature and seamless interplay between Geddy Lee, Neil Peart, and Alex Lifeson.? Take our 12-track quiz.
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Carolina Chocolate Drops’ take on Blu Cantrell’s “Hit ‘Em Up Style” transforms modern pop into a string-band jam with banjos and fiddles, tying it to their Piedmont roots. Prince’s “Fury” mixes acid rock and funk with blistering guitar but feels restrained, contrasting its live performances where his energy electrifies the track. Meanwhile, Tenacious D’s “Dude (I Totally Miss You)” walks the line between humor and heartfelt emotion, thriving in their animated live sets.
Beth Hart’s “Hiding Under Water” channels her raw blues-rock energy, with live renditions cutting deeper into her vulnerability. Robbie Williams’ “Monsoon” sits comfortably on “Escapology,” blending polished instrumentation with emotional volatility. PJ Harvey’s “The Sky Lit Up” sprints with controlled chaos, while George Benson and Al Jarreau’s “Summer Breeze” reimagines soft rock as jazzy sophistication, contrasting nostalgia with urbane warmth.
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Talking Heads’ "And She Was" merges surreal LSD-inspired storytelling with upbeat pop, highlighted by whimsical details like a Yoo-Hoo factory backdrop. Pet Shop Boys’ cover of "Always on My Mind" transforms Elvis sentimentality into a pulsating synth anthem, taking risks with its flashy reinterpretation. Michael Jackson’s "Thriller" blends catchy grooves with horror theatrics, immortalized by Vincent Price’s spoken-word interlude and the iconic music video.
Stray Cats' "Rock This Town" reinvigorates rockabilly with an energetic modern twist, while Pop Will Eat Itself’s "Can U Dig It?" crafts a frenetic, sample-driven love letter to pop culture. The Bangles’ "Manic Monday," penned by Prince, perfectly encapsulates workweek chaos with relatable lyrics and polished harmonies. Blancmange’s "Waves," though lushly arranged, trades their usual snappy synth pop for subdued orchestration, leaving listeners divided.
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Andreas Johnson's "Glorious" embodies late-90s polished pop-rock, delivering catchy, radio-ready melodies but leaning more on marketability than artistry. Shivaree's "Goodnight Moon" stands out with its haunting Southern Gothic vibe, blending Ambrosia Parsley's vulnerable vocals with noir-like instrumentation. Meanwhile, Richard Hawley’s "Baby, You’re My Light" embraces understated tenderness, offering warmth but skirting predictability.
Counting Crows' "Big Yellow Taxi" revamps Joni Mitchell's original with Vanessa Carlton's vocal addition, balancing nostalgia with commercial sheen. Simple Plan’s "When I’m Gone" softens their pop-punk roots into radio-friendly polish, while Antony Costa’s cautious "Do You Ever Think Of Me" reflects a transitional solo effort. Plumb’s "Real" focuses on self-acceptance, though its safe production misses potential depth.
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From the anthemic "Alive" by Pearl Jam, blending raw introspection and arena energy, to the Scorpions’ "Wind of Change," a melodic reflection of geopolitical optimism, the tracks showcase diverse artistry. Mike + The Mechanics deliver polished 80s pop-rock with "All I Need Is a Miracle," while Metallica’s "Sad But True" slows things down with crushing riffs and brooding intensity. Living Colour’s "Leave It Alone" brims with defiance, and Siouxsie and the Banshees’ "Stargazer" glides on ethereal melodies.
Manic Street Preachers’ "You Love Us" thrives in glam-infused theatricality, and The Godfathers’ "Unreal World" captures gritty urgency in its critique of societal unrest. Ocean Colour Scene’s "The Riverboat Song" borrows Led Zeppelin swagger, and The La's’ "Feelin’" reflects melodic charm amidst production struggles. Genesis’ "Tell Me Why" leans into emotive pop balladry, while Mark Owen’s "Clementine" blends Britpop tones with reflective lyrics. These tracks, spanning different styles and moods, capture snapshots of their respective times and sounds.
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"California Love" stands as a West Coast anthem blending 2Pac’s urgency and Dr. Dre’s polished production, with Roger Troutman’s talk box adding infectious funk. Its cinematic flair, quick creation, and Grammy nod cement its appeal, though some critique its reliance on atmosphere over depth. Similarly, Chuck Berry’s "Johnny B. Goode," a cornerstone of rock, merges autobiographical nuance with dynamic riffs, its cultural impact spanning decades from "Back to the Future" to the Voyager Golden Record.
Robbie Williams and Kylie Minogue’s playful duet "Kids" exudes polished theatricality, with cheeky nods to nostalgia driving its UK chart success. Al Jarreau and Kurt Elling’s spirited take on "Take Five" explores jazz interplay, balancing Jarreau’s unpredictable scatting and Elling’s structured phrasing. Meanwhile, "On My Own" unites Patti LaBelle and Michael McDonald’s distinct vocals through slick '80s production, delivering emotional weight despite their physical distance during recording.
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Tina Turner’s "Love Thing" from *Simply the Best* blends her vocal prowess with early-'90s pop flair but sits awkwardly among her classic hits like "Private Dancer." George Michael’s "Heal the Pain," an ode to McCartney's style, offers melodic warmth but lacks standout energy despite a later duet with McCartney himself. Sheryl Crow’s raw "What I Can Do For You" tackles sexual harassment with sharp commentary, showcasing her early knack for meaningful rock.
Melissa Etheridge’s "I Want to Come Over" channels longing with her passionate voice, finding chart success globally. Heather Nova’s "Heart and Shoulder" offers polished alt-pop vulnerability, while Tanita Tikaram’s "Only the Ones We Love" aligns subdued folk-pop with elegiac strings. Zucchero’s duet "Diamante" melds Italian soul with Randy Crawford’s jazz finesse, and Tasmin Archer’s harrowing "In Your Care" emphasizes gravity over radio appeal.
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Franz Ferdinand’s cheeky "Do You Want To" struts through indie rock with spiky guitars and sardonic lyrics, capturing mid-2000s swagger, while Rihanna’s chilling "Disturbia" pairs a claustrophobic beat with detached vocals, crafting a shadowy dance-pop hit. MGMT’s "Time to Pretend" revels in hedonistic irony atop euphoric synths, balancing glittering highs with reflective lows.
Blink-182’s “Feeling This” merges lust and rhythm with Travis Barker’s intricate drumming, while Linkin Park’s “One Step Closer” channels raw nu-metal angst through fiery riffs and direct lyrics. Electric Six’s wild “Danger! High Voltage” flaunts campy theatrics with surreal vocals, and Editors’ cold, driving “Munich” thrives on urgency and rhythmic precision. Each track, in its own way, captures its era’s energy.
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Elastica’s "Line Up" captures mid-’90s Britpop energy with punk influences, shining despite its brief chart tenure, while "Aeroplane" by Red Hot Chili Peppers balances funk theatrics and playful whimsy, marked by Flea’s bass and a quirky kids’ choir. Meanwhile, Air’s "Sexy Boy" stands out for its catchy production, grounded by a clever bassline, though its tongue-in-cheek charm overshadows depth.
My Bloody Valentine’s "To Here Knows When" flips convention, crafting a textured shoegaze haze, while Nitzer Ebb’s "Lightning Man" delivers hypnotic EBM intensity. Anthrax switches gears with "Nothing,” favoring groove-driven metal, and Chris Rea’s "Auberge" leans into nostalgic, bluesy rock. From My Bloody Valentine’s layered abstraction to GusGus’s sleek "Polyesterday," each holds a unique chapter in '90s sound evolution.
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The page highlights diverse ‘80s tracks, like Dexys Midnight Runners’ brassy tribute "Geno," blending fan-to-idol narrative with fiery saxophones, and The Icicle Works’ "Evangeline," a moody neo-psychedelic piece reflective of its late-'80s era. Sammy Hagar’s raw "I’ve Done Everything For You" contrasts with Rainbow’s polished "I Surrender," led by Joe Lynn Turner’s radio-friendly vocals, while Scorpions’ "Passion Rules the Game" balances rock grit with melodic finesse.
Other notable mentions include the jangle-filled optimism of The Bluebells’ "Cath," The Silencers’ Celtic-tinged "I See Red," and The Dickies’ playful punk postcard "Fan Mail." Ratt’s glam-metal anthem "You’re In Love" rides on confidence but sticks close to formula, and Cockney Rejects’ gritty "Bad Man" narrates East End strife. Spider’s "Gimme Gimme It All" channels defiant hard rock energy but feels tethered to its influences, offering snapshots of the decade’s evolving sounds.
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Chingy’s "Holidae In," featuring Ludacris and Snoop Dogg, captured early 2000s party vibes with its infectious hotel escapades, peaking at No. 3 on the Billboard Hot 100. Similarly, Clipse’s "When the Last Time" paired their sharp delivery with The Neptunes’ signature bounce, charting at No. 19 and solidifying its club anthem status. D12’s "Shit on You" showcased their brash humor while staying true to their Detroit roots.
Three 6 Mafia’s "Stay Fly," blending Willie Hutch’s soulful sample with swagger, soared to No. 13 and became a Southern hip-hop staple. Pharoahe Monch’s commanding "Simon Says," driven by a cinematic Godzilla sample, turned heads with its intensity and boldness. Meanwhile, Raghav’s "Angel Eyes" brought reggae-pop fusion to the forefront, hitting No. 7 on UK charts, though it leaned more on tribute than unique identity.? Take our 12-track quiz.
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UB40’s "Rat in Mi Kitchen" combines an upbeat reggae rhythm with political edge, using a metaphorical rat to critique Margaret Thatcher’s government. Catchy horns and Ali Campbell’s vocals drive its charm. Blondie’s "Call Me," penned for *American Gigolo*, captures late-night energy with Debbie Harry’s dynamic delivery atop Giorgio Moroder’s production, reigning atop charts with its infectious swagger.
Elvis Costello’s energetic rework of "I Can't Stand Up for Falling Down" transforms heartbreak into danceable urgency, while Freeez’s electro-funk "IOU" pushes early ‘80s sampling tools for a slick, tech-forward vibe. Simply Red’s funk-inspired "The Right Thing" melds polish with Mick Hucknall’s bold vocals, and Matt Bianco’s lively "Get Out of Your Lazy Bed" spreads jazz-infused cheer, daring listeners to stay put.
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