Diddy, Beyoncé, 50 Cent, Big Brovaz, Nas, Sway, Kelis, Wu-Tang Clan, T.I., JAY~Z, Missy Elliott, Sisqo
They are the performers of twelve vintage hip-hop, soul, etc. tracks that were ranked in various charts, this week (04/52) BUT … in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
Tracklist
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1 . Diddy – Diddy (w/ The Neptunes)“Diddy” steps into the early 2000s like a strut on a slick club floor, blending P. Diddy’s braggadocio with The Neptunes’ sharply minimalist beats. The track, part of the album *The Saga Continues…*, makes no attempt at subtlety—it’s all swagger, all rhythm, and a hook that seems engineered to stick in your head like gum on your sneaker. Pharrell’s unmistakable falsetto on the chorus adds a polished layer to the otherwise gritty production, nodding cheekily to Boogie Down Productions’ 1988 track “Jimmy” while aiming squarely at radio dominance. Still, the song falls into a strange limbo, peaking at number 66 on the *Billboard* Hot 100—respectable but hardly transcendent, particularly for an artist who spent the late ’90s redefining mainstream hip hop’s aesthetic and business acumen. The music video, directed by Brett Ratner, doesn’t complicate the simplicity: Diddy leads the charge at a hyper-stylized party, flanked by acrobatic dancers and Pharrell cameos, reinforcing the glitz-over-grit ethos. Yet, there’s a transactional quality to the track—expertly crafted but lacking the bite of genuine risk or innovation, a symptom of early 2000s hip hop’s flirtation with shine over substance. It’s a finely packaged product of its time, a cocktail of charisma and calculated production that’s fun in the moment but unlikely to linger in reflective playlists of rap’s evolution. Featured on the 2001 album “The Saga Continues…”.
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2 . Beyoncé – Check On It (w/ Bun B, Slim Thug)Released in 2005, Beyoncé’s “Check on It” gleefully occupies the intersection of polished R&B and boastful hip-hop, with Bun B and Slim Thug lending their swaggering verses to the mix. Produced by Swizz Beatz, the track is an unapologetic flirtation, its lyrics teasing with a sense of control that Beyoncé wields effortlessly over a rumbling bassline and playful instrumentation. The song originally found its footing tied to *The Pink Panther* soundtrack before becoming a last-minute breakout on her *B’Day (Deluxe Edition)*. Commercially, it soared, spending five weeks atop the Billboard Hot 100 while notching high placements abroad, though its success feels more indicative of Beyoncé’s undeniable star power at the time than a particularly groundbreaking artistic effort. The music video, bathed in aggressively pink hues and directed by Hype Williams, is part slick choreography and part ultra-feminine spectacle—striking, if calculatedly so. Critics could argue it’s Beyoncé following a script rather than rewriting it, but moments of charisma cut through any formulaic tendencies. What the track lacks in subtlety, it makes up for in sheer execution, serving as a confident, if somewhat fleeting, highlight of mid-2000s pop. Featured on the 2005 album “Number 1’s”.
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3 . 50 Cent – Candy Shop (w/ Olivia)Released in 2005, “Candy Shop” drops as the seductive centerpiece from 50 Cent’s second album, *The Massacre*. With Scott Storch on production, the track combines hip-hop swagger, Middle Eastern-inspired instrumentals, and provocative wordplay, all wrapped in a meticulously engineered hit. Despite its success—spending nine weeks atop the *Billboard* Hot 100 and snagging a Grammy nod—the song feels like a polished repeat of 50 Cent’s 2003 collaboration “Magic Stick,” trading novelty for refined commercial appeal. The accompanying Jessy Terrero-directed music video leans into opulence and fantasy, featuring Olivia in the role of femme fatale amidst scenes of gilded affluence and choreography that flirts without apology. Critics chided its formulaic familiarity, but the public ate it up, propelling *The Massacre* to record-breaking first-week sales and embedding the track in mid-2000s mainstream culture. “Candy Shop” basks in its role as a club anthem, but its self-aware indulgence leaves the listener grappling between indulgence and déjà vu. Featured on the 2005 album “The Massacre”.
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4 . Big Brovaz – Ain’t What You DoReleased in 2003, “Ain’t What You Do” pulls double duty as both Big Brovaz’s swan song from their debut album *Nu Flow* and a cheeky nod to pop history, lifting its backbone from Fun Boy Three and Bananarama’s 1980s hit, “It Ain’t What You Do (It’s the Way That You Do It).” The track walks the fine line between playful homage and opportunistic mimicry, wrapping its R&B and hip-hop framework around a borrowed melody that blurs the line between innovation and nostalgia. While its chart perch at Number 15 on the UK Singles Chart is far from shabby, it feels like an emblem of diminishing returns rather than a triumphant finale. Big Brovaz was a group adept at balancing sleek production and polished harmonies, and though this song sparkles with their signature style, it lacks the punch of *Nu Flow’s* standout tracks. By the time this single dropped, the group’s lineup was already fraying, with members splintering into projects like Booty Luv and Party Dark. Though details of the song’s production or video remain under wraps, it’s tempting to imagine it featured another of Big Brovaz’s trademark, theme-heavy visuals. The track feels less like a final bow and more like a footnote, albeit one that underscores the group’s brief but luminous stint in the pop spotlight. Featured on the 2002 album “Nu-Flow”.
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5 . Nas – Made You Look“Made You Look” punches through as Nas’ unapologetic salute to hip-hop’s rawer roots, housed in his 2002 album *God’s Son* and produced by Salaam Remi. The track thrives on a rugged energy, built around the unmistakable breakbeat sample from the Incredible Bongo Band’s “Apache,” a nod to old-school credibility that anchors the song’s immediacy and grit. Nas maneuvers through his verses with a sharp control, balancing party bravado and street sagas, all while maintaining a lyrical edge that eludes simplicity in favor of dexterity. Chart success aside—peaking at No. 32 on the *Billboard* Hot 100—the song carries more weight culturally, as it captures a moment when mainstream appeal and underground ethos met without anyone flinching. The Benny Boom-directed video leans into its street vibe, peppered with cameos from rap heavyweights like Ludacris and Fat Joe, amplifying its cultural currency. The remix, featuring Jadakiss and Ludacris, infuses fresh dynamics while staying rooted in the original’s combative DNA, a decision that adds layers without overcomplicating the formula. Its versatility hasn’t gone unnoticed, with placements in games like *Skate 2* and *NBA 2K*, and appearances in shows like *Luke Cage,* reflecting its lasting grip on pop culture. Though undeniably a banger, “Made You Look” avoids the trap of self-indulgence, packing its aggression with purpose and polish instead of bombast. What remains striking is its ability to toggle between cerebral lyricism and raw neck-snapping beats, an achievement in balancing hip-hop’s dualistic nature of intellect and instinct. Featured on the 2002 album “God’s Son”.
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6 . Sway – Little Derek“Little Derek” by Sway offers a snapshot of mid-2000s UK hip-hop that balances sharp humor with introspection, all wrapped in the artist’s charismatic delivery. Released in 2006 from *This Is My Demo*, the track merges witty lyricism and clever storytelling, reflective of Sway’s upbringing in North London. The production by Al Shux stands out for its blend of classic rap rhythms with subtle nods to British grime and drum and bass. Operating under his label, Dcypha Productions, and distributed by Island/Universal, the single reached number 38 on the UK Singles Chart and stayed four weeks in the Top 40, a notable achievement for an independent release. The title references Sway’s childhood nickname, bringing personal anecdotes into his polished rhymes while reflecting on the community and chaos around him. While not revolutionary, the track’s charm lies in its authenticity and layered approach to familiar themes. A remix featuring Baby Blue adds a collaborative dynamic, highlighting the strength of UK artists supporting each other during the era. Sway’s BET Hip Hop Award win in 2005 marks a pivotal moment for the genre’s international recognition, as does the Mercury Music Prize nomination for the album. “Little Derek” captures a critical period of UK hip-hop, when artists like Sway were carving spaces that balanced local narratives with global aspirations, setting the stage for more mainstream acceptance of the genre. Featured on the 2006 album “This Is My Demo “.
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7 . Kelis – Lil Star (w/ Cee~Lo)“Lil Star,” slipping onto the scene in 2007, is a curious concoction of pop, R&B, and something like celestial introspection, caught somewhere between shining and self-doubt. Lifted from Kelis’ fourth studio album, *Kelis Was Here,* the track, featuring the ever-quirky CeeLo Green, is a reminder that even stars have moments of flicker. The production, spearheaded by CeeLo, takes a lighter hand than one might expect, leaning into melodic simplicity over grandiose beats. Despite this restraint, the song’s heart lies in its contradictions: a soaring chorus paired with lyrics that quietly confess vulnerability.” Chartwise, “Lil Star” performed a respectable balancing act—an international affair that saw Kelis climb to number three on the UK Singles Chart, a notable high point in her career overseas. In contrast, it hardly made a blip in Germany, teasing the unpredictable whims of global markets. The accompanying music video, directed by Marc Klasfeld, embraced space-age aesthetics, with Kelis donning a peculiar spacesuit-inspired coat as she navigated an abstract Los Angeles set. It skewed vibrant yet oddly disjointed—a visual metaphor for wanting to stand out while fearing exposure. Released as the second global single from the album, “Lil Star” garnered over 118,000 UK downloads before its physical debut, marking it as an early example of digital-first success stories of its time. But what feels oddly absent is the spark—whatever alchemy might elevate a good song to unforgettable. CeeLo’s feature is more cultural accessory than a transformative layer, blending almost too well into the track’s fabric, leaving listeners yearning for a clash or cascade that never comes. The decision to skip an Australian release, favoring another track, hints at a broader uncertainty about the song’s universal appeal. “Lil Star” succeeds in restating Kelis’ knack for crafting unconventional pop moments but stops just short of imprinting itself in her orbits of musical evolution. Featured on the 2006 album “Kelis Was Here”.
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8 . Wu-Tang Clan – Gravel Pit“Gravel Pit” by Wu-Tang Clan is a tightly crafted blend of surreal humor and hip-hop bravado, emerging as a standout track from their 2000 album, *The W*. The song’s prehistoric motif, accentuated by its Joseph Kahn-directed music video, doesn’t shy away from outrageous visuals: think dinosaurs, rival ninjas, and stone-age personas such as Method Man’s “Joe Quarry” and RZA’s “Bobby Boulders.” It’s a mashup of the absurd and the slick, rooted in a hook borrowed from Cameo’s “Back And Forth” and spliced with samples ranging from James Brown to *Enter the Dragon.* Where the beat feels playful and infectious, the lyrics remain staunchly Wu-Tang—sharp, brash, and unapologetically cryptic. The production, courtesy of RZA, walks a fine line between nostalgia and experimentation, with its funk-inspired grooves layered against the lyrical density Method Man, Ghostface Killah, Raekwon, and U-God deliver. Equal parts absurd and innovative, “Gravel Pit” juxtaposes primal imagery with urban swagger, resulting in a track that feels both timeless and completely of its moment. The video, with its over-the-top theatrics and cultish appeal, catapulted the track onto MTV rotations and into the UK Top 10, proving that Wu-Tang could bridge commercial success with artistic idiosyncrasy. By the time Ol’ Dirty Bastard makes his eerie, enchained cameo, you’re left with a singular piece of hip-hop lore that’s as chaotic as it is calculated. Featured on the 2000 album “The W“.
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9 . T.I. – Live Your Life (w/ Rihanna)Released in 2008, “Live Your Life” by T.I., featuring Rihanna, spins infectious energy into a hybrid of hip hop and pop with a touch of funk. Using a sample from O-Zone’s viral “Dragostea Din Tei,” the track nods to Internet-era absurdity while crafting a message of resilience and ambition—proof musicians will mine anything for gold, even Eurodance memes. The production leans on glossy beats courtesy of Just Blaze and Makeba Riddick, with Rihanna’s vocal hooks acting as an unmistakable centerpiece, balancing T.I.’s swaggering verses with a melodic anchor. Lyrically, the song douses itself in a victorious glow, T.I. painting his rise to prominence as a hard-earned ascent, pairing his bars with an overarching ode to perseverance that feels tailor-made for a motivational montage—or your cousin’s Instagram caption. Its chart success was inevitable, a juggernaut that dominated the Billboard Hot 100 and carved out space internationally, earning nods from critics alongside Grammy attention. The music video, directed by Anthony Mandler, borders on the cinematic with its portrayal of ambition, greed, and redemption, though its moralizing can feel heavy-handed when paired with the track’s party-ready sheen. Performing live at the MTV VMAs, T.I. and Rihanna exude chemistry, though the attempt to recreate stadium swagger in a controlled TV setting sacrifices some raw energy. As much as the song encapsulates the highs of commercial success, its reliance on an overplayed Internet sample pokes at the delicate line between genius and gimmickry. Still, the track’s staying power is undeniable, popping up in blockbusters like *The Hangover* and proving itself a cultural bookmark for late-aughts pop rap excess. Featured on the 2008 album “Paper Trail”.
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10 . JAY~Z – Change Clothes (w/ Pharrell)Jay-Z’s “Change Clothes,” featuring Pharrell Williams, finds its footing in the slick, fashionable territory that The Neptunes perfected in the early 2000s, blending clean beats with effortless charisma. Released as the lead single for *The Black Album* in 2003, the track trades heavy introspection for something lighter—an ode to reinvention soaked in high-end elegance and casual bravado. Pharrell’s honeyed, falsetto-laden hook juxtaposes Jay-Z’s sharp, laid-back delivery, creating a sonic environment that’s part runway stroll, part late-night limousine ride. The accompanying Chris Robinson-directed video doubles down on the theme, parading an all-star cast and high-fashion motifs that mirror the song’s polished aesthetic. Commercially, “Change Clothes” fared well, peaking at #10 on the Billboard Hot 100, but its reception was mixed among fans who may have expected harder-hitting tracks from an album positioned as Jay-Z’s “retirement” opus. The song’s legacy gets an added twist in Danger Mouse’s *Grey Album,* where Beatles-infused elements from “Piggies” provide startling contrasts and fresh textures, almost reimagining its context entirely. As a stylistic statement, “Change Clothes” leans heavily into surface sheen, yet its refusal to dig deep draws criticism for prioritizing aesthetics over substance. Still, its function within *The Black Album* feels intentional—a stylish pause before the album delves back into weightier topics, offering a snapshot of Jay-Z’s ability to seamlessly blend luxury and lyricism. Featured on the 2003 album “The Black Album“.
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11 . Missy Elliott – Pass That DutchMissy Elliott’s 2003 single “Pass That Dutch” from her fifth album *This Is Not a Test!* is a kinetic burst of brashness and wit wrapped in Timbaland’s bold production. The track’s high-octane beat, driven by sharp percussive elements and inventive sampling, underscores Missy’s charisma as she laces her verses with rapid-fire wordplay and sly cultural references. From Michael Jackson nods to a casually unsettling line about Jeffrey Dahmer, the song oscillates between playful and provocative without ever losing its infectious momentum. The music video, directed by Dave Meyers, leans into absurdist imagery, fusing alien invasions, haunted fields, and Empire State rooftop antics—visuals that encapsulate Missy’s knack for blending the surreal with the absurdly cool. Lyrically, it’s less about linear storytelling and more like a barrage of self-assured declarations, tethered to the metaphorical “virus” of her unstoppable creativity. First landing on charts across continents, it managed a commendable #27 on the U.S. Billboard Hot 100 and won international acclaim, from Norway to Australia. The song also embeds itself in pop culture, showing up in films like *Mean Girls* and television sketches alike—proof that its energetic irreverence resonates beyond the hip-hop sphere. Yet, for all its boldness, there’s a sense that the song thrives on immediacy rather than depth, trading narrative complexity for raw, infectious energy. It’s not trying to be profound—it’s here to electrify, provoke a smirk, and own three minutes of your life unapologetically (whether or not you get every punchline). Featured on the 2003 album “This Is Not a Test!”. |
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12 . Sisqo – IncompleteWhen “Incomplete” hit the airwaves in 2000, it wasn’t the flashy Sisqó many expected after the “Thong Song” phenomenon, but rather a stripped-down, raw confession of longing and regret. On a canvas of delicate instrumentation, the track paints a picture of a man who seemingly has it all—fame, wealth, and status—yet finds himself crumbling under the weight of love lost. The writing credits from Montell Jordan and Shep Crawford ensure the song’s emotional core beats loud and clear, with lyrics that tread that fine line between sincerity and melodrama. Chris Robinson’s music video adds a dramatic, movie-trailer quality, complete with dramatic stares across beaches and lonely retreats, amplifying the sense of isolation. Despite its somewhat conventional formula for an R&B ballad, it went on to top the Billboard Hot 100—Sisqó’s only solo track to achieve such a feat, proving that even pop stars benefit from showing a vulnerable side. For listeners expecting the flamboyant flash of platinum hair and leather outfits, “Incomplete” is a curveball; yet, for all its sentimentality, it finds its charm in its earnest simplicity. It is a reminder that even pop culture’s eccentric darlings occasionally set aside theatrics and opt for a microphone and a microphone alone. Featured on the 1999 album “Unleash the Dragon”.
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