Honeyz, Destiny’s Child, Erick Sermon, Mystikal, Samantha Mumba, DMX, Lethal B, Beastie Boys, Alesha Dixon, Michael Jackson, Jay-Z, Beyoncé
They are the performers of twelve vintage hip-hop, soul, etc. tracks that were ranked in various charts, this week (01/52) BUT … in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
For TWELVE more Hip-Hop & Soul – Vintage 2000s Music Videos – week 01/52 – click here
Tracklist
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1 . Honeyz – Not Even Gonna TripReleased in 2000, “Not Even Gonna Trip” stands as an unexpected yet intriguing entry in the Honeyz catalog, riding the wave of the *Nutty Professor II: The Klumps* soundtrack. Tasked with complementing the Eddie Murphy-driven comedy’s mix of romance and slapstick, the track subtly intertwines the Honeyz trademark lush harmonies with a cinematic edge befitting its big-screen context. While fans rifling through the trio’s albums like *Wonder No. 8* won’t stumble upon this track, they’d later find it tucked into the 2006 compilation *Harmony: The Official Anthology*, a touch that feels a bit like a forgotten gem polished anew. Commercially, the soundtrack hit No. 9 on the Billboard 200, amplifying exposure for “Not Even Gonna Trip,” though the song itself sidestepped major chart glory as a standalone entity. Yet, the song did see notable chart action in the UK, snagging No. 24 on the Singles Chart and No. 5 on the Hip-Hop/R&B list, sufficient to keep the group’s name well-lit during a transitional period for its lineup. Interestingly, this was the first time Heavenli Abdi made her presence felt post-reunion, recreating old dynamics while leaning into a sound that carried both familiarity and tentative experimentation. The UK pressings of the single thoughtfully catered to devoted fans, offering a remix by Ed Case alongside an enhanced CD version and even a limited-edition poster—manifestations of smart marketing and fan engagement in a pre-social media era. Sonically, “Not Even Gonna Trip” feels like a quieter storm, a track confident in its mid-tempo stride rather than reaching for bombast, reflecting resilience and independence without overworking the theme. No bespoke video was produced to push the track further; instead, its inclusion in promotional snippets tied to the film left it partly obscured in the noise of multi-artist soundtracks of the time. The Honeyz, a group often walking the tightrope between pop and R&B, offered here a track that sits intriguingly at the intersection of cinematic utility and group identity, reinforcing their artistry while subtly nodding to the shifting sands of early-2000s music culture. If nothing else, “Not Even Gonna Trip” remains a small but notable thread woven into their narrative—unassuming but persistently present.
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2 . Destiny’s Child – Independent Women Pt. 1Crafted during a transformative period for Destiny’s Child, “Independent Women Pt. 1” ascended as both a pop juggernaut and a feminist manifesto in the waning days of 2000. It merged seamlessly with the cultural clout of *Charlie’s Angels*, borrowing the film’s breezy confidence to encapsulate financial independence as a flex and philosophy. Beyoncé Knowles, alongside producers Samuel J. Barnes and Jean-Claude Olivier, sculpted an anthem that married empowerment with a danceable beat—equal parts rallying cry and radio gold. The track opens with a hook as memorable as its message, planting itself firmly in your brain while reminding listeners who’s really paying their bills. In weaving the names of *Charlie’s Angels* cast members into the verses, the song straddles pop culture synergy and cheeky tribute, proving it could promote a blockbuster while staying true to its identity. Musically, the production balances crisp percussion with lush harmonies, spotlighting the group’s ability to reconstruct the Top 40 into their personal stage. The accompanying video, directed by Francis Lawrence, amplifies this assertive energy, blending group choreography with nods to covert missions and sleek gadgets, leaving no doubt as to where the power lies. Where “Bills, Bills, Bills” faced misinterpretation, this track offered clarity, doubling down on independence as choice rather than plea, as command rather than request. Commercially invincible, it perched atop the Billboard Hot 100 for 11 weeks, emerging as the century’s early soundtrack to autonomy, resilience, and self-reliance. Yet, for all its success, the song’s true triumph lies in being an origin point for their recurring themes: it lights the path to “Survivor” and defines the group as genre-savvy architects of 21st-century empowerment. Featured on the 2000 album “Survivor“.
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3 . Erick Sermon – React (w/ Redman)Erick Sermon’s “React,” featuring the always-animated Redman, crackles with personality and cultural intersections. This 2002 track, pulled from Sermon’s fifth album of the same name, is shaped around an unusual sample from Bollywood singer Meena Kapoor’s “Chandhi Ka Badan.” The inclusion of an obscure Hindi line—loosely translating to a darkly philosophical contemplation about suicide—set off waves of controversy among listeners familiar with the original. Musically, the song slinks between swagger and playfulness, driven by its hypnotic beat and Sermon’s deft co-production alongside DJ Spinner. Redman and Sermon’s verses exchange wit and bravado, underscoring their longstanding and natural rapport as Def Squad collaborators. Visually, Diane Martel’s music video indulges in surreal humor, injecting levity in sync with the track’s buoyant vibes. While its Billboard Hot 100 peak at No. 36 didn’t redefine commercial ceilings, “React” dug its claws deep into pop culture, lending its sound to *Honey* and the cult video game *NBA Street Vol. 2.* Moments like these highlight Sermon’s knack for stitching unconventional influences into mainstream hip-hop, even if the patchwork occasionally ruffles feathers. Featured on the 2002 album “React”.
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4 . Mystikal – Shake Ya AssMystikal’s “Shake Ya Ass,” released in 2000, is a blistering blend of funk-infused hip-hop that unapologetically demands attention. Backed by the unmistakable production of The Neptunes, the track crackles with Pharrell Williams and Chad Hugo’s sonic fingerprints—an elastic bassline and stuttering beats that ooze energy. It carves its own lane on the charts, peaking respectably at No. 13 on the Billboard Hot 100 while dominating urban radio with a swagger that made it hard to ignore. The song marked a pivotal shift in Mystikal’s career, leaving the No Limit Records fold for Jive Records, and with it came a more polished but no less combative sound. The music video, garnished with early-2000s flair, features Mystikal’s kinetic on-screen persona, complemented by appearances from visual staples of the era, including Melyssa Ford and Pharrell himself. Its cultural cachet transcended its initial release, finding homes in movie soundtracks like “The 40-Year-Old Virgin” and “Zoolander” and mischievously cropping up in TV scenes and even video games. While Mystikal reportedly hesitated to back the track as a single, its irreverent confidence and undeniable catchiness silenced any doubts, cementing its place as his signature anthem. Though its high-energy delivery might lean into excess for some, there’s no denying the punch this track packs, a byproduct of its meticulous Neptunes polish married to Mystikal’s untamed delivery. Flirting with controversy and gleeful excess in equal measure, it remains a time capsule of 2000s hip-hop exuberance, memorable for its brash energy and unrelenting tempo. Not content merely with radio success, the song flirts with absurdly surreal cultural moments, whether via remixes or a Cajun keychain lawsuit, adding to its spiral of mythos. In its clean version, “Shake It Fast” offers a sanitized rendition without losing the turbulent energy that defined its original, fitting firmly into both party playlists and nostalgia circuits today. Featured on the 2000 album “Let’s Get Ready”.
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5 . Samantha Mumba – LatelyReleased on December 10, 2001, Samantha Mumba’s “Lately” stands as a shimmering piece of early-2000s R&B/Pop hybrid, pulled from the orbit of the girl group Divine and reshaped under Steve Mac’s production into a polished heartbreak anthem. The song’s theme of love and longing is etched in its vocals, with Mumba’s delivery evoking vulnerability and a tender yearning that leans heavily on sentimentality without tipping into melodrama. The music video straddles the line between understated and theatrical, switching between Mumba performing alongside a wall calendar that marks the anxious passing of time and emotive flashes of a photograph of an unseen man—possibly the object of her heartbreak—adding a personal touch to the visuals. Chart-topping success followed, with the track reaching number three in Ireland and climbing to number six on the UK Singles Chart, where it lingered for weeks, a testament to its resonance with listeners grappling with their own matters of the heart. Meanwhile, the remixes serve as a reflection of the period’s obsession with club-ready beats, with Ralphi’s Vox 12-inch and Junior Jack’s reinterpretations injecting “Lately” with distinctly nocturnal energy that feels at odds with the original’s vulnerability but amplifies its commercial appeal. While the song’s production is sleek and precise, it leans on formulaic approaches typical of the era, at times sacrificing depth for radio-friendliness, leaving its mark in emotional relatability rather than reinvention. The pairing of heartfelt lyrics with a calculated pop structure reveals the push and pull between authenticity and market-driven intent—a duality that perfectly encapsulates the pop music landscape of the early aughts. Featured on the 2001 album “Gotta Tell You”.
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6 . DMX – Get It On The Floor (w/ Swizz Beatz)DMX’s “Get It On The Floor,” featuring Swizz Beatz, is an adrenaline-packed spectacle from his fifth studio album, *Grand Champ*—an era-defining piece of early 2000s hip-hop that pulses with raw energy. Swizz Beatz’s production draws listeners in with an arsenal of pounding beats and swagger-filled instrumentation, while DMX’s unapologetically gruff delivery brims with confrontational charisma and unapologetic bravado. The track’s intensity carved it an unofficial place in clubs and party playlists, amplifying its reach even without a big marketing push as a chart-topping single. While not DMX’s most lyrically intricate work, the song thrives in its raw, stripped-down explosiveness—a distillation of the “Ruff Ryders” ethos blended with the glossy yet aggressive production style Swizz Beatz had perfected during their prolific run. Tension and grit define its essence, making it a standout emblem of its time—a pure snapshot of early 2000s hip-hop maximalism. Featured on the 2003 album “Grand Champ”.
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7 . Lethal B – Pow [Forward]Lethal Bizzle’s “Pow! (Forward)” doesn’t ask for permission—it kicks the door down with reckless energy and unapologetic grit. Produced by Dexplicit, the track is a tense, noisy brawl featuring a who’s-who of early ’00s East London grime artists, each spitting verses like they’re fighting for survival. Fumin, D Double E, Flowdan, and others trade bars over an industrial beat that drills straight into your consciousness, as if the song were engineered specifically for basement clubs and pirate radio. Released in 2004, the single soared to number 11 on the UK Singles Chart, showing that grime wasn’t just a niche scene; it could grab mainstream attention without softening its hard edges. The aggression pulsating through the track didn’t go unnoticed; its ban from certain radio playlists only heightened its allure, turning it into a rallying cry for grime’s raw power and anti-establishment ethos. “Pow!” embodies the tension and swagger of its moment, a fitting precursor to grime’s eventual commercial ascendance, all while refusing to compromise its combative spirit.
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8 . Beastie Boys – An Open Letter To NYC“An Open Letter to NYC” by the Beastie Boys is more than just a song; it’s a heartfelt homage to their beloved New York City, crafted in the wake of the September 11 attacks. The track, featured on their 2004 album *To the 5 Boroughs*, melds reflections on loss with a celebration of the city’s resilience and unmatched diversity, maintaining an edge that avoids sentimentality. Built around a sample from the Dead Boys’ “Sonic Reducer,” its minimalist production reflects the group’s hands-on approach, eschewing external collaborations for a raw, unvarnished sound that underscores the message. The lyrics oscillate between pride and urgency, acknowledging the complex layers of systemic challenges, while the music video plays out like a moving scrapbook of NYC’s atmospheres. While the song charted modestly, peaking at #38 in the UK, it found cultural resonance in places as unlikely as an *NBA Street V3* playlist and even HBO’s *Taxicab Confessions*. The real power of this track, however, lies in its ability to speak to anyone who’s ever felt pride in their roots—rendering its New York specificity both deeply personal and universally impactful. Featured on the 2004 album “To the 5 Boroughs”.
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9 . Alesha Dixon – Breathe SlowAlesha Dixon’s “Breathe Slow” captures the ache of heartbreak with a refined grace that sidesteps melodrama, opting instead for introspection cloaked in pop rhythms. Co-written with a team including Gary Barlow, the song layers reflective lyrics over a soothing melody, channeling both vulnerability and quiet resilience. At its core, the track speaks to maintaining composure in emotionally charged moments—an empowering sentiment woven into its soft yet deliberate beats and Dixon’s tender vocal delivery. The accompanying video frames her as a solitary figure navigating a cityscape, mirroring the song’s themes of heartbreak and self-discovery without straying into excessive sentimentality. Released in 2009, the track climbed to number three on the UK Singles Chart, receiving widespread radio rotation and positioning itself as a standout moment in her solo career. Though it wears its emotional depth lightly, “Breathe Slow” hints at a deeper narrative: it’s a balm for anyone trying to find dignity amid personal chaos, all while retaining a universal relatability that avoids easy clichés. Featured on the 2008 album “The Alesha Show”.
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10 . Michael Jackson – Cry“Cry” from Michael Jackson’s *Invincible* album presents a poignant mix of optimism and collective despair, penned by none other than R. Kelly during a stretch of their intermittent creative partnership. The track meanders through a gospel-tinged R&B arrangement, anchored by swelling harmonies courtesy of Andraé Crouch’s esteemed choir, all while dipping lyrically into Jackson’s well-trodden terrain of social consciousness and global unity. Oddly, the music video—a meditative montage of people clasping hands across idyllic environments—omitted Jackson’s presence entirely, a creative decision that, whether intentional or resigned, paired uneasily with his iconic image as an ever-visible megastar. Released in 2001, “Cry” struggled for impact on the commercial stage, landing modestly at number 25 in the UK and scoring better traction in Denmark without making much of a ripple Stateside. For all its earnestness, the song didn’t comfortably ascend into the pantheon of Jackson’s most persuasive anthems, perhaps hindered by its relatively underwhelming production or a perceptible echo of prior, superior works like “Heal the World.” To its credit, the song doubles as a reflective timestamp in Jackson’s career, arriving late in his discography and revisiting ideals of healing long central to his artistic ethos while quietly signaling his reliance on collaborators to bolster his ambitions. By housing “Cry” on a project as polarizing as *Invincible*, the track inadvertently serves as a reminder of how Jackson’s creative luster was, by this juncture, increasingly entangled in the overproduction and fractious energy of its surrounding era. Still, for listeners willing to indulge its message, it offers a tender moment of hope steeped in a call-and-response formula, albeit one that may not reverberate with the immediacy of Jackson’s earlier, sharper calls to action. Featured on the 2001 album “Invincible“.
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11 . Jay-Z – Show Me What You Got“Show Me What You Got” by Jay-Z is a bombastic return to the rap mogul’s throne—a meticulously crafted track that oozes confidence and ambition. Released on October 10, 2006, as the lead single from his ninth studio album “Kingdom Come,” the track signals Jay-Z’s come-back after his short-lived retirement. The production, courtesy of Just Blaze, leans heavily on retro samples, borrowing the brass brilliance of Johnny Pate’s “Shaft in Africa” and Flavor Flav’s iconic refrain from Public Enemy’s “Show ‘Em Whatcha Got.” It’s a modernized homage to the golden era of hip-hop, wearing its influences on its sleeve without losing Jay-Z’s distinct identity. The song made waves by debuting through unconventional means, premiering during ESPN Monday Night Football and later appearing in Budweiser Select ads, seamlessly blending marketing acumen with music. The accompanying music video, directed by F. Gary Gray, encapsulates a lifestyle of unapologetic luxury, weaving scenes of Monte Carlo car chases, Bond-style poker tables, and intimate yacht parties with precision akin to a Hollywood blockbuster. The visual’s star-studded ensemble included NASCAR legends Dale Earnhardt Jr. and Danica Patrick, boosting its crossover appeal without coming off as heavy-handed product placement. Interestingly, the song’s swagger is matched only by its meticulous orchestration—a clever alignment of Jay-Z’s lyrical wit and grandiose production. While it climbed to a peak of number 8 on the Billboard Hot 100 and garnered a Grammy nod for Best Rap Solo Performance, some felt the track served more as a branding exercise than a musical milestone. Yet, it’s hard to overlook the artistry beneath the sheen, as both track and video cement themselves as a celebration of ambition and opulence, fully embodying Jay-Z’s duality as a rapper and cultural strategist. Featured on the 2006 album “Kingdom Come”. |
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12 . Beyoncé – PartitionBeyoncé’s “Partition” isn’t just a song—it’s a statement, a cinematic two-act journey into her unapologetic embrace of sensuality and power. Opening with the more playful “Yoncé,” Beyoncé creates a gritty, almost voyeuristic scene, blending urban confidence with glamor, underscored by a beat reportedly inspired by an impromptu jam session featuring Justin Timberlake drumming on buckets. The visuals for this section echo its rawness, shot in Brooklyn with an entourage of supermodels, offering a less polished but no less impactful aesthetic. Transitioning into “Partition,” the track slips into sultry and seductive territory, complete with provocative lyrics and even spoken French interludes, subtly challenging notions of how sexuality and feminism coexist in the mainstream. The music video, set in the opulent Château de Ferrières, makes no attempt to tone things down—if anything, it amplifies the themes, showcasing extravagance with a burlesque flair. Beyoncé herself described the inspiration as reclaiming her body post-pregnancy, making it as much about empowerment as allure. Both celebrated and criticized for its intimate imagery, the video became a lightning rod for debates about artistic freedom, public morality, and the portrayal of female desire in pop culture. Adding an extra layer of intrigue, one of the track’s standout lines referencing the Clinton-Lewinsky scandal drew a direct response from Monica Lewinsky, illustrating Beyoncé’s knack for embedding cultural flashpoints into her work. Even the production history has its quirks, with UK rapper Dizzee Rascal revealing he passed on the beat due to writer’s block—a decision that turned out to be Beyoncé’s gain. At its core, “Partition” merges personal narrative with a bold artistic vision, leaving no room for half-measures and further cementing Beyoncé’s reputation for blending risk with innovation. Featured on the 2013 album “Beyoncé“.
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For THE FULL HIP-HOP & SOUL COLLECTION click here
