RMX Crw, Wayne Wonder, Beastie Boys, T2, The Game, Mary Mary, Eminem, Macy Gray, Jordin Sparks, Whitney Houston, G-Unit, Joss Stone
They are the performers of twelve vintage hip-hop, soul, etc. tracks that were ranked in various charts, this week (02/52) 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 02/52 – click here
Tracklist
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1 . RMX Crw – Turn me on (w/ Ebon-e & Mc Ambush)“Turn Me On” by RMX Crw featuring Ebon_e and MC Ambush is a spirited blend of electronic rhythms, vocal prowess, and rap interjections, culminating in an energizing house anthem. The track thrives on a pulsating beat designed to commandeer dance floors, accompanied by Ebon_e’s sultry vocal arcs, which complement MC Ambush’s punchy, rhythmic contributions. Released in 2007 under Spinnin’ Records, this song isn’t a reinvention of the genre but aligns smartly within its confines, providing an addictive familiarity. Its lyrical focus revolves around yearning and untamed energy, fitting precisely into the late-2000s European club scene ambiance where feeling ‘electrified’ was a formative goal. The production is clean, though not groundbreaking, leaning into vibrant patterns that transform simplicity into memorability. While accolades or milestone achievements evade its record, “Turn Me On” carved a niche among house music enthusiasts at the time, propelled by its party-ready tempo and undeniable zest. Evoking late-night euphoria, it occupies a space between accessible fun and borderline formulaic composition—a track that thrives not because it breaks molds but because it perfects a mood.
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2 . Wayne Wonder – Bounce AlongWayne Wonder’s “Bounce Along” strolls into the sphere of early 2000s dancehall with a laid-back confidence, carried by his signature velvety vocals gliding over a bouncy beat. It occupies a space on his Grammy-nominated *No Holding Back* album, released in 2003, though it doesn’t try to overshadow the heavyweight single “No Letting Go,” which pierced the Billboard Hot 100 at a modest yet memorable No. 11. The production borrows from the era’s polished dancehall aesthetic, and while not built on the iconic ‘Diwali’ riddim that saturated so many tracks of its time, the sonic elements hold their own—unhurried and playful, yet undeniably catchy. Its music video, a melange of sunlit imagery and fluid choreography, doesn’t aim to challenge conventions but succeeds in framing the track as a breezy entry in the genre’s crossover narrative during the early aughts. Some may argue the song’s breezy charm makes it ephemeral, but its understated romantic energy ensures it’s more than a filler track in Wayne Wonder’s discography. Featured on the 2003 album “No Holding Back”.
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3 . Beastie Boys – Triple TroubleReleased in 2004 as part of the Beastie Boys’ sixth studio album, *To the 5 Boroughs*, “Triple Trouble” secures its place with an unapologetic nod to hip-hop’s early days. The track leans heavily on a sample from The Sugarhill Gang’s “Rapper’s Delight,” bringing a retro groove into sharp focus while layering it with the Beasties’ iconic antics. The song marks a retreat from the experimental soundscapes of their earlier works, opting instead for a minimalist production that underscores their rap chops and sharp lyricism. True to their penchant for storytelling, the accompanying music video—helmed by Adam Yauch under his alter ego Nathaniel Hörnblowér—features a Sasquatch and an offbeat plot, injecting the group’s signature humor into the visual narrative. While “Triple Trouble” didn’t chart as an individual single, its parent album debuted at #1 on the Billboard 200 and carried the trio’s New York pride to new heights. The track’s rebellious energy and brash confidence resonate, offering a nostalgic yet fresh vibe that balances respect for their roots with their ever-present playfulness. No guest appearances here—just the trio of MCA, Ad-Rock, and Mike D, locking into a groove that’s both cheeky and defiant without overstaying its welcome. In the end, “Triple Trouble” stands as a wink back to the genesis of rap, repackaged with the audacity that made the Beastie Boys a cornerstone of the genre. Featured on the 2004 album “To the 5 Boroughs”.
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4 . T2 – Heartbroken (w/ Jodie Aysha)T2’s “Heartbroken,” with Jodie Aysha on vocals, landed in 2007 like a jolt of caffeine to the UK garage scene. The track carved a space in the bassline subgenre, riding a rhythm that twists with restrained urgency. The hook, delivered with just enough ache by Jodie Aysha, resonates with anyone nursing a late-night grudge or a lingering what-if. This collaboration elevated heartbreak to a kind of communal therapy session for the dancefloor faithful, where the 2-step beat does the talking when words feel insufficient. It managed to slip into the mainstream, peaking at number 2 on the UK Singles Chart, though its real success was reintroducing UK garage into pop conversations. The lean production, all clean lines and pulsating bass, balances Aysha’s vocal vulnerability with an undercurrent of defiance. The backstory gets a little spicier when you learn this started as an R&B ballad before T2 reprogrammed its DNA and sent it whirling into clubs. While the track avoids overstaying its welcome at just under three minutes, the ripple effect it left on the genre is harder to measure but undeniable. Even the accompanying music video leans into the vibe, offering a montage of urban nightlife that feels like eavesdropping on a party where this song is the heartbeat of the room. “Heartbroken” doesn’t need to explain itself—it’s a confessional that moves at 140 BPM, where regret and resolve dance in perfect standoff.
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5 . The Game – Let’s RideThe Game’s “Let’s Ride” drops you straight into the heart of West Coast car culture, with its G-funk gloss provided by Scott Storch’s production serving as the perfect backdrop for a Compton narrative. Emerging from The Game’s 2006 album *Doctor’s Advocate*, the track lands as a confident post-G-Unit statement, filled with nods to hydraulic lowriders, Los Angeles streets, and classic westside vibes. The music video, directed by Bryan Barber, doubles down on this visual homage, featuring custom cars and Inglewood streetscapes that reinforce the song’s place within California’s hip-hop lineage. “Let’s Ride” rolled onto the Billboard Hot 100, peaking at a respectable 46, with a more solid showing on the Rap Songs chart at number 16—a testament to its regional charm rather than a full-blown crossover hit. Though not flashy in lyrical complexity, the song’s swagger lies in its unabashed pride, with The Game’s sharp delivery balancing nostalgia and defiance as he reclaims his territory post-breakup with 50 Cent’s camp. Whether it’s the vintage car sound effects, the cinematic beat, or its reflective lyrics, this track treads a fine line between homage and self-assertion, cementing its place as one of The Game’s most quintessentially “West Coast” moments. “Let’s Ride” might not have collected awards, but its cultural intent is clear—it goes bumper to bumper with legacy, driving straight to the heart of where The Game came from, hydraulics jolting unapologetically along the way. Featured on the 2006 album “Doctor’s Advocate”.
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6 . Mary Mary – I Sings“I Sings” by Mary Mary delivers an ambitious fusion of gospel and hip-hop, marrying faith-filled lyrics with urban swagger thanks to a guest verse by rapper BB Jay. Released in 2000 as part of the commercially successful “Thankful” album, the track didn’t chart on Billboard’s Hot 100 but managed steady rotation within gospel and urban circles, embodying an era that saw contemporary gospel branching out to embrace broader genres. The production, helmed by Warryn Campbell, leans on a rhythmic backbone that complements Mary Mary’s harmonized vocals, letting their devotion-filled message shine without becoming overly saccharine. The accompanying music video captures their penchant for seamlessly blending spiritual themes with modern aesthetics, a balancing act that earned the duo frequent airplay on platforms like BET’s “106 & Park.” While not a game-changer, “I Sings” contributed significantly to Mary Mary’s rise, straddling the line between reverence and relatability with infectious optimism and vocal charisma. Featured on the 2000 album “Thankful “.
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7 . Eminem – You Don’t Know (w/ 50 Cent, Cashis, Lloyd Banks)“You Don’t Know” emerges as a striking collaboration that embodies brash confidence, spearheaded by Eminem and joined by 50 Cent, Cashis, and Lloyd Banks. Released in 2006 as the leading track from “Eminem Presents: The Re-Up,” it positioned itself as a quintessential showcase of Shady Records’ talent roster. Charting at #12 on the Billboard Hot 100 and breaking into the top 40 in territories like the UK, the song was more than just a single—it was a statement. The production, helmed by Eminem himself, leans into gritty beats and bombastic energy, setting the stage for verse after verse of declarative ambition and showmanship. Each artist carves out space to deliver fiercely assertive bars, with Eminem’s lyrical dexterity standing side-by-side with 50 Cent’s effortless swagger. The music video, set in a high-security prison, amplifies the track’s confrontational tone, its imagery aligning with the themes of defiance and unyielding dominance. Cashis and Lloyd Banks, while newer voices alongside the titanic presences of Eminem and 50 Cent, contribute with raw intensity, cementing their positions within the Shady/G-Unit fold. Though not positioned as a groundbreaking track, “You Don’t Know” embodies its purpose with unapologetic determination, fueling the compilation album’s momentum. Years later, its success as part of a Platinum-certified project secures its place as a key snapshot of mid-2000s rap collaborations. Featured on the 2006 album “Eminem Presents: The Re-Up”.
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8 . Macy Gray – I TryReleased in 1999, Macy Gray’s “I Try” stood out as an unlikely pop anomaly, straddling the gap between late-’90s neo-soul and the mainstream charts. Constructed around Gray’s raspy, almost broken vocal timbre, the song leans into a vulnerability that feels raw and strangely authentic, backed by a mellow, groove-centric arrangement. Lyrically, it’s a self-conscious confession of love’s aftermath, swaying between self-assurance and emotional vulnerability—one minute Gray insists “I try to say goodbye and I choke,” and the next, she’s declaring “I’m okay.” This tension between resilience and fragility is mirrored in the understated production, which resists over-orchestration in favor of simplicity and texture. Propelled by broad international acclaim, “I Try” climbed to peak positions on U.S. and global charts, marking a genre-blurring moment that neither fully embraced R&B nor disavowed traditional pop radio structures. Visually, the Mark Romanek-directed video captures Gray wandering urban spaces—a sort of everywoman amid chaos—which works in tandem with the song’s introspection. Its Grammy win for Best Female Pop Vocal Performance wasn’t just an industry nod but a rare acknowledgment of offbeat artistry breaking the mold of polished pop tropes. While its light presence in early-2000s rom-com soundtracks might’ve superficially dulled its edge, Macy Gray’s delivery redeems any overexposure with its sheer oddness—a voice as conversational as it is haunting, delivering a melody lodged somewhere between a lament and a shrug. “I Try” remains less a power anthem than a reluctant mantra, tapping into the universal disorientation of trying to find footing when the heart says otherwise. Featured on the 1999 album “On How Life Is “.
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9 . Jordin Sparks – One Step At A Time“One Step at a Time” by Jordin Sparks finds its place in the late-2000s pop-R&B crossover era, offering a neatly packaged ode to perseverance and patience. The track’s polished production, courtesy of Robbie Nevil, Jonas Jeberg, and Cutfather, keeps it radio-friendly without straying beyond the safe confines of its genre. Leaning heavily on Sparks’ capable but somewhat predictable vocal delivery, the song’s lyrics preach self-determination—a motivational anthem aimed squarely at fans eager for life-coach-level inspiration wrapped in catchy melodies. Chart performance met expectations rather than shattered them, securing a No. 17 spot on the Billboard Hot 100 and performing decently in international markets. The accompanying music video, directed by Ray Kay, is a competent visualization of the theme, featuring Sparks strolling through generic cityscapes with a kind smile and an air of optimism that’s as unchallenging as the song itself. While the track padded out Sparks’ impressive string of Top 20 hits as an “American Idol” laureate, it lacks the edge or distinctiveness to elevate it beyond a textbook example of late-2000s pop trends. Useful in TV placements and as light fare to bolster a live set, “One Step at a Time” feels more like an accomplished checklist item than a defining artistic statement. Featured on the 2007 album “Jordin Sparks “.
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10 . Whitney Houston – Heartbreak HotelWhitney Houston’s “Heartbreak Hotel” offers a slick slice of late-90s R&B that marries emotional vulnerability with an air of defiance. The track, featuring Faith Evans and Kelly Price’s complementing vocals, feels less like a trio and more like a polished relay of heartbreak testimonies. Released in the backdrop of 1998 pop culture, it sidesteps the bubblegum dominance of the era, delivering a narrative about betrayal and resilience. The production by Soulshock & Karlin is meticulous, leaning heavily on moody piano chords and a simmering beat that captures both the ache and resolve of romantic disrepair. The accompanying music video, draped in seaside luxury, visually juxtaposes the emotional wreckage depicted in the lyrics. Though steeped in sadness, the song avoids melodrama, opting for a controlled delivery that underscores Houston’s peerless ability to balance vocal power with restraint. “Heartbreak Hotel” is less an anthem of despair and more a measured reflection on the aftermath of trust broken. It’s a masterclass in harnessing personal pain for widespread relatability, cementing its place in Houston’s catalog as a standout narrative-driven piece. Featured on the 1998 album “ My Love Is Your Love“.
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11 . G-Unit – Stunt 101Released in 2003 as the lead single from G-Unit’s debut album “Beg for Mercy,” “Stunt 101” arrived with all the subtlety of a luxury car revving at full throttle. 50 Cent, Lloyd Banks, and Young Buck pile on brash confidence, trading verses over a sleek, thumping beat from Mr. Porter of D12. The track’s hook, equal parts catchy and defiant, became an instant earworm, cruising onto mainstream radio and establishing a commanding presence on the charts, landing at #13 on the Billboard Hot 100. Lyrically, the song parades unapologetic ambition, reflecting G-Unit’s no-nonsense rise from hustlers to hip-hop royalty, peppered with sharp wordplay and undeniable swagger. The Benny Boom-directed music video doesn’t hold back, stacking high-end cars, glistening jewelry, and tailored suits into a visual brag-fest that echoes the song’s themes of status and resilience. Performed during major moments like MTV’s VMA weekend, “Stunt 101” became a snapshot of early-2000s hip-hop excess, where bravado met boundless ambition. The beat feels as polished as the lyrics are blunt, making this track equal parts celebratory and confrontational—less an invitation, more of a declaration. On platforms like YouTube, the video continues to draw an audience eager to revisit the era’s bombastic aesthetic, a high point for G-Unit’s cultural grip. Featured on the 2003 album “Beg for Mercy “. |
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12 . Joss Stone – Right To Be WrongJoss Stone’s “Right to Be Wrong” carries a defiant swagger, weaving individuality and confidence into a tightly produced fabric of early-2000s soul-pop. Released in 2004 as part of her chart-topping album *Mind, Body & Soul*, the track finds Stone asserting the value of personal missteps with vocals that manage to sound both raw and impeccably polished. Written in collaboration with industry heavyweights Betty Wright, Desmond Child, and Mike Mangini, the song could easily have slipped into formulaic territory, yet Stone’s distinctive voice pulls it into something more personal. The song peaked at a respectable number 29 on the UK Singles Chart, a curious outcome considering the album’s broader success, and its live renditions—like the one on *Saturday Night Live*—offered stronger emotional resonance than its studio form could fully contain. Its production, helmed by Steve Greenberg under the Virgin Records banner, mirrors the early aughts’ love affair with clean instrumentation bolstered by vocal theatrics, but Stone adds just enough grit to balance it out. Thematically, it plants its flag in a well-worn field of independence anthems, yet the delivery feels fresh, particularly when Stone’s vocal crescendos practically invite listeners to belt along in solidarity. While the accompanying music video, directed by Max & Dania, treads familiar ground visually, its unobtrusive simplicity lets the music take center stage. Though the album raked in Grammy nominations and Brit Awards, it’s the tension between Stone’s youthful vivacity and the thematic weight of the material that makes “Right to Be Wrong” stand apart, even within her own discography. In the end, the song may not have set international charts on fire, but it captured a specific moment in pop long before the digital sheen of contemporary R&B diluted the genre’s emotional impact. Featured on the 2004 album “Mind Body & Soul“.
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For THE FULL HIP-HOP & SOUL COLLECTION click here
