Mis-Teeq, Jaimeson, Kym Mazelle, The Roots, OPM, N-Dubz, Fatboy Slim, Jay-Z, Chris Brown, The Game, Basement Jaxx, Roni Size
They are the performers of twelve vintage hip-hop, soul, etc. tracks that were ranked in various charts, this week (03/52) 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 03/52 – click here
Tracklist
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1 . Mis-Teeq – Why?Released in September 2000, Mis-Teeq’s “Why?” arrives as a midtempo R&B track with a Latin flair, quietly understated but full of potential. That potential gets a kinetic jolt when Matt “Jam” Lamont and DJ Face step in, spinning the song into a UK garage anthem that trades subtlety for infectious club energy. Alesha Dixon’s rap verses add an edge, a rhythmic counterpoint to the lush production by David Brant for Vybrant Music. This remix not only redefines the track but also necessitates a second music video, underscoring the radical transformation. Climbing to #8 on the UK Singles Chart after its January 2001 re-release, the song sheds its original mildness and steps boldly into the high-octane garage scene. It’s a rare case where reinvention outshines the original, balancing streetwise swagger with chart-friendly polish. “Why?” lands less as a question and more as an emphatic exclamation, announcing Mis-Teeq’s arrival with an assertive remix that reshapes its identity entirely. Featured on the 2001 album “Lickin’ on Both Sides”.
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2 . Jaimeson – True (w/ Angel Blu)Jaimeson’s “True” sidesteps glossy mainstream formulas in favor of something grittier, blending garage and drum and bass with a surprising pop sensibility. The track, released in 2003, is a case study in early-2000s UK underground music breaking into the limelight, yet it never entirely sheds its DIY roots. Angel Blu’s vocal is rich and emotive, providing a melodious counterpoint to Jaimeson’s clipped, no-frills rap verse, which feels like it was born in a dimly lit club rather than a polished studio. The production balances crisp percussion and layered synths, evoking a sound that caters to both ravers and radio audiences—a tightrope not easily walked. Although “True” peaked at number four on the UK Singles Chart, its dense, beat-heavy arrangement suggests ambitions beyond chart success, aiming directly at the identity of the garage scene itself. Jaimeson’s dual role as producer and label operator underscores the track’s independent ethos, a quality often absent in the era of packaged pop acts. Listening now, there’s a charming rawness in its execution, but some might call it an overreach when considering the simplicity of its hooks relative to its complicated sonics. Yet, this isn’t just a garage track with a gloss of drum and bass—it hints at the beginnings of genre cross-pollination that would dominate UK charts in later years. The official video, released much later in 2011, feels incidental, a visual afterthought for a song that had already cemented its cultural moment by the time of its initial release. Whether you appreciate it for its inventive layering or criticize it for its occasional lack of sonic cohesion, “True” exemplifies the kind of risk-taking that pushes underground sounds into broader cultural consciousness.
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3 . Kym Mazelle – Young Hearts Run FreeKym Mazelle’s 1996 cover of “Young Hearts Run Free” transforms Candi Staton’s disco anthem into a pulsating house track, firmly planting itself in the neon-sweaty chaos of Baz Luhrmann’s *Romeo + Juliet* universe. Produced by Nellee Hooper, the track fuses the original’s defiant lyrics with throbbing beats and modern electronic flourishes, a choice that aligns perfectly with the hyper-stylized, razor-sharp aesthetics of the film. The music video splices scenes of Mazelle’s bold burgundy dresses with frenzied cuts of the movie, including Harold Perrineau’s drag rendition—a moment as surreal as it is emblematic of Luhrmann’s flair for jarring contrasts. Mazelle delivers on the vocal front, managing to assert her own stamp on a song already bursting with attitude, though at times the production feels more like an exercise in capturing ‘90s house trends than an homage to its disco roots. Whether on *Top of the Pops* or ironically during a trivia show like *The Weakest Link*, the track seems to weave itself into Mazelle’s life like an inescapable calling card—a tune both embraced and seemingly resisted, much like the frenetic energy of the film that gave it a second life. Featured on the 1996 album “William Shakespeare’s Romeo + Juliet: Music from the Motion Picture “.
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4 . The Roots – Don’t Say Nuthin’“Don’t Say Nuthin’” by The Roots signals its refusal to play nice right from the start, delivering sharp-edged lyrics over a smoky, minimalist beat. This track, found on **2004’s “The Tipping Point,”** saunters with confidence, threading social commentary with lines that balance force and wit, like the slyly dismissive “A trend? We never listen to them. It’s like trying to take a piss in the wind.” The production, helmed by Questlove and Scott Storch, leans into a no-frills aesthetic, letting the rhymes and rhythm take center stage, a move that pays off in creating an atmospheric groove that’s both hypnotic and restrained. Performed live on Late Night with David Letterman, the track hits different when brought into the physical realm, where its understated swagger becomes palpable. While the larger album landed a solid **72/100 on Metacritic**, the single itself endures as an emblem of The Roots’ ability to weave razor-sharp introspection with streetwise attitude. The official remastered HD video, now on YouTube, gives fresh polish to the track, showcasing its enduring relevance in a genre often consumed by fleeting trends. Featured on the 2004 album “The Tipping Point“.
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5 . OPM – El Capitan“El Capitan” stands as a quintessential product of the early 2000s, swimming in the then-thriving pool of pop-punk and rap-rock hybrids. Released in 2001 by OPM, it rides the wave of bands blending hip-hop beats, reggae-ska rhythms, and punk-inflected irreverence, akin to acts like Less Than Jake and Sum 41. The track, produced by Michael Patterson under Atlantic Records, is a rum-fueled ode to Captain Morgan with lyrics celebrating hazy party nights and the inevitable lapses in memory that follow. The original album version leans heavily into playful debauchery, while the 3:31 SoulChild remix dulls the edges slightly for broader appeal. Charting respectably in the UK (#20), Australia (#76), and Germany (#71), “El Capitan” managed to gain traction internationally despite some lukewarm critiques of its lyrical depth. The accompanying video, directed by Spencer Susser, complements the song with visuals of post-party carnage, further cementing its carefree ethos. For those more prudish or radio-bound, a clean version scrubs the explicit elements, softening its rougher rum-soaked edges. Despite its re-recording for their 2012 “Heaven Can Wait” EP, the original remains locked in its early-2000s aesthetic, capturing an in-your-face spirit that critics labeled as lacking in originality but undeniably infectious. OPM, formed in 1996 after casual encounters among its members, leveraged this track to mark their entry into mainstream culture, even if their depth didn’t always match their energy. Fans, however, embraced “El Capitan” wholeheartedly for its carefree vibe and undeniable ability to take them back to a time of simpler pleasures and youthful (read: mildly irresponsible) indulgence. Featured on the 2000 album “Menace to Sobriety”.
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6 . N-Dubz – Strong AgainReleased on 17 November 2008, N-Dubz’s “Strong Again” taps into a raw blend of pop and hip-hop, effectively straddling street-smart lyricism and radio-ready hooks. As the third single from their album *Uncle B*, the song confronts the harsh realities of the trio’s Camden Town upbringing—gang culture, financial strain, and the hard lessons that come with them. Thematically introspective, the track walks a tightrope between defiance and vulnerability, delivering an anthem of resilience without crossing into saccharine territory. Over a glossy, synth-heavy production typical of late-2000s pop, Dappy, Tulisa, and Fazer layer their verses with undeniable earnestness, ensuring the song resonates beyond its London roots. While the physical CD release was mysteriously scrapped, its impact lingered, charting for five weeks and peaking at 24 on the UK Singles Chart. The accompanying music video, though geographically restricted, adds a visual veneer to this story of survival—a juxtaposition of glitz and grit mirroring the band’s ethos. At its core, “Strong Again” is more than a radio-friendly track; it’s a snapshot of perseverance amidst adversity, a message that refuses to grow stale. Featured on the 2008 album “Uncle B”.
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7 . Fatboy Slim – Demons (w/ Macy Gray)Released in early 2001, Fatboy Slim’s “Demons” enlists Macy Gray’s raspy vocals to explore the struggles of inner conflict, cloaking them in a big beat electronic soundscape. The track borrows its emotional core from Bill Withers’ “I Can’t Write Left-Handed,” channeling a poignant sense of catharsis into its grooves. While it didn’t set the charts ablaze—peaking at modest numbers from the ARIA Urban (#16) to UK Singles (#16)—the song resonates less as a commercial powerhouse and more as an atmospheric ponderance. The music video, featuring a miniature man battling a falling piano to save a woman in a cathedral, matches the track’s surreal and melancholic undertones while Macy Gray provides an unpretentious yet gripping focal point. “Demons” later found itself repurposed culturally, making an appearance in Netflix’s “Sense8” and resurfacing through The Blind Boys of Alabama’s soulful 2005 cover. With its thematic leanings on love as salvation, the song teeters between despair and euphoria, refusing neat categorization while proving that even Fatboy Slim can pull off introspection. Featured on the 2000 album “Halfway Between the Gutter and the Stars”.
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8 . Jay-Z – Girls Girls GirlsJay-Z’s “Girls, Girls, Girls” situates itself as a quintessential product of early-2000s East Coast Hip-Hop, blending braggadocio with sonic nostalgia. Just Blaze’s production leans heavily on a sample from Tom Brock’s soulful “There’s Nothing In This World That Can Stop Me From Loving You,” grounding the track in a vintage warmth, while the interpolated chorus from Crash Crew’s “High Power Rap” gives it an old-school rap swagger. Thematically, the song is a playful yet brazen autobiographical tour through Jay’s romantic exploits, veering between appreciation and objectification with the casual ease of someone deeply comfortable in his contradictions. Cameos in the Marc Klasfeld-directed video—ranging from Carmen Electra to Biz Markie—bring the glitter of early-aughts celebrity culture to life, while notable appearances from Damon Dash and Kanye West reflect the Roc-A-Fella family ties of the era. The remix, hidden on the album, adds an extra layer of intrigue, boasting uncredited vocal contributions from none other than Michael Jackson and Chante Moore, though their features are barely whispered about in the official credits. Jay’s wardrobe choices in the video sparked a demand for retro sportswear, notably throwing Mitchell & Ness throwback jerseys back into style—yet another example of his cultural influence extending well beyond the music itself. Despite its charisma and catchy hook, the track’s reliance on a roster of women categorized by stereotypes reads as simultaneously cheeky and tone-deaf, depending on your lens. The song’s success—charting at #17 on the US Billboard Hot 100 and certified Gold by the RIAA—is a testament to Jay-Z’s ability to package his personal life into consumable cultural moments. Though originally produced for Ghostface Killah, it’s hard to imagine anyone other than Jay-Z delivering this cocktail of charm, humor, and unfiltered bravado with the same level of ease. Featured on the 2001 album “The Blueprint“.
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9 . Chris Brown – Take You Down“Take You Down” by Chris Brown offers a provocative moment in late-2000s R&B, firmly planted within his second studio effort, “Exclusive.” Released in 2008, it merges a slow burn of sensuality with the grandeur of arena-ready drama, underscored by its signature electric guitar riff and a deliberate 64 BPM tempo. The song leans heavily into its sexual themes, its lyrics eschewing subtlety for brash intimacy, an attribute both applauded and critiqued in contemporary reviews. Sonically, it anchors itself in the key of B minor while Brown’s vocal range oscillates fluidly from E4 to B5, lacing vulnerability into the commanding landscape of its chord progression. The production, courtesy of The Underdogs and Lamar Edwards, balances smoothness with intensity, ensuring the track’s commercial appeal without entirely compromising its musicality. The music video, a spliced recording of a live performance, strips the facade, presenting Brown’s kinetic showmanship in its unfiltered form while attempting to amplify the song’s narrative. It peaks modestly on charts, suggesting its resonance was more intimate than ubiquitous, reaching significant traction in New Zealand but stumbling to gain comparable footing elsewhere. While it earns a Grammy nod for Best Male R&B Vocal Performance, critical reception remains polarized, some decrying its predictability while others appreciate its straightforward embrace of R&B tropes. In hindsight, “Take You Down” captures both the ascent of Brown’s artistic confidence and tells on the cracks that would eventually haunt his public persona. The contradictions between its polished production and explicit subject matter remain emblematic of late-2000s mainstream music’s balancing act between commercialism and raw expression. Featured on the 2007 album “Exclusive”.
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10 . The Game – Camera Phone (w/ Ne-Yo)“Camera Phone” glimmers as a standout collaboration between The Game and Ne-Yo, blending the gritty assertiveness of hip-hop with a glossy infusion of pop and R&B. Released under Geffen Records via the 2008 *LAX* album, it stakes its place as a smooth hybrid track, peaking amid an era rife with genre experimentation. The Game’s sharp lyricism meets Ne-Yo’s polished vocals, delivering a juxtaposition that feels both purposeful and reflective of late-2000s hip-hop’s identity crisis. At its core, the song indulges in themes of fame and personal image, painting a world where the ‘camera phone’ becomes both a weapon and a mirror. Musically, it leans heavily on retro electro-house vibes: vibrant synths, occasional distorted vocal snippets, and a layered use of acoustic guitars and strings that add unexpected warmth to the production. The mid-tempo beat cradles both performers’ strengths without overpowering either, creating a work that aims for commercial allure without sacrificing its backbone. Despite its embrace of glossy production, there’s tension in the mix—The Game’s often hardened persona softens slightly alongside Ne-Yo’s melodic finesse. For all its polish, it carries the whiff of mass-market calculation, but it’s hard to deny the track’s effectiveness as a crossover piece. Airing modern sentiments while nodding to classic elements, the song finds equilibrium, marking a high point within The Game’s mainstream trajectory and highlighting Ne-Yo’s proficiency in elevating collaborative efforts. The music video, with its 2008 release, underscores their chemistry, adding a visual flair that complements the polished yet intricate production. While not groundbreaking, “Camera Phone” does what it sets out to do—capture a zeitgeist moment with appeal, swagger, and just enough sincerity to stick. Featured on the 2008 album “LAX”.
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11 . Basement Jaxx – Good Luck (w/ Lisa Kekaula)“Good Luck” by Basement Jaxx, featuring Lisa Kekaula, is pure defiance wrapped in a raging fusion of alternative dance and rock and roll. The song stomps its way out of the gate with Kekaula’s powerhouse vocals, commanding every ounce of attention like an unrelenting call to arms. Backed by a 16-piece orchestra, the production goes big—almost excessive—with its layers, but somehow that cacophony works, delivering a track that feels theatrical without veering into parody. It borrows energy from an AC/DC riff, reinterpreted by Simon Ratcliffe into something that leans more urban chaos than stadium bravado. The track, originally released in January 2004, gained additional momentum when deployed as the opening theme for *Appleseed* and prominently featured in the midst of BBC’s UEFA Euro 2004 coverage. Its chart climb, peaking at number 12 before being re-released to hit a respectable 14, reflects its knack for getting lodged in public consciousness. The accompanying music video, an over-the-top visual drama set in Buenos Aires and directed by Mat Kirkby, elongates the song’s chaotic flamboyance, though perhaps veers too far into absurd territory for its own good. And while the song carved out a niche in a Victoria’s Secret fashion show playlist (twice, mind you), it also snatched a Grammy nod for Best Dance Recording, offering just a touch of vindication despite its mainstream leanings. “Good Luck” doesn’t care if it’s messy; it’s more interested in leaving a scorched Earth behind, and frankly, that’s part of its charm—even if not everyone has the stamina for its high-octane swagger. Featured on the 2004 album “Kish Kash”. |
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12 . Roni Size – No More (w/ Beverley Knight, MC Dynamite)Roni Size’s “No More,” featuring Beverley Knight and Dynamite MC, hits like a caffeinated jolt to the system, a track that somehow finds cohesion within its restless fusion of drum and bass, electronic textures, and pop accessibility. Rooted in the mid-2000s zeitgeist, it carries a distinctive polish that speaks to its place in the album “Return to V,” an attempt, if not always fully realized, to stretch drum and bass into a more genre-fluid proposition. What elevates “No More” is its collaborative spirit—the silky yet commanding presence of Knight is a stark, almost elegant contrast to Dynamite MC’s rapid-fire delivery, their interplay riding atop Roni Size’s layered production like two dueling spotlights slicing through a foggy dance floor. The result is ambitious yet slightly precarious, as though it’s trying to hold together a lot of ideas without breaking stride. Released during a time when drum and bass was hanging onto the fringes of mainstream appeal, the track feels like it’s attempting to kick down doors that may have already been ajar in the late ’90s. It’s a conversation about evolution—creatively restless, occasionally overstretched, but undeniably bold in its reach.
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