‘L’Amour Toujours’ N°308 – Vintage 2000s Music Videos
Joss Stone, Stylophonic, Lucie Silvas, P.O.D., Plain White T’s, Atomic Kitten, Ed Harcourt, JAY-Z w/ Beyoncé, Sugababes, Norah Jones, Darius, Black Rebel Motorcycle Club
They are the performers of twelve vintage love songs that were ranked in various charts, this week (05/52) BUT … in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
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For TWENTY FOUR more ‘L’Amour Toujours’ – Vintage 2000s Music Videos – week 05/52 – click here and here
AUDIO ONLY
Tracklist
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![]() 1 . Joss Stone – Fell In Love With A Boy“Fell In Love With A Boy” by Joss Stone reincarnates the White Stripes’ original through a sultry, soulful lens while swapping genders in the lyrics. It was recorded on May 5, 2003, in Philadelphia when Stone was just 16, underscoring her precocity as a vocalist unafraid to bend rock into her budding genre of choice. The track, featured on her debut album “The Soul Sessions,” carries a breezy 3:38 runtime, yet it feels dense with texture, thanks to its lush production helmed by Glenn Tilbrook and Chris Blackwell. The single was released in early 2004, entering a music landscape increasingly hungry for genre fusions, and it managed to charm its way onto the Mercury Prize shortlist, cementing its critical pedigree. Its appearance in “Silver Linings Playbook” adds a layer of cultural nostalgia, not unlike how the song itself retrofits its garage-rock roots into something undeniably smoother and more playful. In the accompanying video, Joss drapes her soulful delivery in a splash of kaleidoscopic visuals, balancing smoky intimacy with youthful exuberance. It’s bold without being showy, a kind of musical sleight of hand that turns riff-heavy grit into a velvety groove, though perhaps some punch is lost in the process. Featured on the 2003 album “The Soul Sessions“.
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![]() 2 . Stylophonic – If Everybody In The World Loved Everybody In The WorldStylophonic’s “If Everybody in the World Loved Everybody in the World” captures the buoyant optimism of 2000s electronic music, blending dynamic beats with an infectious message of unity. Released in 2004, the track is an upbeat anthem with layered production that leans on punchy rhythms and shimmering synths, creating a sound ready-made for dance floors and festivals alike. The lyrics, though simple, echo a timeless utopian sentiment—perhaps too earnest for cynics, but undeniably catchy in delivery. Its accompanying video, uploaded years later in 2013, enhances the song’s kinetic energy with vibrant visuals that pulse in sync with the music, though it doesn’t revolutionize the genre’s penchant for flashy editing and thematic simplicity. While the song lacks significant accolades or chart impact, it exists as an unapologetic slice of feel-good electronic music, embodying the idealistic ethos of its era without attempting to overcomplicate or obscure its straightforward message. Featured on the 2002 album “Man Music Technology”.
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![]() 3 . Lucie Silvas – Breathe In“Breathe In” by Lucie Silvas carries the weight of 2004’s pop balladry, blending tender lyricism with emotive delivery. Written by Silvas alongside Judie Tzuke, Graham Kearns, and Mike Peden—who also produced the track—the song captures the reflective undertone of its parent album. The arrangement leans on a delicate balance between piano-driven verses and swelling choruses, building to a polished crescendo that positions Silvas’ voice at the forefront. Thematically, it circles around love, vulnerability, and introspection, appealing to listeners seeking emotional resonance in sonic form. Chart success came organically, peaking at number six in the UK while finding modest traction across European territories like Ireland and the Netherlands. Though it didn’t reinvent the wheel, “Breathe In” benefited from its sincerity, juxtaposing high-reaching production with personal tones. The accompanying music video shrouds itself in muted hues, spotlighting Silvas in a performance that mirrors the track’s restrained yet poignant essence. Featured on the 2004 album “Breathe In”.
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![]() 4 . P.O.D. – AliveP.O.D.’s “Alive,” from the 2001 album *Satellite*, lays its claim as a quintessential nu-metal anthem with a charged blend of spiritual introspection and sheer sonic aggression. Its robust guitar riffs, courtesy of Marcos Curiel, collide with Noah “Wuv” Bernardo’s fervent percussion to create an atmosphere equally at home blaring from a car stereo as dominating the mosh pit. Sonny Sandoval’s guttural yet emotive vocal delivery captures an emphatic gratitude for existence, channeling a raw but oddly tender perspective rarely found in the genre’s typically abrasive offerings. The chorus bursts with a cathartic euphoria, repeatedly affirming the phrase, “I feel so alive,” which swings from uplifting to teetering on saccharine depending on one’s current tolerance for earnestness. While nu-metal often courts nihilism or anger, this track wears its inspiration from faith without slipping into outright sermonizing, striking an awkward yet credible balance. The accompanying music video strains toward cinematic grandeur, deploying slow-motion flames and heroic imagery, but it walks right up to the edge of cliché and somehow doesn’t trip entirely over it. The song’s cultural reach extended into early 2000s soundtracks and radio rotations, feeding into the album’s triple-platinum success while carving out a unique identity against the angst-laden backdrop of its peers. “Alive” doesn’t shy from its earnest declarations, but its ability to translate personal triumph into an anthemic roar makes it a standout moment in P.O.D.’s catalogue—and for fans of the era, a reminder of when self-discovery mingled seamlessly with detuned guitars and oversized jeans. Featured on the 2001 album “Satellite”.
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![]() 5 . Plain White T’s – Hate [I Really Don’t Like You]“Hate (I Really Don’t Like You)” drags emo sensibilities into a tighter, radio-friendly realm, offering a slickly produced anthem of rejection and frustration. The Plain White T’s spin bitterness into catchy hooks, crafting a track that walks the fine line between confessional and commercial. Clocking in at 3:45, the song thrives on its contrast—light melodies clashing against biting lyrics, embodying the push-pull of emotional discontent. Tom Higgenson’s deliberate vocal delivery underscores the song’s unresolved tension, elevating the chorus into an almost cathartic chant. The music video mirrors this restlessness, showing a chaotic Toronto cityscape where Higgenson and his ex-girlfriend orbit each other in a dance of missed connections. While Italia Ricci’s cameo adds a cinematic flair, the true star remains the track’s ability to capture post-breakup frustration without veering into self-pity. With chart placements ranging from the US to Scotland, it proves its universal relatability, though it never quite hit the meteoric heights of the band’s later hits. Meanwhile, its inclusion in “Saints Row 2” and “The Hills” ties it firmly to mid-2000s pop culture, grounding its angst in a moment when emo flirted with mainstream acceptance. Accessible yet pointed, this song balances sharp-edged emotion with a polished veneer, leaving just enough grit to keep things interesting. Featured on the 2006 album “Every Second Counts “.
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![]() 6 . Atomic Kitten – Anyone Who Had a Heart“Anyone Who Had a Heart,” revived by Atomic Kitten in 2007, leans on the sturdy framework of Burt Bacharach and Hal David’s original composition from 1963, famously introduced by Dionne Warwick. The group—then comprised of Liz McClarnon, Natasha Hamilton, and Jenny Frost—delivers a polished rendition that’s faithful to the dramatic tension of the original without veering too far into experimentation. Included in the album “Liverpool – The Number Ones Album,” it’s a nod to heritage rather than innovation, paying homage to their hometown’s musical legacy. The vocal harmonies are lush, even if the emotional intensity feels diluted when compared to Warwick’s gut-punch delivery. The song’s music video, though aesthetically pleasing, leans on a visual sleekness over narrative depth, with style frequently overshadowing substance. Charting modestly at number 77 in the UK Singles Chart, the cover’s middling reception reflects its place as an earnest but somewhat low-stakes effort from a trio navigating their later career phase.
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![]() 7 . Ed Harcourt – Apple Of My EyeEd Harcourt’s “Apple of My Eye” exudes the introspection and emotional dynamism typical of early-2000s indie pop. Sourced from his Mercury-nominated debut, *Here Be Monsters*, the track sits comfortably at the crossroads of melancholic lyricism and melodic immediacy. The composition blends plaintive piano and stirring strings with a restrained vocal delivery, crafting a piece that’s simultaneously vulnerable and polished. Its accompanying B-sides—offbeat gems like “Alligator Boy” and “Weary and Bleary Eyed”—act as intriguing footnotes to an artist testing the waters of his burgeoning creativity. The music video leans into mood, offering an understated visualization that enhances the song’s reflective atmosphere without veering into over-sentimentality. Though it didn’t skyrocket up the charts, the track found a second life in compilation albums, including a reimagined Maplewood rendition on *Until Tomorrow Then*. The album *Here Be Monsters*, fortified by the production finesse of Gil Norton and Tim Holmes, lands as an ambitious yet measured introduction to Harcourt’s oeuvre. The entire project is a snapshot of an era when indie artists were celebrated for their imperfections, and “Apple of My Eye” is no exception, radiating charm through its raw honesty and layered sound. It’s neither a game-changing anthem nor a disposable filler but rather a quietly resonant piece steeped in emotion, demanding attention without overstating its case. Featured on the 2001 album “Here Be Monsters”.
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![]() 8 . JAY-Z w/ Beyoncé – 03′ Bonnie & ClydeReleased in 2002, “’03 Bonnie & Clyde” brings Jay-Z and Beyoncé together not just as collaborators but as a nascent power duo, blending hip-hop and R&B with a cinematic edge. Produced by Kanye West, the track samples Tupac Shakur’s “Me and My Girlfriend” and borrows a touch of Prince’s “If I Was Your Girlfriend,” stitching together two iconic references with a contemporary polish. Jay-Z’s verses swagger with confidence, while Beyoncé’s smooth chorus offsets the bravado, delivering a dynamic push-and-pull that mirrors the interplay of the song’s titular characters. Thematically, the track revolves around loyalty and ride-or-die partnership, filtered through glossy production and sharp lyricism. Commercially, the single carved its place on the charts, peaking at number four on the Billboard Hot 100 and marking Beyoncé’s initial step into solo success. The music video, shot against the vibrant backdrop of Tijuana, doubles down on the duo’s modern Bonnie and Clyde narrative, layering playful drama with chemistry-laden moments. Though undeniably catchy, the song draws mixed reactions due to its heavy reliance on Tupac’s original, sparking debates about homage versus overuse of nostalgia. Yet, its cultural footprint remains undeniable, marking the beginning of Jay-Z and Beyoncé’s journey from co-conspirators to cultural icons. Featured on the 2002 album “The Blueprint 2: The Gift & The Curse”.
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![]() 9 . Sugababes – Change“Change” by Sugababes rides on a midtempo cadence, intertwining pop and rock elements with a reflective depth that’s hard to ignore. The track’s composition in D minor cleverly underscores its introspective narrative, paired with a restrained tempo of 85 beats per minute that allows its layers to breathe. The vocals deliver a rich blend of harmonies, creating an anthemic touch that sits comfortably atop subtle guitar licks and atmospheric keys. Thematically, it teeters between melancholy and resilience, addressing the inevitable discomfort of loss and the tentative embrace of transformation. Its lyrical core wrestles with the bittersweet tension of farewells, which, coupled with its brooding instrumental arrangement, doesn’t exactly resolve but stirs a certain catharsis. Paired with a music video where the trio morph into seasonal avatars, the visual metaphor might feel a bit heavy-handed for those who prefer subtlety. Still, the imagery complements the track’s underlying themes, albeit without adding much new to the conversation. Commercially, its peak at number 13 on the UK Singles Chart suggests a mild reception, neither cementing a legacy nor fading into obscurity. Presented live during acoustic performances, the song adopts a disarmingly raw texture, a space where its emotional undertones feel more authentic and less polished. The inclusion of the B-side “I Can’t Take It No More” offers an interesting contrast, but as a standalone, the main track lingers as a quiet meditation rather than a triumphant anthem. Featured on the 2007 album “Change “.
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![]() 10 . Norah Jones – Thinking About You“Thinking About You” marks a curious turning point in Norah Jones’s discography, emerging as a track that straddles contrasting musical eras and styles within her career. Originally penned in 1999 with Ilhan Ersahin, its journey to the 2007 album “Not Too Late” reflects Jones’s careful navigation of genre boundaries, oscillating between reservations about its pop inclinations and tweaks to avoid a “too country-rock” vibe in an earlier 2004 attempt. The production by Lee Alexander gives the song a multi-genre polish—a fusion of blues, jazz, and hints of pop refinement—without losing Jones’s hallmark restraint. Lyrically, it works within her wheelhouse of introspection, ruminating on longing and connection, yet leaves room for listeners to project their own emotional universes into its gentle rhythms. Straying into the digital frontier, it was among the first singles from a mainstream artist made available as an mp3 download, which aligns with its understated yet pivotal role in her catalog. The accompanying music video, directed by Ace Norton, leans into simplicity, filmed at Steiner Studios in Brooklyn, and carries the same contemplative intimacy as the track itself. Chart-wise, it didn’t soar but still made quiet noise, landing on Billboard Hot 100 after a four-year absence and securing relatively higher placements in countries like Italy and Portugal—its appeal measured not in massive commercial triumphs but in its capacity to linger. The fact that Irma Thomas later turned to this piece for her own interpretation in 2008, with Jones appearing as a guest pianist, further secures its quiet legacy as a song that works both as a personal sentiment and a versatile collaboration. Featured on the 2007 album “Not Too Late“.
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![]() 11 . Darius – Live TwiceOut of Darius’s 2004 album *Live Twice* comes “Kinda Love,” a piano-laced pop ballad with a determined shine that harnesses mid-2000s pop formulas without straying too far from the beaten path. Co-written with Kara DioGuardi, a name synonymous with crafting radio-ready hits, the track builds through its honky-tonk piano intro into an undeniably catchy chorus, all while retaining a softness that feels emotionally deliberate but not particularly groundbreaking. The music video borrows inspiration from Michel Gondry’s *Eternal Sunshine of the Spotless Mind*, as Darius and then-girlfriend Natasha Henstridge play star-crossed lovers locked in a vaguely cerebral game of hide-and-seek along the idyllic Costa de la Luz. The visual’s melancholic romanticism contrasts curiously with the song’s relative lyrical simplicity, allowing a fleeting depth where the narrative otherwise falls back on familiar declarations of love and longing. Darius dedicates the album, including this track, to his father, whose cancer diagnosis adds weight to the record’s themes. Yet, “Kinda Love” doesn’t fully wear this backstory in its melody or lyrics, leaving it as a note in the liner rather than an audible presence. The song performed decently on the charts, landing in the UK top 10, but it dances cautiously between ballad and anthem, never quite committing to either, leaving just enough charm to carry it forward without making it a staple of era-defining pop. Featured on the 2004 album “Live Twice “. |
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![]() 12 . Black Rebel Motorcycle Club – Love BurnsBlack Rebel Motorcycle Club’s “Love Burns” channels a brooding intensity that sits somewhere between melancholia and defiance. The track hails from their 2001 debut album, “B.R.M.C.”, which positions itself firmly within the post-Britpop indie rock scene, yet borrows its swagger from shoegaze and garage rock traditions. At 4:05, it manages to feel both expansive and tightly wound, its sharp guitar riffs and pulsating bassline carrying an almost cinematic weight. Critics were quick to single it out as a standout, emblematic of the album’s dichotomy of grit and gloom, further enriching its chart success in the UK and Ireland. The lyrics paint a vivid picture of longing and regret but stop short of oversentimental misery, leaning instead on raw candor paired with Peter Hayes’ smoldering delivery. The accompanying video, drenched in moody lighting and abstract imagery, evokes an almost Lynchian sense of unease, fitting perfectly with the song’s winding emotional undertones. “Love Burns” serves as a reminder that indie rock’s most potent weapon is often simplicity sharpened to a lethal edge, and this track wields it with precision. Featured on the 2001 album “B.R.M.C.”.
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