‘L’Amour Toujours’ N°315 – Vintage 2000s Music Videos

1 . Andreas Johnson – Glorious

“Glorious,” Andreas Johnson’s 1999 single from his album “Liebling,” sits at the crossroads of late-’90s pop-rock—polished, melodic, and unapologetically radio-friendly.

Written by Johnson and produced by Peter Kvint, the track wields a glossy production that feels more engineered for mass appeal than for any particularly raw or daring ambitions.

The song performed well commercially, cracking the top five in the UK and Italy and securing respectable chart positions in Sweden, Ireland, and Norway.

Its use in advertisements for Vauxhall, Ford Super Sunday, and “The Sopranos” underscores its calculated utility: less a vessel of self-expression and more a sonic brand enhancer.

For all its surface sheen, “Glorious” doesn’t stray far from its formula—catchy but unchallenging melodies and slightly overproduced instrumentation.

Johnson’s vocals, clear and deliberate, fit the mid-tempo arrangement like a glove, yet evoke little beyond brisk competence.

Compared to his debut, “Cottonfish Tales,” the track exhibits a pivot toward accessibility, trading depth for memorability.

“Glorious” may have earned gold certification from the Swedish Recording Industry Association, but the song itself feels less like a singular artistic moment and more like a well-produced jingle elevated to pop anthem status.

It’s not entirely without merit, its hook undeniably effective, yet its ultimate legacy may rest more on its marketability than its musicality.

Featured on the 1999 album “Liebling “.

Lyrics >> More by the same : Wikipedia

2 . Kelly & Ozzy Osbourne – Changes

“Changes” by Kelly and Ozzy Osbourne is a reworked homage to the 1972 Black Sabbath original, trading angst for familial tenderness. This father-daughter duet doesn’t just rewrite lyrics—it recasts the song’s core from despair to personal reconciliation, mirroring the pair’s off-screen relationship.

Produced by Mark Hudson, the track swaps Black Sabbath’s moody instrumentation for a piano-led arrangement that lingers on sentimentality. Stripped of the original’s grit, this version leans heavily on the emotive interplay between Kelly’s unpolished vocal delivery and Ozzy’s wearied intonation, both of which underscore the song’s reflective tone.

Released on Kelly’s 2003 album “Shut Up,” the single became a commercial triumph, hitting number one on the UK Singles Chart. This success earned it a spot in pop history as only the second father-daughter duet to achieve such recognition, following the Sinatras’ “Somethin’ Stupid.” Its Gold certification in the UK signals its widespread appeal, bolstered by additional traction in Germany, Ireland, and Norway.

Despite its popularity, “Changes” found itself on *Village Voice*’s 2009 “50 Worst Songs of the ’00s” list at number 27—a critique likely tied to its overt sentimentality and the stylistic departure from the original’s darker edge. Perhaps this underscores a paradox: its accessibility fuels its success while alienating purists.

While this collaboration highlights Kelly’s foray into music and amplifies her public profile beyond her roles in TV projects like *The Osbournes* and *The Masked Singer,* its staying power feels conditional. Emotional sincerity aside, “Changes” walks a fine line between heartfelt tribute and syrupy reinvention.

Featured on the 2002 album “Shut Up”.

Lyrics >> Review >> More by the same : Official Site

3 . Antony Costa – Do You Ever Think Of Me

“Do You Ever Think Of Me” presents Antony Costa’s initial leap from the synchronized pop of Blue into the less forgiving terrain of solo artistry.

Written alongside John McLaughlin, the track resides in the tepid waters of mid-2000s balladry, melodic enough to carry its message but hardly groundbreaking. Its appearance on Costa’s *Heart Full of Soul*, the album released exclusively in Japan, suggests the song may have always been intended to serve a niche rather than dominate a wider stage.

Peaking at number 19 on the UK Singles Chart, the single’s lukewarm reception reflects both the challenge of stepping outside a band known for airtight harmonies and Costa’s unshaken reliance on formulaic songwriting. Its live performance, featuring Scottish session musician Paul Boyd, hints at an earnest attempt to present a more stripped-back, vocal-focused identity—a far cry from Blue’s slickly produced collaborations with the likes of Elton John on tracks like “Sorry Seems to Be the Hardest Word.”

Costa’s career adventures outside music, including stints on *I’m a Celebrity… Get Me Out of Here!* and *Eurovision: Making Your Mind Up*, feel like echoes of an artist grappling for footing following Blue’s solid commercial run and eventual hiatus. While *Heart Full of Soul* shared a title with a defining Yardbirds track, neither the album nor this single carried its swagger or immediacy. Instead, the song leans into slow-moving sentimentality, a stark departure from his band’s earlier bombast in hits like “All Rise” or “Too Close.”

As musical pivots go, “Do You Ever Think Of Me” feels deliberate but cautious, lacking the confidence that might lure listeners into longing for Costa’s voice post-Blue. While not without its moments, its legacy is more transitional than memorable—a footnote that underpins, rather than transcends, his broader resume.

Featured on the 2006 album “Heart Full of Soul”.

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4 . Plumb – Real

“Real” surfaces as Plumb’s overture to *Beautiful Lumps of Coal*, a 2003 release that encapsulates inner beauty discussions without lapsing into saccharine oversimplifications.

Charting at No. 41 on the UK Singles Chart, the track flirts with international acclaim without fully committing, leaving its legacy caught between recognition and quiet dismissal.

Tiffany Arbuckle Lee’s vocal performance alternates between fragile introspection and understated resolve, mirroring the song’s theme of self-acceptance, but it occasionally drifts into predictable territory. For an artist boasting musical versatility—spanning contemporary Christian music, alt-rock, and EDM—”Real” feels oddly tethered to well-worn emotional tropes.

The production, while tidy, leans unremarkable, neither offensive nor innovative, lacking the kind of risk that might propel the song from competent to resonant. One can’t help but question whether it fully capitalizes on the artist’s narrative-rich songwriting potential or merely scratches its surface.

As part of Plumb’s oeuvre, which includes placement in TV staples like *The Vampire Diaries* and *One Tree Hill*, “Real” anchors itself firmly in an era before her more genre-diverse ventures. However, its absence of notable collaborations or awards underscores its identity as a modest chapter rather than the headline act in her discography.

Featured on the 2003 album “Beautiful Lumps of Coal”.

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5 . Matchbox Twenty – If You’re Gone

If you’re looking for a rock-ballad dissection of intimacy and uncertainty, Matchbox Twenty’s “If You’re Gone,” penned by Rob Thomas, ticks several notable boxes.

Released as the second single from their sophomore album *Mad Season* in September 2000, the track betrays its roots in the songwriter’s personal struggles to balance relationships amid a burgeoning career.

Musically, the song leans into familiarity with its horn-driven outro, borrowing elements from World Party’s “When the Rainbow Comes.”

This touch, while tasteful, feels more of a nod to classic influences rather than a wholly original flourish.

The chart performance speaks to its broad appeal: debuting at 52 on the *Billboard* Hot 100, peaking at a respectable number five in early 2001, and finding particular love on adult-oriented playlists, topping the Adult Top 40 for an impressive 13 weeks.

The song’s resonance with a less youth-targeted demographic is unsurprising, given its mid-tempo introspection and straightforward vulnerability.

Outside the United States, the single punched through in countries like Australia (18), New Zealand (12), and Ireland (36), though one can’t help feeling these numbers reflect a polite reception rather than bursting enthusiasm.

The accompanying music video, set against a downtown Los Angeles backdrop, delivers an airy, almost distant interpretation, with the band perched on a rooftop as though surveying life from the outside.

It’s a visual that mirrors the track’s tentative emotional tension but risks a lack of dynamism.

Certified 2× Platinum in both Australia and the United States, “If You’re Gone” remains a staple on adult contemporary stations and has shown surprising endurance during Thomas’s solo tours, though its live renditions rarely evolve in meaningful ways.

Ultimately, “If You’re Gone” balances tenderness with a radio-friendly polish that’s hard to fault—yet equally hard to be stirred by on deeper levels.

Featured on the 2000 album “Mad Season”.

Lyrics >> Review >> More by the same : Official Site

6 . Speedway – Can’t Turn Back

“Can’t Turn Back,” Speedway’s second single, marks a pivotal moment in the Scottish pop rock band’s fleeting yet intriguing presence in the early 2000s.

Released in February 2004 through Innocent Records, the track climbed to No. 12 on the UK Singles Chart, a respectable achievement for a group formed just three years prior by Jill Jackson and Jim Duguid.

The song delivers a sleek polish emblematic of early-2000s pop rock, bolstered by the interplay of Jill Jackson’s lead vocals and the rhythmic backbone provided by Duguid’s drumming. Bassist Tom Swann and guitarists Dan Sells (later replaced by Chris Leonard) and Carlos Garcia round out the lineup, crafting a sound that feels more designed for commercial appeal than for innovation.

“Can’t Turn Back” leans heavily on radio-friendly hooks, but the production leaves little room for grit or unpredictability, making it fall squarely within the genre’s safer boundaries.

Supporting labelmates Blue on their UK tour in 2003 and performing at university gigs helped expose the band to a wider audience, but it’s hard to shake the sense that their music was tailored to ride shared momentum rather than forge an independent identity. Still, reaching No. 12 suggests the strategy worked—temporarily.

Speedway’s rise, like its sound, seems to prioritize accessibility over artistry. “Can’t Turn Back” is polished, competent, and undeniably catchy, but it leaves faint impressions when held up to the broader pop rock landscape of its time. Not groundbreaking, but it served its purpose in the fleeting spotlight the band occupied.

Featured on the 2004 album “Save Yourself “.

Lyrics >> More by the same : Wikipedia

7 . Richard Hawley – Baby You’re My Light

“Baby, You’re My Light” sits at the heart of Richard Hawley’s 2001 album *Late Night Final*, a record produced by Alan Smythe and noted for its tender, unhurried elegance. This particular track encapsulates the album’s aesthetic, a collection rightly described by Clash magazine as “warmly evocative lullabies.” The song’s origins are almost incidental—Hawley admits he had little more than a riff walking into the sessions, a detail symptomatic of the album’s overall seat-of-the-pants spontaneity.

The melody unfurls with a deliberateness that borders on hypnotic, a quality Clash highlights as “mesmerizing.” It’s quintessential Hawley—not flashy, but quietly assured, like a streetlamp casting light on the fog. Yet this confidence comes tinged with imperfection, as the song’s simplicity occasionally teeters into predictability, mirroring the lull of comfort rather than the visceral pull of longing.

Although offering no bold reinvention, “Baby, You’re My Light” is bolstered by Hawley’s resume—a Britpop chapter with Longpigs and touring stints with Pulp lend weight to his musical choices. His later solo prominence, including Mercury Prize and Brit Award nominations, feels foreshadowed here, even if the track itself doesn’t fully stake Hawley’s claim as a boundary-pushing songwriter.

That said, the song’s appeal has endured, securing a spot on the soundtrack for 2008’s *Nick and Norah’s Infinite Playlist*. Perhaps its charm lies in its restraint: it doesn’t demand attention as much as it invites quiet reflection. Hawley’s collaborations with acts like Arctic Monkeys and Elbow may emphasize sonic experiments, while this track stays firmly in its lane, serving as a reminder of the beauty of steadfast simplicity. Whether that’s enough to captivate or risks walking the delicate line of over-familiarity is, as always, a matter of taste.

Featured on the 2001 album “Late Night Final”.

Lyrics >> More by the same : Official Site

8 . Rhianna – I Love Every Little Thing About You

“I Love Every Little Thing About You,” released in 2002 as part of Rhianna’s album “Get On,” finds itself suspended in a mesh of Electronic, Hip Hop, RnB/Swing, and UK Garage influences under the banner of Wildstar Records.

Rhianna—not to be confused with the megastar sans “h”—delivers a track that attempts to straddle genres while leaning heavily on early-2000s production trends that feel both of their era and oddly weightless today.

The songwriting itself, while emotive in intention, struggles to escape formulaic bounds, favoring airy admiration over any distinct lyrical hooks or thematic depth.

That said, the production does offer fleeting moments of interest, with glimmers of UK Garage’s kinetic energy simmering just enough to suggest potential, though never quite boiling over into something memorable.

The accompanying music video reinforces this predicament, a visual extension of the track’s polished, yet nondescript, aesthetic—the customary sheen of early 2000s pop, neither grating nor groundbreaking.

Ultimately, “I Love Every Little Thing About You” treads lightly, providing a passable addition to the genre’s catalog without leaving much of an imprint.

Featured on the 2002 album “Get On”.

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9 . Simple Plan – When I’m Gone

“When I’m Gone,” the lead single from Simple Plan’s self-titled third studio album released in 2007, captures a transitional moment for the Canadian band.

Co-written by Pierre Bouvier and Chuck Comeau, the track leans into polished production from Danja and Dave Fortman, signaling an embrace of a more mainstream sound that retains but softens their pop-punk roots.

The inclusion of Liam O’Neil on keyboards adds a lush backdrop, though it occasionally feels more ornamental than integral.

The song achieved modest chart success, peaking at number 26 on the UK Official Singles Chart and holding its ground for five weeks—a respectable but unimposing run.

Musically, “When I’m Gone” is sleek but formulaic, a calculated blend of catchy hooks and radio-friendly angst that lacks the urgency of earlier hits like “I’m Just a Kid.”

The accompanying music video, shot across Los Angeles from Sunset Blvd to North Hollywood, features the unavoidable cameo by Perez Hilton, grounding it firmly in late-2000s pop culture without aging particularly well.

Premiered on MTV.com, the visuals are serviceable but add little depth to the track’s themes, reflecting the sheen-over-substance aesthetic of the era.

Though far from their most memorable work, “When I’m Gone” exemplifies Simple Plan’s ability to navigate the shifting landscapes of mid-2000s alt-rock, even if the result feels more like a comfortably rehearsed statement than a bold, new declaration.

Featured on the 2008 album “Simple Plan “.

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10 . Shivaree – Goodnight Moon

“Goodnight Moon” by Shivaree, released in 1999 as part of their debut album “I Oughtta Give You a Shot in the Head for Making Me Live in This Dump,” offers a potent blend of melancholy and intrigue that remains distinctly their own.

The vocals by Ambrosia Parsley are a curious mix of vulnerability and quiet menace, shaping an atmosphere that feels both intimate and alienating. Danny McGough’s keyboards provide a simmering backdrop, eschewing overt sentimentality for a more restrained, noir-ish tone, while Duke McVinnie’s guitar work evokes a kind of dusty unease, almost as if the strings are fraying at the edges of a forgotten Southern road.

The song’s exposure across media, featured in “Dawson’s Creek” and prominently in the darker, stylized world of “Kill Bill: Volume 2,” underscores its cinematic qualities. Its haunting melody feels as though it loiters in the corner of your mind long after the final note fades, mirroring its themes of anxiety and isolation with precision.

Lyrically, “Goodnight Moon” finds Shivaree leaning on a literary sensibility—themes of longing and solace ring with echoes of Southern Gothic traditions, reminiscent of William Faulkner’s darker tales. The song’s emotional core is poignant but never overwrought, offering just enough ambiguity to keep it intriguing without veering into the abstract.

“Goodnight Moon” remains Shivaree’s most enduring contribution to late ’90s Americana, even as the band disbanded in 2007 following their final release, “Tainted Love: Mating Calls and Fight Songs.” Still, the remastered versions circulating online today only highlight how timeless its subtle dread and fragile beauty truly are.

Featured on the 1999 album “I Oughtta Give You a Shot in the Head for Making Me Live in This Dump”.

Lyrics >> Review >> More by the same : Wikipedia

11 . Counting Crows – Big Yellow Taxi (w/ Vanessa Carlton)

“Big Yellow Taxi” by Counting Crows, featuring Vanessa Carlton, reimagines Joni Mitchell’s 1970 classic with a polished production courtesy of Steve Lillywhite, but the result walks a fine line between homage and a glossy repackage for pop radio.

Originally a hidden track on Counting Crows’ 2002 album “Hard Candy,” the song’s eventual revision to include Vanessa Carlton’s vocals may polarize listeners. Carlton adds a luminous, if somewhat restrained counterpoint to Adam Duritz’s emotive delivery. Yet, the change feels calculated, given its alignment with its feature in the romantic comedy *Two Weeks Notice*—a cinematic choice as pragmatic as the cover’s chart climb to No. 42 on the US *Billboard* Hot 100 and top-five placements on other *Billboard* lists.

Musically, the band’s rendition trades Mitchell’s stripped-down folk essence for a jangly, studio-sheen sound that reflects their early 2000s sensibilities but risks diluting the raw lament of the original. The lyric tweak from “took away my old man” to “took my girl away” subtly modernizes the narrative but feels less poignant than Mitchell’s original phrasing.

The accompanying music video, set against the nostalgic backdrop of Coney Island, juxtaposes the band’s boardwalk performance with Carlton’s urban wanderings. The yellow taxi metaphorically represents loss, but the visual execution leans more towards montage than revelation. The imagery of fading relationships evokes sentimentality without digging too deep.

Chart success abroad bolstered its impact, with a gold RIAA certification in the US and platinum status via ARIA in Australia. Yet, the track’s broader appeal seems aimed at accessibility rather than innovation. While Counting Crows proves adept at reshaping well-trodden material, one wonders whether this attempt at resonance ultimately trades too much authenticity for mass appeal.

Featured on the 2002 album “Hard Candy “.

Lyrics >> Review >> More by the same : Official Site

12 . Joe – Let’s Stay Home Tonight

“Let’s Stay Home Tonight,” the lead single from Joe’s fourth studio album “Better Days,” doesn’t merely tip its hat to Marvin Gaye’s “Sexual Healing”—it practically wraps itself in the song’s DNA. Released on June 1, 2001, and penned by Johnta Austin, Joel Campbell, and Allen “Allstar” Gordon, with production from Gordon and additional input from Campbell, this track leans heavily into a down-tempo R&B comfort zone. Joe isn’t here to reinvent, and that’s part of the charm, though it risks being its undoing.

The interpolation of Gaye’s classic adds a retro flourish, but it’s more homage than reinvention—polished without being particularly transformative. Chartwise, the reception feels lukewarm. It reached number 68 on the US Billboard Hot 100 and climbed to number 18 on the Hot R&B/Hip-Hop Songs chart by December 2001. Internationally, results were scattered: number 72 in Australia, 81 in Scotland, and a modest number 29 on the UK Singles Chart, though it fared better at number 8 on the UK Hip Hop/R&B chart.

Joe’s sultry vocal delivery threads the needle between earnestness and restraint, giving the track a warm intimacy. But for a lead single, it lacks a certain urgency, a defining hook that demands replay. The production is clean yet almost too safe—it risks fading into the background of Joe’s smoother catalog. Better songs from “Better Days” may eclipse this one, despite its interpolation of a certified classic.

Featured on the 2001 album “Better Days”.

Lyrics >> Review >> More by the same : Wikipedia