Simply Red, Alicia Keys, Shayne Ward, Leona Lewis, Gloria Estefan, ‘N Sync, Chris Brown, Sugababes, The Ordinary Boys, Hear’say, Cheryl Cole, Chesney Hawkes, Darius Campbell Danesh
They are the performers of twelve vintage love songs 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 TWENTY FOUR more ‘L’Amour Toujours’ – Vintage 2000s Music Videos – week 02/52 – click here and here
Tracklist
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1 . Simply Red – You Make Me Feel Brand NewOriginally a hit for The Stylistics in 1974, “You Make Me Feel Brand New” is revisited by Simply Red on their 2003 album “Home,” where Mick Hucknall’s voice drapes itself across the ballad’s nostalgic framework. Their version sidesteps unnecessary reinvention, keeping the orchestral elegance intact while sneaking in modern production touches that feel more like a nod than a statement. Released under Hucknall’s self-managed label Simplyred.com, the album “Home” signaled the band’s break from major-label entanglements and climbed to #2 on the UK Albums Chart, bearing this track as one of its heartbeats. Thematically, it is a sermon of gratitude and quiet adoration, lyrics flowing like a handwritten letter etched on heavyweight paper—personal, deliberate, and just sentimental enough to ring true without drowning in saccharine. Hucknall’s vocals, always teetering between smoky richness and showman’s polish, give the song an anchor while avoiding overly dramatic pitfalls. For Simply Red fans, it’s comfort food—tastefully arranged, lovingly prepared, but perhaps not entirely groundbreaking in a broader artistic sense. The single reached #11 on UK charts, its modest success reflective of its charm—a reminder of the band’s ability to reinterpret rather than innovate. If the original is a vintage photograph, their take is a restrained restoration; respectful, yet giving it just enough sheen to glimmer under contemporary light. Featured on the 2005 album “Home”.
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2 . Alicia Keys – Doesn’t Mean AnythingReleased in 2009, “Doesn’t Mean Anything” served as the opening act to Alicia Keys’ fourth album, *The Element of Freedom*, a record that tried to juggle heartbreak and liberation within its glossy R&B framework. The track itself feels like a reflective journal entry set to music, with Keys wistfully mourning the emptiness of material and emotional tokens when love lacks substance. Her longtime collaborator Kerry “Krucial” Brothers co-produced the song—resulting in a slick yet somewhat predictable piano-led ballad punctuated by a climbing emotional refrain. Chart-wise, the song landed softly at No. 61 on the Billboard Hot 100, finding stronger footing in niche spaces like the Hot R&B/Hip-Hop chart, where it peaked at No. 14. Its reception was diverse internationally, breaching the top 10 in territories like the UK and Switzerland—both markets that have occasionally relished anthemic vocal romantics more reliably than the U.S. Visually, the P.R. Brown-directed video gave us Alicia perched melodramatically atop a cliff, piano and all, with dreamlike backdrops offsetting the song’s cascading introspection, teetering on polished sentimentality and unintentional self-parody. While the track might not top anyone’s career retrospective playlist, “Doesn’t Mean Anything” remains a snapshot of Keys balancing stadium-worthy vulnerability with pop formalism, even if the result didn’t fully blow the hinges off her creative potential. Live performances, from the MTV Europe Music Awards to *The X Factor*, let her pianistic prowess shine, grounding the song’s more overwrought tendencies in pure musicality—something she rarely fails to deliver. Featured on the 2006 album “The Element of Freedom“.
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3 . Shayne Ward – That’s My GoalShayne Ward’s “That’s My Goal,” released on December 21, 2005, is less a song and more a ceremonial moment in British pop culture. Arriving hot on the heels of his “X Factor” win, the track practically screamed “winner’s anthem” with its melodramatic piano intro and soaring chorus. Written by Jörgen Elofsson, Per Magnusson, and David Kreuger, the formulaic pop ballad drenches every second in emotional earnestness, as if engineered in a lab to tug at heartstrings. The lyrics – heavy on ambition, conviction, and freshly minted dreams – stick to the script, letting Ward’s crystalline vocal delivery do the heavy lifting. Its debut was a commercial fireworks display, smashing records with 313,000 copies sold on the first day and crossing the 742,000 mark in its inaugural week. If anything, its success feels more like a testament to Ward’s “X Factor” fanbase than to the track itself, which leans heavily on sentimentality rather than artistic innovation. Critics might sneer at its predictable structure, but it’s hard to argue with the song’s cultural impact as the 2005 Christmas number-one single. The accompanying music video does little to shield the track from clichés, featuring Ward brooding in a recording studio amidst moments of introspection. Produced by pop powerhouse Steve Mac, it’s polished to an almost blinding sheen, a hallmark of Syco Records’ near-clinical precision in crafting chart dominators. For all its sap, “That’s My Goal” is undeniably a snapshot of mid-2000s reality-show pop, trapped in amber for future armchair sociologists to ponder. Featured on the 1999 album “Shayne Ward”.
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4 . Leona Lewis – A Moment Like ThisLeona Lewis’s debut single, “A Moment Like This,” marked a turning point that merged mainstream pop with talent-show spectacle. Originally performed by Kelly Clarkson, Lewis’s version provided her with a shimmering runway into the UK charts immediately after her “X Factor” win in 2006. Released as part of her first album, “Spirit,” the song benefited from the narrative force of a coronation single—which means it hits you over the head with triumph. The track’s production, courtesy of Steve Mac under Syco Records, adheres to a pop-ballad formula: soaring vocals over swelling orchestration, punctuated with obligatory key changes that practically beg for fireworks to be set off mid-chorus. While certainly sincere in its themes of gratitude and emotional elevation, the song feels genetically engineered to evoke tears for mass consumption rather than introspection. Its chart performance, breaking download records with 50,000 purchases in 30 minutes and earning a platinum certification, indicated the sheer power of the talent-show-industrial complex. Yet, one can’t overlook the calculated nature of its success—it’s less about musical ingenuity and more about exploiting the momentum of a reality TV finale. Nearly 20 years later, the polished music video—essentially a montage of Lewis singing while her “X Factor” triumph flashes in the backdrop—still serves as an archival relic capturing the peak of post-Millennium pop fervor for TV-bred stars. While lacking any groundbreaking qualities, the single functions best as a time capsule of shifting industry dynamics, where artistic ambition was often sacrificed on the altar of televisual hype. All said, the song undeniably amplified Lewis’s career trajectory, even if its durability as an anthem wanes outside its original context of confetti-filled victory nights. Featured on the 2009 album “Spirit“.
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5 . Gloria Estefan, ‘N Sync – Music Of My HeartReleased in the tail end of the ’90s, “Music of My Heart” pairs the once-queen of Latin-flavored pop, Gloria Estefan, with the peroxide-tipped boy band juggernaut, *NSYNC—an unlikely alliance cooked up for the soundtrack of the Meryl Streep-led drama, “Music of the Heart.” It’s a Diane Warren-penned piece, which essentially guarantees a recipe of swelling sentimentality, soaring key changes, and an emotional crescendo you can spot three miles away. Think of it as the kind of ballad you’d hear closing out a school prom—tear ducts active, awkward hand-holding in progress. The track’s production leans heavily into David Foster’s signature fullness: all cinematic piano swells, pristine harmonies, and a choir-like backing that leans dangerously close to “graduation anthem territory.” Yet somehow, the blend of Estefan’s warmer, honeyed tone and *NSYNC’s cherubic delivery creates a vocal chemistry that makes the treacle tolerable, even endearing. Visually, the accompanying music video intersperses heartfelt film clips with glossy performance shots. Directed by Nigel Dick, it’s a time capsule for peak late-‘90s schmaltz, featuring Meryl Streep looking wistful and *NSYNC members possibly debuting their most respectable outfits of the era—a rare no-rhinestones moment. Chart-wise, it shot up to No. 2 on the Billboard Hot 100, proving its mass appeal if not its longevity. The tune’s cultural ambitions even earned it an Academy Award nomination, despite its transparently calculated emotional tugging. It’s not a revolution, but for fans of inspirational ballads, this one checks all the boxes loud and clear. Featured on the 2004 album “Music of My Heart”.
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6 . Chris Brown – CrawlChris Brown’s “Crawl,” released in 2009 as part of his *Graffiti* album, offers a slice of emotive R&B that trades flashy beats for atmospheric melancholy. With production handled by The Messengers, the track leans into themes of vulnerability and longing wrapped in a polished mid-tempo arrangement. It’s a song of cautious hope, a call to repair relationships while walking the tightrope of reflection and resilience. The lyrics are straightforward—perhaps to a fault—repeatedly revolving around the premise of rebuilding and “crawling back” toward something lost. The music video, helmed by Joseph Kahn, piles on the drama with Cassie Ventura’s star turn but doesn’t manage to lift the song beyond its modest lyrical ambitions. Chart-wise, “Crawl” didn’t break any ceilings, peaking mid-tier on both the U.S. and U.K. rankings. Still, it remains a quiet representative of Brown’s *Graffiti* project and a reflection of his moment-of-crisis vibe during that time, for better or worse. Featured on the 2007 album “Graffiti”.
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7 . Sugababes – New YearReleased in December 2000, “New Year” by Sugababes presents a restrained yet emotionally vivid take on holiday nostalgia. The song leans into themes of wistfulness and fractured love, set against the backdrop of seasonal festivities—a contrast that lends the track an understated poignancy. Co-written by the group’s original trio along with Matt Rowe and Cameron McVey, its production is a sparse affair, favoring subdued instrumentation that allows the vocal harmonies to shine unhindered. This minimalistic approach, a hallmark of their debut album “One Touch,” feels unconventional for a holiday-adjacent pop single yet perfectly encapsulates the reflective tone of their lyrics. Commercially, the track reached number 12 on the UK Singles Chart, cementing the group’s staying power after the edgy success of “Overload.” The accompanying video, directed by Alex Hamming, juxtaposes cozy interiors with frosty landscapes—visual cues that underscore the song’s mix of intimacy and longing. While not as frequently revisited as some of their later hits, “New Year” encapsulates the nascent moments of Sugababes’ identity: subdued but brimming with unfiltered emotion. Featured on the 2001 album “One Touch”.
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8 . The Ordinary Boys – I Luv UThe Ordinary Boys’ “I Luv U” sits comfortably within the glossy pop pivot of their third album, “How to Get Everything You Ever Wanted in Ten Easy Steps,” released in late 2006. With ska undercurrents and an undeniably cheery bounce, the track wears its romantic themes with playful immediacy, replacing the grit of their earlier work with a cleaner, more radio-friendly polish. Preston’s lyrics project affection cloaked in simplicity, a deliberate move that matches the broader accessibility the band was chasing at this point in their career. Produced by Stephen Street, whose prior collaborations with The Smiths and Blur lend pedigree to the record, the song benefits from a tight, catchy arrangement but lacks the sharp edge that once defined their sound. Charting modestly at #22 in the UK, the single’s relative underperformance didn’t match the heightened visibility the band gained after Preston’s stint on “Celebrity Big Brother,” which ironically thrust them further into pop-cultural circulation. The accompanying music video, a mid-2000s digital relic now floating on YouTube, captures the track’s buoyant energy but doesn’t break any new ground aesthetically, blending into the then-emerging ecosystem of online music promotion. As part of the mid-2000s indie-pop wave, “I Luv U” embodies its era’s penchant for blurring genre lines, though its calculated trajectory leaves little room for surprises or spontaneous charm. Featured on the 2009 album “How to Get Everything You Ever Wanted in Ten Easy Steps”.
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9 . Hear’say – The Way To Your LoveReleased in the summer of 2001, “The Way to Your Love” by Hear’Say captured a fleeting moment in pop culture when manufactured bands ruled the airwaves. Born out of the reality TV experiment *Popstars*, this track was the group’s second single after their blockbuster debut “Pure and Simple.” The song entered the UK Singles Chart at number one, shifting an impressive 75,514 copies in its first week, before fading out after a modest 12-week run. Crafted by Eliot Kennedy, Mike Percy, and Tim Lever, the track sticks to a safe, polished pop formula that was destined to follow its predecessor’s commercial template rather than break new ground. The accompanying music video leaned heavily into early 2000s futurism, with glowing sets and synchronized choreography that now feels just as dated as it does nostalgic. The production credits feature Stargate, a name synonymous with slick radio-friendly hits, though their more memorable work lies elsewhere. “The Way to Your Love” doesn’t exactly reinvent the wheel—it’s built around themes of longing and devotion, paired with a soaring chorus meant to evoke optimism, but somehow, it feels like it’s running on autopilot. It’s very much a product of its era: bolstered by the reality TV machine, glossy marketing, and a pop scene obsessed with transient stardom. The B-side, “Can’t Stop Thinkin’ About It,” is as forgettable as most B-sides tend to be—a filler track that only die-hard fans might recall. There’s no denying the historical significance of Hear’Say’s meteoric rise, but this song feels more like a footnote in their fleeting pop trajectory than a defining moment. For those revisiting this single, it serves more as a time capsule for the early 2000s pop explosion than a track that stands the test of time. Featured on the 2007 album “Popstars”.
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10 . Cheryl Cole – Parachute“Parachute,” a standout track from Cheryl Cole’s debut album “3 Words,” leans on the delicate balance between its minimalist production and poignant lyrics about trust and emotional resilience. Penned by Ingrid Michaelson and Marshall Altman, the song trades bombast for subtlety, relying on Cole’s airy yet controlled vocals to convey its message. The track, produced by Syience and Will.i.am, prioritizes sparse beats and orchestral undertones, emphasizing sentiment over spectacle. Released in 2010 as the album’s final single, it peaked at #5 on the UK Singles Chart, proving Cole’s resonance with audiences post-Girls Aloud. Its accompanying music video, directed by AlexandLiane, merges military precision and ballroom intimacy, with Cole executing synchronized choreography that mirrors the song’s delicate tension between vulnerability and strength. The visual approach feels both purposeful and performative, embodying themes of emotional support wrapped in stylistic finesse. “Parachute” thrives on its juxtaposition of fragility and empowerment, a delicate balancing act that never falters. Though the track avoids grandiose gestures, it cemented Cole’s transition to a solo artist capable of delivering introspection without losing her pop sheen. Featured on the 2004 album “3 Words”.
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11 . Chesney Hawkes – Stay Away Baby JaneEmerging from the early 1990s pop-rock wave, Chesney Hawkes’ “Stay Away Baby Jane” carves a bittersweet narrative of unattainable love and introspection. Released in 1993 as part of his album “Get Real,” the track’s production by Nigel Wright gives it a glossy yet emotive layer, unmistakably marked by the era’s signature sound. Lyrically, it leans heavily on themes of yearning and regret, with a palpable frustration cutting through the polished instrumentation. Its hook, irresistibly catchy, contrasts sharply with the emotional weight of the story—a juxtaposition that leaves the listener ambivalent yet intrigued. The song flirts with universality, channeling unfiltered longing that’s as melodramatic as it is relatable. Commercially, its peak at #27 on the UK charts positions it as neither a runaway hit nor an overlooked gem, but rather a momentary soundtrack to its time. Though securely lodged in ’90s pop-rock, its appeal is tethered to Hawkes’ earnest performance and the introspective ache that simmers beneath the surface. Featured on the album “Another Fine Mess”. |
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12 . Darius Campbell Danesh – Kinda LoveDarius Campbell Danesh’s “Kinda Love” carries the distinct markings of his polished late-era pop craftsmanship, a departure from his earlier chart-topping years in the early 2000s. Released as a single from his third album *Live Twice*, the track treads familiar yet comfortable territory, melding glossy production with a heartfelt intimacy aimed squarely at devoted listeners of emotive pop balladry. Thematically, it explores the contours of romantic devotion, sidestepping grand flourishes for a more restrained touch that speaks to longing and admiration, though never quite breaking new ground. Chart success eluded this effort, with “Kinda Love” failing to make ripples on the major UK charts—an unfortunate sidelight for an artist once riding high on his *Pop Idol* laurels. Produced under the experienced hand of Steve Lillywhite and released via Mercury Records, the track serves as a snapshot of an artist in transition, still grappling with the demands of both mainstream accessibility and personal expression. The accompanying music video, while polished, feels like it’s following a formula rather than leading one, offering a serviceable visual that matches the song’s mellow narrative but falls short of memorable innovation. Though not a linchpin in his discography, “Kinda Love” highlights Campbell’s attempts to evolve artistically, even if its modest reception suggests the audience had moved on from the golden boy they first fell for a decade prior. Featured on the 1984 album “Live Twice”.
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