‘Music For The Dancers’ N°320 – Vintage 2000s Music Videos

Eddie Amador, Mobin Master, David Guetta & Chris Willis, Rosie Ribbons, Darren Hayes, Decoy And Roy, Flip And Fill, 100%, Nelly Furtado, Elvis Presley, Divine Inspiration , The Chemical Brothers

They are the performers of twelve vintage dance tunes that were ranked in various charts, this week (04/52) BUT … in the Noughties 2000s.

Here, they are reunited in one glorious playlist. Enjoy!

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For TWELVE more ‘Music For The Dancers’ – Vintage 2000s Music Videos – week 04/52 – click here

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Tracklist

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1 . Eddie Amador – Rise

Eddie Amador’s “Rise” channels the late ‘90s house scene with a mix of spiritual resonance and club-ready energy, anchoring it firmly in its era while occasionally hinting at timelessness.

The track’s rhythmic, vocal-infused production leans on the formula that brought Amador’s earlier work, “House Music,” into the global spotlight, but with a slightly more introspective undertone.

Climbing to the top of the UK Dance Chart and peaking at a respectable #19 on the UK Singles Chart, “Rise” avoids gimmickry, relying instead on its steady beats and atmospheric layering to carve out its space in a genre that has always thrived on repetition and subtle intricacies.

The video, available on YouTube, features a New York Preacher mix, adding a dose of narrative flair that complements the song’s already suggestive nods to spiritual awakening.

While its international success undoubtedly bolstered Amador’s reputation as a club mainstay, “Rise” feels less like a revolutionary statement and more like a confident continuation of his established trajectory.

Its production reflects the ethos of house music without pretending to rewrite its blueprint, a choice that both secures its place in sets and playlists while limiting broader experimentation.

Amador’s Grammy nomination years later for Five Knives’ “The Rising” underscores his longevity, but “Rise,” despite its chart performance, is more of a snapshot into one chapter of his career than an overarching manifesto.

Whether standing under the neon glow of a dance floor or hidden in the archives of house aficionados, “Rise” remains an enjoyable, if not groundbreaking, entry in the canon of late ‘90s house tracks.


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

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2 . Mobin Master – Show Me Love

Mobin Master’s 2007 rendition of “Show Me Love” featuring Karina Chavez might just be the shot of neon adrenaline that house music needed in the late 2000s.

Wearing its Robin S. inspiration on its shimmering sleeve, this electro-house track doesn’t so much reinvent the wheel as it slaps LED lights and a turbocharged engine on it.

The ARIA Club Tracks chart clearly noticed, placing the song at No. 7, with a 52-week residency in that coveted top 50—a marathon rather than a sprint, if we’re being honest.

Its stripped-down beats, glossy production, and addictive vocal hook blur the line between nostalgia trip and contemporary club banger.

And if this version weren’t enough, a slew of remixes, including one by Hanna Hansen and David Puentez, flooded the dancefloors by 2009, giving every DJ from Melbourne to Ibiza another excuse to test their speakers.

Laidback Luke even got in on the action, further amplifying the track’s reach in the electronic music sphere.

Produced under Mobin Master’s independent Safari Music label, this track feels like a flagship for the indie label’s mission: punch above your weight and make it loud.

The adventurous minimalism in its production balances perfectly with Chavez’s soaring vocals, proving that less can indeed do more.

A solid entry into the early wave of house music revival, the track avoids veering into gimmickry and stays just long enough to dance into memory without overstaying its welcome.

If house music has a modern canon, “Show Me Love” has likely squeezed itself into a corner of that coveted space, and it doesn’t look like it’s leaving anytime soon.


Featured on the 1993 album “Show Me Love”.

Lyrics >> More by the same : Official Site

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3 . David Guetta & Chris Willis – Everytime We Touch (w/ Steve Angello & Sebastian Ingrosso)

“Everytime We Touch” emerges as a collaborative brainchild from David Guetta and Chris Willis, with Swedish House Mafia’s Steve Angello and Sebastian Ingrosso contributing their sonic fingerprints.

Released in 2009 as part of Guetta’s “Pop Life” era, the track finds its footing in the electro house genre, indulging in themes of instant attraction through tactile connections, whether a touch or a kiss.

Vocally driven by Willis’s power-packed delivery, the production balances Guetta’s house sensibilities with the grittier textures infused by Angello and Ingrosso. The interweaving of styles offers a cohesive yet energetic listening experience.

Chart performance lands on the modest side, with the UK Dance Chart being its strongest showing at number two. Although mainstream traction is limited, its reception within festival circuits and clubs highlights its appeal to EDM enthusiasts.

The accompanying music video adds a visual flair, maintaining an online presence while being bolstered by a selection of remixes, including versions by David Tort and Inpetto.

This track serves both as a reflective piece on the mid-2000s EDM ecosystem and a marker of a time when high-stakes collaborations were central to shaping the genre’s trajectory.


Featured on the 2007 album “Pop Life”.

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

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4 . Rosie Ribbons – A Little Bit

Few songs manage to blend tension and whimsy like Rosie Ribbons’ “A Little Bit,” a track that somehow charted at #19 on the UK Singles Chart while the album it anchored, *Misbehaving*, collapsed alongside Telstar Records’ bankruptcy.

Originally plucked from Jessica Simpson’s *Irresistible* catalog, the track steps into the pop-R&B arena with an unapologetically glossy “American vibe.”

Slickly produced by ICON and Ken Gold, it leans heavily on formulaic commercial appeal, yet Ribbons’ vocal delivery occasionally punctures through the predictable framework with a sharpness that’s hard to ignore.

The lyrics toe the line between relatable and overly simplified—”A little more time, a little less wait / A little more heart, a little less break” feels both heartfelt and engineered for mass consumption.

There’s a distinct push and pull here, as the song sheds both charm and cliché depending on the moment.

The accompanying music video sticks to early 2000s tropes, featuring Ribbons entwined in choreographed sequences with backup dancers that look plucked from a TRL fever dream.

Critics weren’t particularly dazzled by the visuals or her performance, though scattered praise for her voice lingered like a footnote of potential unrealized.

There’s intrigue in how this track found its commercial footing despite the chaos surrounding its release, proving that even modest hooks can sometimes outsprint logistical disasters.

Still, “A Little Bit” feels like it belongs more to the era’s production line than an artist with singular vision.


Featured on the 2003 album “Misbehaving”.

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

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5 . Darren Hayes – Crush [1980 Me]

“Crush (1980 Me)” by Darren Hayes is a glimmering nod to everything loud and neon from the ’80s, a sugary homage wrapped in layers of synthesizers and vocoder effects.

The track, released on a cold January day in 2003, stood as a middle finger to the melodramatic pop-ballads dominating early-aughts airwaves, opting instead for arcade bleeps and unapologetic kitsch.

Greg Bieck handles the production, peppering the arrangement with enough retro flair to warrant a mullet or two, though the homage sometimes veers dangerously close to parody.

The music video, practically a time capsule, places Hayes in the middle of an era-specific montage where breakdancing, Space Invaders, and shoulder pads reign supreme.

Its story concludes with Hayes choosing a shy girl over her flashier foil, a syrupy moment capped with a shooting star—a visual audio postcard from an MTV generation.

This love letter to yesterday borrows heavily, even sampling Madonna’s “Holiday” in its remix, “Crush on Holiday,” which saw inexplicable adoration in Australia’s remix video circuit.

Charting at #19 in both Australia and the UK, its relative success was less about innovation and more about a wistful hunger for the fluorescent past.

Ultimately, “Crush (1980 Me)” lives in an odd limbo—part guilty pleasure, part genuine sentimentality, walking a fine line between tribute and trope.


Featured on the 2002 album “Spin”.

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

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6 . Decoy And Roy – Inner Life

Pulsing through the echelons of early 2000s European trance, “Inner Life” by Decoy & Roy is an exemplar of its time—unashamedly progressive, mildly hypnotic, and crafted with a precision that sits snugly between underground cool and mainstream accessibility.

Released in 2001, the track anchors itself with a bassline that doesn’t just nudge the listener forward but shoves them headlong into its ethereal, almost meditative atmosphere.

This isn’t a song that screams its presence; it wields subtlety like a knife, cutting through the haze of formulaic beats that cluttered the genre at the time.

Though trivia on its chart success remains elusive, the track’s inclusion in compilations like “Technics DJ Set Volume 8” speaks to its functional role within the club circuit rather than as a radio darling.

It’s the kind of track DJs slide in between more bombastic numbers—a strategic dip that recalibrates energy without losing intrigue.

What makes “Inner Life” particularly compelling is how it functions not just as a standalone piece but as a narrative thread in sets that prioritize dynamic storytelling through sound.

The music video, a relic of its era, provides visual accompaniment that feels less like storytelling and more like a neon fever dream—a scattershot of abstract imagery looping in sync with its entrancing rhythm.

Decoy & Roy’s German origins tether the song to the techno heartland of Europe, but there’s a universality here, a kind of shared hallucination that underscores why progressive trance had its moment in the sun before fading into niche nostalgia.

“Inner Life” is unlikely to spark grand revelations or intellectual epiphanies, but it wasn’t designed to.

What it captures, with all its shimmering pads and deliberate pacing, is a fleeting moment of collective euphoria on a sticky nightclub floor—a quiet triumph in an increasingly crowded space.


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7 . Flip And Fill – I Wanna Dance With Somebody

Flip & Fill’s Eurodance take on Whitney Houston’s 1987 classic “I Wanna Dance With Somebody” offers a thumping reinterpretation designed for the early 2000s club scene.

The original hit, written by George Merrill and Shannon Rubicam and produced by Narada Michael Walden, dominated global charts with its blend of pop, R&B, and Calypso-inspired sensibilities, cementing Whitney’s iconic status during the late ’80s.

But Flip & Fill’s version shifts worlds away from the slick, big-budget aura of Houston’s recording, replacing its glossy production with a high-energy, beat-driven arrangement aimed squarely at raucous dance floors, thanks to the duo’s knack for shaping infectious EDM hooks.

The vocals, provided by Jo James, navigate the balance between honoring the original while serving the pulsating rhythms tailored for glowstick-wielding club goers in Manchester’s nightlife circuit circa 2004.

Flip & Fill’s adaptation, while not as universally impactful as the original, exists within a parallel pop universe, in which nostalgia meets the relentless surge of drum machines and synthesizers.

The accompanying music video multiplies the sensory overload, layering kinetic choreography with the era’s quintessential strobe-lit visuals, a perfect fit for All Around the World’s roster of club-focused acts.

Chart-wise, the track didn’t dominate the listings in a meaningful way, and no notable accolades or recognitions followed, but that almost feels beside the point.

Its real home was among DJ sets and compilations, where it added another jolt of adrenaline to Britain’s Eurodance zeitgeist, assuming its role as a weapon of mass euphoria in packed venues.

If nothing else, it serves as a vivid snapshot of a moment when dance remixes of familiar hits were less about reinterpretation and more about keeping the party going at 2 a.m.


Featured on the 2003 album “Floor Fillas”.

Lyrics >> More by the same : Official Site

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8 . 100% – Just Can’t Wait Saturday (w/ Jennifer John)

There’s a certain charm to “Just Can’t Wait (Saturday),” a track from 2008 that seems to revel in the cyclical anticipation of the weekend while tossing in an air of general celebratory abandon.

The collaboration with Jennifer John brings a polished vocal layer to a piece rooted in Electronic music, blending House and Disco aesthetics with a sound that feels deliberately ephemeral yet toe-tappingly infectious.

Thematically, the song leans on the timeless concept of waiting for that proverbial release, the weekend, though it refrains from adding much narrative depth beyond its upbeat party vibes.

Production details, chart positions, and even the album context are conspicuously absent, making this more of a standalone moment than a strong career-defining statement.

A Club Mix uploaded on YouTube has clocked in a modest 13,000 views, suggesting this is a track that likely resonated more in specific niches than in mainstream consciousness.

There’s an odd trivia point connected to the mention of Nu Shooz’s “I Can’t Wait” video, which, while unrelated, feels like a wink to the nostalgia for bygone eras of electronic pop simplicity.

Musically, it captures the essence of house beats from its era but stops short of pushing boundaries, content instead to inhabit its space of glossy, danceable rhythm tracks.

For fans of retro-inspired club music, this might offer a hit of dopamine reminiscent of simpler party times, but for others, it may just feel like another fleeting track spinning on repeat through the speakers of a forgettable nightclub.


Lyrics >>

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9 . Nelly Furtado – Powerless [Say What You Want]

Nelly Furtado’s “Powerless (Say What You Want)” stands as a mélange of folk-inspired textures and pop-driven currents, offering a sharp commentary on enduring issues of identity and oppression.

Released in late 2003 as the flagship single from her sophomore album *Folklore*, the track weaves together earthy banjo riffs and breakbeats, underscored by its interpolation of Malcolm McLaren’s “Buffalo Gals.”

Lyrically, Furtado channels her Portuguese roots into a broader narrative of cultural erasure and personal resilience, crafting a song that feels as activist as it does introspective.

The accompanying music video, helmed by Bryan Barber, juxtaposes a claustrophobic urban life with moments of freedom, employing a potent metaphorical language.

Despite a tepid performance on U.S. mainstream charts, its reception among Canadian audiences was markedly warmer, securing a spot in the top ten and garnering acclaim for its authenticity.

Its reimagining through a Spanish remix further highlights Furtado’s knack for transcultural adaptability, reinforcing her ability to shift seamlessly between languages and genres.

The track’s critical clout is bolstered by its recognition at the 2004 Juno Awards, where it earned the Single of the Year accolade.

Though it doesn’t carve out new sonic ground, it balances empowerment and introspection with a deftness uncommon in early-2000s pop.

What’s left is a piece emblematic of Furtado’s knack for fusing diverse musical traditions with a pop sensibility, culminating in an understated yet impactful statement on individual and collective freedoms.


Featured on the 2003 album “Folklore”.

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

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10 . Elvis Presley – Rubberneckin’ [Paul Oakenfold Remix]

Elvis Presley’s “Rubberneckin’ [Paul Oakenfold Remix]” represents a peculiar crossroads between the King of Rock and Roll’s iconic roots and early 2000s electronic experimentation.

The original track, a swing-friendly cut initially relegated as the B-side to 1970’s “Don’t Cry Daddy,” gets a modern facelift courtesy of British DJ Paul Oakenfold, known for his contributions to the electronic dance music boom of the era.

Here, the remix straddles the line between homage and reinvention, layering Presley’s unmistakable swagger with a pulsating, club-ready rhythm that tries its best not to overshadow the original vocal charm.

Chart performance for the remix was solid, with surprising international traction—it reached No. 3 on the UK Singles Chart and managed to revive Presley’s name for a generation that had perhaps never heard of “Change of Habit,” the 1969 movie in which the song first debuted.

There’s an air of calculated risk here; Elvis is arguably untouchable as a cultural figure, and to reinterpret one of his songs through the lens of EDM could have easily been dismissed as gimmicky.

Yet, the remix achieves a precarious balance, avoiding full kitsch by allowing the essence of Presley’s voice—a potent mix of grit and guile—to remain front and center, even as synth-heavy builds and drops swirl around it.

For die-hard Elvis aficionados, it’s a remix that might spark either mild curiosity or outright skepticism; for younger audiences, it serves as a palatable bridge connecting the old-school glamour of the King with turn-of-the-century club culture.

The accompanying video, a polished montage of archival Presley footage interspersed with digitally updated visuals, leans into nostalgia, even if the juxtaposition of these time-warped aesthetics feels jarring at moments.

At its core, the remix raises an interesting question about the sustainability of musical legacies: Can you retrofit a titan of another era into modern production trends without diluting their essence?

In this case, the attempt hits more than it misses—an artifact of its time, sure, but one that succeeds in reminding listeners that Elvis, even through layers of gratuitous remixing, still knows how to command attention.


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

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11 . Divine Inspiration – The Way [Put Your Hand In My Hand]

Released in 2002, “The Way [Put Your Hand In My Hand]” by Divine Inspiration steps into the early 2000s electronic scene as a vocal trance relic with infectious hooks and unabashed sentimentality.

It carves out its brief but notable chart story by climbing to number 5 on the UK Singles Chart in January 2003 and enjoying an 11-week residency there, a rare feat for a debut single.

Heavily boosted by remixes from names such as Svenson & Gielen and Flip & Fill, the track found a broader audience in club circuits, where it nestled firmly within the dancefloor-friendly side of trance music.

The song is layered with euphoric synths, a driving four-on-the-floor rhythm, and Sarah-Jane Scott’s emotive vocal delivery, sliding seamlessly into compilation albums like “Ministry of Sound: Clubbers Guide 2003.”

The music video, a visual of ethereal landscapes juxtaposed with studio performance shots, ticks the boxes of early 2000s aesthetic trends without venturing into groundbreaking territory.

Despite a lukewarm reception in Germany and the Netherlands, the song caught fire in the UK and club scenes in places like Australia, underscoring its appeal as a short-lived but memorable anthem of its time.

The production leans on formulaic yet highly effective trance-pop structures, making it digestible for commercial audiences yet capable of sparking club energy during Ministry of Sound nights.

While it lacked industry accolades, “The Way” continues to haunt nostalgia playlists, offering a portal to the era of frosted highlights, bootcut jeans, and glow-stick fervor in electronic music’s commercial zenith.


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

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12 . The Chemical Brothers – Star Guitar

Released on January 14, 2002, “Star Guitar” by The Chemical Brothers exemplifies their ability to merge electronic complexity with understated hooks.

It emerges as the second single from their fourth studio album, “Come with Us,” featuring vibrant modularity and precise production by Tom Rowlands and Ed Simons.

The track samples an acoustic guitar riff from David Bowie’s “Starman,” embedding it into an intricate lattice of post-disco rhythms and Giorgio Moroder-inspired synth basslines.

Charting impressively across multiple countries, it secured the number 8 spot on the UK Singles Chart and climbed to the top of the UK Dance Chart.

A visual masterpiece complements the song—Michel Gondry’s continuous-shot music video aligns the passing French landscape with its musical structure, lending geometric precision to urban sprawl.

Critics have lauded its craft, situating it within top rankings like Slant’s “100 Greatest Dance Songs.”

Adding dimension, remixes by Pete Heller and others have sustained its place in electronic music archives, proving the song’s enduring magnetism.


Featured on the 2002 album “Come with Us”.

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

For THE FULL ‘MUSIC FOR THE DANCERS’ COLLECTION click here

This week Top 20 New Music on RVM *

(*) According to our own statistics, upadted on February 2, 2025

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