‘Music For The Dancers’ N°329 – Vintage 2000s Music Videos

1 . 3rd Edge – Know You Wanna

“Know You Wanna” by 3rd Edge, a UK garage tune released in 2002, feels like a time capsule of early 2000s pop-urban fusion.

Blending a catchy beat with confident urban lyrics, the track positions itself somewhere between clubland swagger and radio-friendly minimalism.

It managed to climb to number 14 on the UK Singles Chart, an indication of its moderate resonance in the market, without quite capturing mainstream domination.

The song has no accompanying album, serving instead as a standalone artifact of its moment, forever linked to performances like its appearance on “Top of the Pops” in January 2003.

Its connection to the UK garage scene is apparent, but it doesn’t quite venture far enough to be a standout in the genre, mostly leaning on the safe side of the dancefloor spectrum.

Mentions in music publications such as “Music and Media” suggest it had some traction among European audiences, but it never transcends its role as a chart-placeholder of its time.

While it reflects a pop climate eager to dabble in club culture, its longevity pales under scrutiny—memorable for its place on the charts but fleeting in its impact.

Lyrics >> More by the same : Wikipedia

2 . Martin Solveig – Jealousy

Released in 2005 as part of Martin Solveig’s album *Hedonist*, “Jealousy” carries the infectious energy of mid-2000s house music.

The track finds its footing in playful, almost tongue-in-cheek lyrics paired with groovy, stomping beats.

It climbed its way up to number 8 on the Spanish charts and managed to make quieter ripples across Belgium, Italy, and France, where it hovered modestly in the middle ranks.

Produced by Solveig himself, the song comes in various iterations, from the slick edit version to the more nuanced album cut, released as a CD single in January 2006.

Its visual counterpart, a music video directed by Tristan Seguela, serves up a quirky tableau featuring cameos from Lee Fields and Gregory, alongside Solveig, who seems to revel in the performative eccentricity of his own track.

Despite its chart performance, which also brushed the lower Swiss and Walloon thresholds, it’s not necessarily a game-changer but rather a lighthearted time capsule of its era.

“Jealousy” found secondary life in house compilations like *We Love House* and *Contact Play & Dance Vol. 2*, proving itself to be a track destined more for curated playlists than dancefloor dominance.

Is it revolutionary? Hardly.

Yet, there’s an undeniable charm in how Solveig stitches together a glitzy house groove with a knowing wink to the listener, making it a piece that thrives on its self-aware playfulness, rather than any groundbreaking ambitions.

Featured on the 2005 album “Hedonist “.

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3 . P!NK – You Make Me Sick

Released in 2000, “You Make Me Sick” by P!NK captures the raw energy of her debut album, “Can’t Take Me Home.”

The pop-R&B track spotlights her distinct swagger, with sharp lyrics that seethe with frustration and confidence in equal measure.

Backed by production from Brainz Dimilo, Anthony President, and Babyface, the song is drenched in late-’90s slickness, layering glossy beats with a vocal performance teetering between sultry and defiant.

Its chart performance reflects its infectious appeal, landing in respectable positions globally, including number nine in the UK and ten in New Zealand.

Listeners are met with unapologetic self-expression, a hallmark of P!NK’s early years, as the track stomps through themes of romantic irritation with a winking ferocity.

The accompanying visuals, directed by Dave Meyers, lean into early-2000s maximalism, pairing saturated hues with bold choreography, amplifying the track’s attitude.

It’s a snapshot of a rising artist, wielding mainstream appeal while carving out her own lane.

At its core, “You Make Me Sick” cements itself as brash, earworm-worthy defiance, swerving away from cookie-cutter heartbreak.

Featured on the 2000 album “Can’t Take Me Home”.

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

4 . Hot Chip – Ready For The Floor

“Ready for the Floor” by Hot Chip catches you off guard with its effortless blend of quirky charm and irresistible musicality.

The track layers a backbone of crisp percussion with shiny, candy-coated synths, creating a sound that is meticulously produced but never too polished to feel sterile.

Alexis Taylor’s falsetto carries a strange—but effective—fragility, exuding both longing and playfulness in equal measure.

Lyrically, it teeters between cryptic and cheeky without slipping into overly pretentious territory, striking a nice balance in its delivery.

The accompanying music video sees Taylor toggling between his inner tech geek and a Joker-inspired figure, an aesthetic as odd and hypnotic as the song itself.

Despite rumors, the track isn’t a discarded Kylie Minogue cut, though its offbeat hooks could easily sit alongside her most experimental work.

The Grammy nomination legitimizes its appeal but doesn’t overinflate its charm; this is a track more interested in joyfully subverting expectations than pandering for validation.

The various formats released—including a memorable Soulwax Dub remix—highlight the song’s flexibility, with each iteration remaining true to its melodic core.

It’s synth-pop that doesn’t take itself too seriously, sidestepping heavy thematic baggage to focus on pure auditory pleasure.

Decades later, “Ready for the Floor” still sparkles, a reminder that intelligent pop doesn’t need to sacrifice its sense of fun.

Featured on the 2008 album “Made in the Dark”.

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

5 . Brancaccio & Aisher – It’s Gonna Be… [A Lovely Day]

Released in 2001, “Brancaccio & Aisher – It’s Gonna Be… (A Lovely Day)” serves an uplifting slice of house music, sprawling with echoes of Bill Withers’ classic “Lovely Day” from 1978.

This track enjoys a rhythmic alchemy that threads a nostalgic soul through the heart of progressive beats, managing to honor its roots while embracing millennial dance culture.

What sets this piece apart is its seamless blend of Withers’ serene melodies and deep club grooves, creating a soundscape that feels both personal and communal, ideal for a warehouse or a personal retreat into headphones.

The remix by Bini & Martini amps it up, sharpening its edges for late-night DJ sets, a becoming staple in clubs worldwide during its peak in 2002.

Chartwise, it doesn’t just glide—it grips, claiming #1 on U.S. and U.K. dance charts before breaking into the U.K. mainstream’s Top 40.

Beyond the metrics, the track encapsulates a moment in time when progressive house flirts unabashedly with pop culture references, striking a balance that’s neither distracted nor derivative.

Luke Brancaccio and Bruce Aisher would ride this wave, branching into projects like Suicide Sports Club and the 2005 album “Electric Mistress.”

Whether this track’s enduring charm stems from Withers’ borrowed warmth or the duo’s meticulous crafting remains debatable, but it captures the paradox of classic meets contemporary with an oddly satisfying ease.

Lyrics >> More by the same : Wikipedia

6 . Mason vs Princess Superstar – Perfect [Exceeder]

“Perfect (Exceeder)” is a collision of hedonistic energy and cheeky lyricism, pairing Mason’s pulsating 2006 instrumental “Exceeder” with Princess Superstar’s witty 2005 track “Perfect.”

The resulting mashup struts with overconfident electro-house swagger, powered by relentless beats and playfully egotistical lyrics.

First released in 2007, this hybrid creation made a remarkable imprint on the UK charts, snagging the number-three spot while also finding a comfortable niche on the Dutch Top 40 at number 11.

Its resurgence in 2024, thanks to its inclusion in the “Saltburn” movie soundtrack, demonstrates its staying power, re-emerging on the UK Singles Chart at number 26 and reigniting interest in its brash fusion.

What truly separates this track is the sheer audacity of its music video: a tongue-in-cheek showcase of exaggerated athleticism as three gymnasts lip-sync the lyrics with one part irony, two parts absurdity.

The production punches hard, with the vocal edits riding the razor edge of the instrumental, creating a sound both campy and imperiously cool.

Its nomination at the International Dance Music Awards may have ended in disappointment, eclipsed by David Guetta’s “Love Is Gone,” but “Perfect (Exceeder)” hardly feels like it needs validation.

From its rhythmic onslaught to its brash confidence, it thrives in being unabashedly over the top, a perfect late-night anthem for the unapologetically bold.

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

7 . S Club 7 – You’re My Number One

Released in December 1999, “You’re My Number One” by S Club 7 exemplifies the late-’90s pop obsession with retro charm stylized for modern audiences.

Its upbeat tempo and playful brass arrangements lend it an air of carefree celebration, a hallmark trend of British pre-millennium pop production.

The lyrics flirt with introspection, lightly questioning love’s meaning, before pivoting confidently towards head-over-heels devotion—hardly groundbreaking, but more about delivery than depth.

Produced by Absolute, the track leans on the breezy cohesion of Anna Ross’s backing vocals and the energy injected by The Kick Horns’ brass interjections.

The accompanying music video feels quintessentially S Club: glossy, effervescent, and brimming with contrived fun, complete with a foam fight and choreographed routines in front of sterile backdrops. It couldn’t be cornier, and yet, it revels in its over-the-top earnestness.

The 2024 Jax Jones remix, featured in a Waitrose ad campaign, gives the song new life with an updated beat, capitalizing on nostalgia while tapping into modern production trends.

An alternate version aired on the group’s TV show, “Miami 7,” adds multilayered vocals and a heavier drum track, driving the chorus in a way that makes Jo’s voice feel pivotal to its energy.

There’s a deliberate lack of pretense here—simple themes, catchy melodies, and an unabashedly fun vibe.

While far from revolutionary, “You’re My Number One” distills the essence of a carefree pop era less concerned with cultural critique and more with delivering infectious hooks perfect for the charts or the dance floor of a school disco.

Featured on the 1999 album “S Club”.

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

8 . Sunblock – I’ll Be Ready

Early 2006 saw the Swedish electronic group Sunblock reimagine Jimi Jamison’s “I’m Always Here,” the iconic “Baywatch” theme, recasting it as a pulsating remix titled “I’ll Be Ready.”

The track strips the original’s anthemic rock veneer, replacing it with relentless synths and a club-ready beat aimed squarely at the dance floor.

While the production duo of Martin Pihl and Magnus Nordin take the reins, the visual component leans heavily on nostalgia, incorporating scenes from “Baywatch” juxtaposed with staged performances by their trio of dancers: Oksana Andersson, Rebecca Simonsson, and Pernilla Lundberg.

Commercial success followed, with the song climbing to number four on the UK Singles Chart and landing within the top ten in countries like Denmark and Ireland.

Oddly, its momentum seemed to wane further afield, only scratching the lower echelons of the charts in places like Australia and Austria.

The group’s decision to fashion dance remixes from sentimental hits like Robin Beck’s “First Time” and Corona’s “Baby Baby” underscores their blueprint: plunder familiarity and polish it for mass consumption.

Still, the remix raises an eyebrow—not just for its brazen commercial instincts, but for how much of its charm relies on borrowed fragments from a TV show that epitomized ’90s kitsch culture.

It’s vibrant, calculated, and engineered to latch onto anyone with even a passing memory of David Hasselhoff jogging in slow motion under a burning sun.

Featured on the 2006 album “I’ll Be Ready: The Album”.

Lyrics >> More by the same : Wikipedia

9 . Flip & Fill – True Love Never Dies

“True Love Never Dies” by Flip & Fill is a collision of dance nostalgia and early 2000s club euphoria.

The track borrows its foundation from Rank 1’s “Airwave,” blending it with the emotional pull of Donna Williams’ original vocals, though here they’re energetically reimagined by Kelly Llorenna.

Released in 2001, the song begins its journey modestly, landing at number 34 on the UK Singles Chart before unexpectedly skyrocketing after a 2002 reissue.

It peaks at number seven in the UK, nestles into the second spot on the Scottish charts for three weeks, and even nibbles at recognition in Ireland and Australia.

Built for late-night strobe lights and euphoric singalongs, the production wraps soaring melodies around a pulsating beat, creating a quintessential slice of a nightclub anthem.

While its lyrics aim for timeless sentimentality, they’re secondary to the undeniable punch of the hook—a high that mirrors the ethos of early 2000s dance culture.

Its reappearance on “Floorfillas,” Flip & Fill’s only studio album, formalizes its place in clubland lore, alongside a steadily growing appreciation reflected in its silver certification by 2023.

Even decades later, its energy perseveres, cementing it firmly as a reminder of an era where love, lights, and beats never seemed to end.

Featured on the 2003 album “Floorfillas”.

Lyrics >> More by the same : Instagram

10 . Alice Deejay – Celebrate Our Love

Alice Deejay’s “Celebrate Our Love” shuffles between identities, wearing the Eurodance badge proudly while teasing gospel influences in its single version.

Originally released on their debut album *Who Needs Guitars Anyway?* in 2000, the track’s album incarnation is a trance ballad, leaning heavily on club vibes and synthetic polish.

By the time the single drops in 2001, it’s as though the song went through a style overhaul, toning down its BPM and recruiting a gospel choir to belt out the track’s finale—a strange but oddly fitting twist for a Eurodance act.

The track dips its toes into melodrama without fully wading into it, with Judith Pronk’s vocals threading a fine line between plaintive and party-ready.

The music video opts for a straightforward performance approach, barely scratching at visual experimentation, a likely choice for a genre often carried by its beats rather than its visuals.

Chart success crowned it a UK Top 20 hit among five singles from the same album, suggesting that Alice Deejay’s formula, however uneven, carved a niche in the early 2000s Eurodance scene.

Whether one embraces the gospel-trance marriage or finds it baffling largely depends on their appetite for genre-mashing theatrics.

Featured on the 2000 album “Who Needs Guitars Anyway?”.

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

11 . Porn Kings – Sledger

Released in 2001, “Sledger” represents a late entry in The Porn Kings’ catalog, a group that once flirted with the edges of mainstream dance success.

While their earlier hits like “Up to No Good” commanded attention and dancefloor dominance, this single treads quieter ground, barely grazing the UK Singles Chart at number 71 and finding a modest peak at 59 in Scotland.

The track surfaces again in the first disc of the “Rock the Dancefloor 4” compilation series, remixed as the “Nasty Boyz Remix,” yet its inclusion seems more like an afterthought than a defining statement.

Musically, “Sledger” adheres to the era’s club-ready formula of pulsating beats and provocative undertones, but it lacks the hook-driven innovation that gave their prior releases staying power.

The Porn Kings themselves—made up of Davy T, Paul Rowland, Dan Evans, and eventually Kenny Hayes—were more celebrated for their remixes and collaborations than for their standalone singles, and that artistry doesn’t shine here.

Neither a standout or a disaster, “Sledger” occupies that strange middle ground where tracks neither resonate deeply nor fade entirely from memory.

More by the same : Wikipedia

12 . Mauro Picotto – Komodo [Save a soul]

“Komodo (Save a Soul)” by Mauro Picotto, released in 2000, layers its trance foundation with haunting melodies and hypnotic beats, amplified by samples reminiscent of Deep Forest’s “Sweet Lullaby.”

Denied permission to use the original samples, Picotto chose the bolder route of recreating them, a decision that adds a layer of intrigue to an already atmospheric track.

The song’s success is undeniable, sliding effortlessly into the top ten charts across Europe, with Germany awarding it Gold certification after selling 250,000 units.

The accompanying music video could be plucked from a noir thriller: Picotto is cast as a detective unraveling the trail of a femme fatale, raising the tension with every frame.

Remix enthusiasts were treated to multiple iterations, each twisting the original into new forms, like the pulsating Megavoices Claxixx Mix and the ethereal Binary Finary Extended Remix.

Vocals performed by an anonymous UK singer add a touch of mystique, a creative workaround for legal constraints.

Years later, the track resurfaces with reimagined versions and collaborations, proving its enduring pull in the electronic music world.

Featured on the 2000 album “The Album”.

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