‘Music For The Dancers’ N°522 – Vintage 2000s Music Videos

Hi-Gate, Boom!, Phoenix, Soulwax, Mc Tali, Britney Spears, Starfighter, LMC, The Lovefreekz, Utah Saints, Dumonde, Voodoo And Serano

They are the performers of twelve vintage dance tunes 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 ‘Music For The Dancers’ – Vintage 2000s Music Videos – week 05/52 – click here and here

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Tracklist

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1 . Hi-Gate – Pitchin’ [In Every Direction] (w/ Jina Burrows)

“Hi-Gate – Pitchin’ (In Every Direction)” showcases a late ’90s trance aesthetic with relentless energy and rhythmic precision.

The track emerged from the collaboration between Judge Jules and Paul Masterson, a partnership that thrived on their mutual understanding of club culture.

Originally featuring vocals by Jina Burrows, the final iteration famously opted for minimalism, removing the vocal element, a decision that arguably amplified its hypnotic potency.

Its success on the UK Singles Chart, where it secured a top 10 position, reflects its resonance with an audience hungry for euphoric, club-ready anthems.

The production thrives on its layered beats and escalating synth lines, creating a sense of ceaseless motion that aligns with its evocative title.

Its presence on platforms like “Top of the Pops” balanced its high-energy roots with a mainstream accessibility, exemplifying the dual appeal of hard-hitting trance cuts during that era.

Revisiting “Pitchin'” today, the track provides an intriguing snapshot of late ’90s UK club culture, where progressive sounds met commercial ambitions.

As a precursor to later hits such as “I Can Hear Voices” and “Gonna Work It Out,” the track cemented Hi-Gate as a defining force within the era’s electronic music circuit.

A defining feature is its tension between accessibility and credibility, a line Hi-Gate adeptly straddles in this and their subsequent works.

Whether it’s the pulsing undercurrents or its sharp production, “Pitchin'” exemplifies trance at its boundary-pushing, dancefloor-focused peak.


More by the same : Facebook

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2 . Boom! – Falling

“Boom! – Falling” arrives with a splash of garage-pop rhythm, a track that seems poised to latch onto the early 2000s’ nascent UK garage wave, yet never quite rides its crest to full potential.

The song opens with sleek, radio-polished production, drawing immediate comparisons to contemporaries like Artful Dodger, but lacking the punch to fully set itself apart.

Thematically, “Falling” leans into love and vulnerability, crafting lyrics that tread familiar territory without truly breaking new ground, though they are earnest enough to resonate on a surface level.

Vocally, Boom! delivers a cohesive group performance, but their individual tones blur rather than shine, contributing to the sense that the track feels more manufactured than organic.

Its chart journey—peaking at a modest No.11 on the UK Singles Chart before quickly sliding downward—mirrors the song’s fleeting impact, hinting at its struggles to stand out amid a crowded landscape of similar offerings.

The accompanying music video seeks vibrancy but feels more like a checklist of stylistic trends rather than a visual statement, aligning with the song’s overall image as a packaged attempt to chase commercial success.

Despite this, the song does reflect the sonic zeitgeist of its era, serving as a time capsule for early 2000s UK pop ambition, and even offering a hint of nostalgia for those invested in the genre’s brief flirtation with garage influences.

Ultimately, “Falling” marks a sincere, albeit unremarkable, footnote in pop history, notable less for its musical merit and more for the tale of a group that vanished almost as quickly as it emerged.


Featured on the 2003 album “Boom!”.

Lyrics >> More by the same : Wikipedia

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3 . Phoenix – If I Ever Feel Better

“If I Ever Feel Better” by Phoenix rides the indie-pop wave of the early 2000s, blending introspective melancholy with a deceptive, upbeat groove.

The track’s airy synths and rhythmic guitar licks camouflage its wistful lyrics, creating a compelling push-and-pull dynamic that’s hard to ignore.

Sampling Toshiyuki Honda’s 1979 jazz piece “Lament,” the song evokes a sense of retro sophistication while staying rooted in its modern, laid-back charm.

On the charts, its success was undeniable, cracking the top 10 in multiple European markets, although its initial reception in the UK and U.S. was more restrained.

Not just a fleeting triumph, the song found new life years later, earning a gold certification in Italy and appearing in remix compilations like Erlend Øye’s “DJ-Kicks,” showing its adaptability.

The recording process reveals Phoenix’s early struggles, opting to re-record the track at a band member’s family home after feeling stifled in a traditional studio setting.

Its enduring appeal lies in its duality—a buoyant melody masking underlying dissatisfaction but never falling victim to self-pity.

Equal parts sophisticated and breezy, it stands as Phoenix’s first major statement on their road to becoming festival fixtures and indie-pop mainstays.


Featured on the 2000 album “United”.

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

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4 . Soulwax – E Talking

“E Talking” by Soulwax brims with the frenetic energy of early 2000s electronic rock, marrying jagged beats with a deliberate edge that feels both reckless and incisive.

Produced by Flood, the track borrows a fragmented guitar riff from Lords of Acid’s “Scrood Bi U,” infusing it with a punk-tinged spontaneity that complements its layered electronic undertones.

The song found modest chart success, clinching the 27th spot on the UK Singles Chart while climbing to a respectable number 3 on Belgium’s Dance charts — a testament to the duo’s ability to straddle indie credibility and club appeal.

Its infamous accompanying music video, shot at London’s iconic Fabric nightclub, cycles through a powder-smeared “drug alphabet,” offering a visually pulsating yet controversial commentary on nightlife excess.

BBC notes its impact in pushing the EBM genre further into public consciousness, combining shards of techno, indie, and classic rock into a dizzying auditory palette.

As part of “Nite Versions,” the track sheds its original structure in favor of a stripped-back, remix-oriented chaos, exemplifying Soulwax’s endless tinkering with their sound.

Perhaps it is this consistent tension in their work—between accessibility and experimentation—that keeps their music firmly lodged between sweaty underground raves and mainstream flirtations.


Featured on the 2004 album “Any Minute Now”.

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

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5 . Mc Tali – Blazin’

“Blazin'” by MC Tali excels as an audacious foray into the mid-2000s drum and bass landscape, marrying rapid-fire beats with fluid vocals.

The track, pulled from her debut album *Lyric on My Lip*, serves as a time capsule for a genre-driven moment, produced under the Full Cycle Records banner helmed by Roni Size.

Its high-energy rhythm is delivered with precision, blending MC Tali’s confident lyricism with contributions from heavyweights like Krust and Die.

The production leans into the sound of the era—intense yet melodic—but sidesteps monotony with an infusion of vocal dynamism courtesy of MC Dynamite.

Chart placement at #42 in the UK and a fleeting appearance in Australia’s Top 100 reflect its modest commercial reach relative to its artistic ambition.

Viewed through its music video, the track channels an effervescent, almost frenetic tone, underscoring the celebratory vibe central to both its lyrics and performance.

Though culturally significant as part of one of the first full drum and bass albums by a female MC, “Blazin'” strikes a balance between innovation and fidelity to its genre’s blueprint.


Featured on the 2004 album “Lyric On My Lip”.

Lyrics >> More by the same : Instagram

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6 . Britney Spears – Overprotected

Ever the emblem of early 2000s pop defiance, “Overprotected” by Britney Spears delivers a slick critique of sheltered adolescence wrapped neatly in an infectious dance-pop package.

The track’s production by Max Martin and Rami is predictably polished, its 96 BPM tempo driving a hook-laden anthem that alternates between frustration and empowerment.

This is no dainty lament; the lyrics reject paternalistic control with refreshing candor, insisting, “I need to make mistakes just to learn who I am.”

The accompanying music video, directed by Bille Woodruff, leans heavily on visual metaphors, with Spears scrambling through photo-plastered walls of her own distorted public image.

The choreography hits hard, punctuating the song’s anxious insistence, though the alleyway and abandoned factory settings feel somewhat overdone for the era.

A remixed version by Darkchild, aimed at the U.S. market later that year, swaps the original’s sharpness for slower R&B grooves—a calculated move that lands without quite the same punch.

Britney’s navigation of overexposure and autonomy isn’t just thematic—it’s autobiographical commentary delivered with undeniable flair.


Featured on the 2001 album “Britney”.

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

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7 . Starfighter – Apache

Released on June 7, 1999, “Starfighter – Apache” stands as an intricate piece within the realms of Hard Dance, Hardcore, and Neo Rave.

Clocking in at 4:54 minutes and composed in C Minor with a tempo of 140 BPM, the track manifests a mix of relentless energy and hypnotic undertones that reflect the era’s fixation on movement and intensity.

This trance offering radiates a retro-futuristic appeal, meshing pulsating beats with a video that seems designed to mirror the song’s rhythmic propulsion and thematic ambition.

Though the track didn’t boast high-profile collaborations or headline-grabbing accolades, it managed to find a spot in curated collections such as LOCA’s “NEW NOSTALGIA CHART” (February 2024) and Greg Downey’s “ZENITH” playlist, articulating its enduring niche relevance.

Despite its lack of grand critical acclaim, “Apache” accrued modest chart points—6 in September 1999, and an improved 27 in February 2000—testament to its steady if unspectacular reception.

As a cultural artifact, it occupies that curious middle ground of electronic music: emblematic of its genre’s intensity yet paradoxically defined by its peripheral status amid the genre’s larger wave-makers.


Lyrics >> More by the same : .

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8 . LMC – You Get What You Give

“You Get What You Give” by LMC is a punchy reimagining of the New Radicals’ late-90s anthem.

Released in 2006, this rendition enlists Rachel McFarlane’s spirited vocals, injecting sleek dance energy into the track’s pop-rock DNA.

LMC, a trio of English producers, collaborates with Trick Babies to remix the original’s essence into a club-ready, effervescent package.

The song retains the rebellious optimism of the original while swapping guitars for synth-heavy hooks and rhythmic buildups.

Landing modestly on the UK Singles Chart at number 30, the track flirts with relevance but doesn’t entirely transcend its remix roots.

If the New Radicals aimed for heartfelt social commentary, LMC keeps the party firmly grounded on the dancefloor.

While the gloss and tempo feel in line with mid-2000s club culture, some might argue that the cover risks sanding down the unpolished charm of the source material.

Ultimately, it’s a remix with just enough nostalgia to resonate without veering into hollow mimicry.


Lyrics >> More by the same : Instagram

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9 . The Lovefreekz – Shine

“Shine” by The Lovefreekz is an early-2000s house anthem that cleverly borrows from Electric Light Orchestra’s 1979 hit “Shine a Little Love.”

Released in 2004, the track encapsulates the upbeat, celebratory energy synonymous with its era of club music.

With euphoric beats that swirl around an instantly recognizable disco-inspired sample, the song creates an unapologetically joyous soundscape.

Despite lacking a parent album, the single performed commendably on the charts, with an audience fueled by its extensive airplay on platforms like BBC Radio 1’s breakfast show.

The track climbed UK charts, spending multiple weeks in circulation, though its exact peak position remains elusive without further sources.

The accompanying music video bursts with a colorful, energetic aesthetic, perfectly mirroring the track’s spirited vibe.

Clocking in as a staple of the mid-2000s party scene, “Shine” serves as a bridge between disco nostalgia and modern house music, with its looping vocals offering an air of optimism rarely misplaced in its genre.

It’s the type of track that avoids overcomplication, sidestepping trends of the time in favor of a direct, infectious exuberance.

What makes it memorable isn’t any groundbreaking departure from genre conventions but rather its ease of execution, proving how a strong sample and polished production can yield a dancefloor favorite.


Lyrics >> More by the same : Wikipedia

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10 . Utah Saints – Love Song

Released in January 2000, “Love Song” by Utah Saints captures a fleeting moment in electronic music’s evolution, nestled just before the digital deluge transformed the genre.

The track’s structure leans on a sample from Average White Band’s “Pick Up the Pieces,” lending a funky backbone to a pulsating blend of beats and airy vocals that whisper the edges of euphoria without tipping into saccharine overload.

Produced by Jez Willis and Tim Garbutt, this song reflects their signature ability to stitch a pastiche of sounds from different eras into something unmistakably theirs, though it stops short of being transformative.

Thematically, “Love Song” seems to flirt with connection and shared experience, though its lyrical sparseness and repetition leave interpretation open—a strength for dance floors but perhaps a fleeting presence through headphones.

Despite just two weeks on the UK Singles Chart and a modest peak at No. 37, its inclusion in live sets reflects its pulse as part of the duo’s broader catalogue rather than a standalone triumph.

The accompanying video mirrors the song’s energy, playing with vibrant tones and subtle nostalgia without overshadowing the music itself.

While “Love Song” is unlikely to make waves in retrospectives of the era, its role on the “Two” album offers a glimpse into the late-stage ’90s-meets-2000s electronic scene where hybrid sounds collided at the club door but left quietly before sunrise.


Featured on the 2000 album “Two”.

More by the same : Facebook

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11 . Dumonde – Tomorrow

Released in 1998, DuMonde’s “Tomorrow” serves as a cornerstone of late ’90s German trance, bridging euphoric melodies with relentless beats.

Its creators, Jürgen Mutschall (aka JAMX) and Dominik de León (De Leon), use the track to encapsulate optimism while delivering a high-energy payoff suited for warehouse raves and festival mainstages alike.

The track brushes up against the anthemic and the melancholic, its driving bassline counterbalanced by celestial synths and soaring vocal lines that stick in your head and refuse to leave.

Reaching 60 on the UK Singles Chart in 2001—an achievement that looks quaint now but reflected the growing hold of trance on European music at the time—the song danced between underground respect and burgeoning mainstream visibility.

Its numerous remixes, such as the “Moogwai Mix” and the “DJ Jam X and De Leon Remix,” stretch its sonic core, layering on harder, darker textures or rewarding accenting melodies while keeping the track’s emotive pulse intact.

Included on mixes like “Techno Club Vol. 12” and “On Stage 2004,” the song’s omnipresence in compilations and sets underscores its resonance within a trance catalog that rarely ages well but has moments of pure transcendence.

Paired with a video that heightens its aspirational themes, “Tomorrow” reflects not just a sound but a mood—a curiously optimistic energy in an era most fondly remembered for its peak hedonism.

DuMonde’s larger body of work, including bangers like “God Music” and remixes for heavy hitters like Binary Finary and Sash!, ensures their spot as consistent players in trance’s stubbornly romantic legacy.


Lyrics >> More by the same : Wikipedia

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12 . Voodoo And Serano – Blood Is Pumping

“Blood Is Pumpin'” by VooDoo & Serano charges forward with relentless energy, epitomizing early 2000s trance with its unapologetically fast tempo and hypnotic repetition.

Released in 2001 and part of the duo’s “Cold Blood” album, the track gained modest traction across German, Australian, and UK charts, with its highest peak at 19 in the UK.

The song’s fiery pulse feels tailor-made for raves, locking listeners into its narrative of movement and urgency, amplified by the almost mechanical precision of its beats.

What lends the track its staying power is not innovation, but execution—it draws on trance staples and polishes them to a sleek, imposing finish.

Its inclusion in various DJ compilations like “Viva Ibiza” further underscores the track’s club-friendly allure, even if it never truly shattered mainstream barriers.

Video footage accompanying the song leans towards adrenaline-charged imagery, echoing the ferocity and boldness of the music itself.

In short, “Blood Is Pumpin'” thrives where many trance anthems falter—it sticks to its straightforward mission: delivering a high-octane auditory rush without overcomplicating its essence.


Featured on the 2002 album “Cold Blood”.

Lyrics >> More by the same : Wikipedia

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 9, 2025

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