This week In ‘2000s Throwback’ 03/52

1 . Sheryl Crow . Wildflower

“Wildflower,” the title track of Sheryl Crow’s 2005 album, exudes a quiet introspection wrapped in soft rock melodies.

The song leans on a delicate orchestral arrangement, adding a layer of depth to its contemplative tone.

This isn’t the kind of track that screams for attention; instead, it gently unfolds, much like the natural element it’s named for.

The album itself, shaped by Crow’s personal transitions, plays with influences from Neil Young’s “Harvest” and George Harrison’s “All Things Must Pass.”

There’s a precision in how the song navigates Crow’s emotive vocal delivery, though its impact feels restrained compared to her earlier hits.

The lyrics tread a fine line between vulnerability and ambiguity, leaving room for interpretation while reflecting a matured perspective on love and identity.

It’s easy to appreciate the craftsmanship, yet the track doesn’t entirely break new ground, content to linger in familiar sonic territory.

That said, it solidifies Crow’s ability to weave personal reflection into polished arrangements without veering into melodrama.

“Wildflower” ultimately serves as a thoughtful pause in her discography, standing apart for its mellow, introspective charm rather than radio-friendly ambition.

Lifted from : Eric, Roger, Gloria et al perform for the Tsunami victims (2005)

2 . Cat Power . Could We

“Could We” sidesteps the grandiosity its album’s title, *The Greatest*, might suggest, opting for a breezy runtime of 2:21 that feels more like a passing glance than a lingering gaze.

Chan Marshall, moving under her alias Cat Power, trades some of her lo-fi indie roots for a polish that echoes Memphis’ storied rhythm and blues heritage.

The Memphis Rhythm Band steps in as the backbone, coloring the track with a suave mix of restrained guitars courtesy of Mabon “Teenie” Hodges and light-handed bass from Leroy Hodges.

Marshall’s voice glides somewhere between sultry and raw, a tension that gives the song its understated authority.

It’s a tonal shift for an artist often steeped in minimalism, now flirting with the rich, layered textures of vintage R&B.

This entry on an award-winning record isn’t a centerpiece, but its brevity works to its advantage, offering a snapshot of Marshall’s transition while leaving the listener wanting more.

Mildly elusive in live settings, it’s a track better appreciated in the pristine confines of the studio mix.

If nothing else, it serves as a quick reminder of how Marshall, without overextending, leans into nostalgia without succumbing to it entirely.

Lifted from : Matador Publish Cat Power’s Seventh Album . ‘The Greatest’ (2006)

3 . Corinne Bailey Rae . Closer

“Closer” straddles a fine line between longing and liberation, its groove settling comfortably into your bloodstream, whether or not you invited it.

Corinne Bailey Rae opts for minimal ornamentation, letting her voice flirt with the jazz-inflected R&B backdrop, weaving in just enough shadow to keep things sultry but never saccharine.

The track lures you in with its muted horns and chilled piano chords, as if beckoning you into a dimly lit room where vulnerability isn’t a challenge but an invitation.

Her lyrics tread familiar ground—desire, connection, yearning—but Rae sidesteps predictability by pouring herself into the delivery, each phrase drenched in intimacy without tipping into melodrama.

Live versions, such as the 2024 performance at Soho, peel back more layers, showcasing the elasticity of her voice and adding a tactile rawness to what feels luxuriantly smooth on record.

The music video, filled with masked dancers and its theater of metaphor, might lean harder into symbolism than the song actually asks for, but it’s an interpretive layer for those demanding one.

What elevates “Closer” isn’t just its technical polish—it’s the muted urgency beneath the surface, a quiet storm that never needs to declare itself one.

Lifted from : EMI publish Corinne Bailey Rae’s second album . ‘The Sea’ (2010)

4 . Massive Attack . Butterfly Caught

Massive Attack’s “Butterfly Caught” is an intricate piece of atmospheric trip hop, delivering an intense listening experience that sits at the crossroads of brooding electronica and orchestral grandeur.

Released in 2003 as part of the album *100th Window*, the track’s layered production is both meticulous and unrelenting. Robert “3D” Del Naja’s haunting vocal delivery is matched by a pulsating bassline, which is, interestingly, also derived from manipulated samples of his own voice.

The track’s depth is further widened by strings recorded with a sprawling 50-piece orchestra in London, offering moments of cinematic weight amidst the claustrophobic electronic elements.

Its music video, directed by Daniel Levi, dives headfirst into grotesque body horror, depicting Del Naja transforming into a Death’s-head hawkmoth. The visceral imagery mirrors the song’s unsettling tone and its fascination with transformation and anxiety.

Adding dimensions to “Butterfly Caught” are the official remixes from artists like Paul Daley, Jagz Kooner, and Octave One. Tara McDonald’s additional vocals on the Jagz Kooner version provide a fresh layer, while an unreleased 2018 remix by Linkin Park’s Mike Shinoda adds mythology to the track’s remix history.

While album opener *100th Window* garnered mixed critiques for its stark divergence from Massive Attack’s earlier work, “Butterfly Caught” exemplifies their commitment to sonic experimentation. Unnervingly beautiful and ruthlessly calculated, it solidifies its position as a pivotal moment in the group’s exploratory trajectory.

Lifted from : As we wish, today, Robert Del Naja, . Happy Birthday, the day is perfect for . ‘Massive Attack At Their Bests’ post

5 . The Decemberists . Billy Liar

The Decemberists’ *Billy Liar* is a clever nod to literary influences, blending indie rock with a folky narrative style.

The track references the English novel *Billy Liar* and Dylan Thomas’ *Under Milk Wood*, linking it to a broader tradition of storytelling through music.

Its upbeat, piano-driven rhythm contrasts the tale of summer boredom, creating a juxtaposition that’s central to the band’s aesthetic.

*Los Angeles, I’m Yours* operates as a theatrical ode to the city, teetering between affection and disdain, with poetic lyrics that vividly portray its contradictions.

One of the b-sides, *Everything I Try to Do, Nothing Seems to Turn Out Right*, opens with a plinky organ riff, gradually building into an arrangement that’s as contemplative as it is simple.

*Sunshine*, on the other hand, is a fast-paced folk tune with quirky, playful lyrics that rhyme “room” with “Judy Blume!”—a humorous touch signature to Colin Meloy’s writing style.

This EP captures The Decemberists’ early knack for weaving narratives with melodic ingenuity, even as it avoids grandiose gestures or awards chatter.

Its literary and cultural allusions, paired with theatrical yet approachable music, position it as both a starting point and an archetype for the band’s evolving sound.

Lifted from : The Decemberists travel from Oregon to Australia (2010)

6 . Bon Jovi . The Distance

“The Distance” by Bon Jovi channels the grit and yearning found in separation, anchored in the classically cinematic undertones of their post-9/11 repertoire.

Part of the 2002 album *Bounce*, the track layers glossy production with a weighty narrative, conjuring the turmoil and hope of love stretched thin across geography and circumstance.

Richie Sambora’s co-writing imbues the song with a deeply personal tone, rumored to draw from the archetype of a soldier away at war. The orchestration, bolstered by Desmond Child’s string arrangements, skirts the line between heartfelt and theatrical, offering an almost melodramatic pang in its delivery.

Lyrically, it stays earnest yet leans heavy on familiar tropes, like letters unsent and promises whispered into the void of distance. The mid-tempo rhythm feels distinctly designed for lighters held aloft in stadiums, yet the poignancy may dampen its universal reach, leaning too sentimentally transparent for some ears.

As a post-9/11 production, the song aligns itself with a broader cultural appetite for resilience wrapped in polished optimism, embracing just enough melancholy to linger while urging forward motion.

It’s not Bon Jovi at their sharpest, but a worthy inclusion for anyone cataloging their more earnest, narrative-driven ventures.

Lifted from : Bon Jovi ‘Bounce’ in Tokyo (2003)

7 . The Rolling Stones . Don’t Stop

Released in 2002, “Don’t Stop” is The Rolling Stones flexing the muscles of a band that refuses to fade quietly into nostalgia.

Emerging as one of the fresh tracks on the expansive *Forty Licks* compilation, it’s less a reinvention and more a polished reminder of their signature sound.

Mick Jagger’s vocals slide between impassioned and restless while Keith Richards and Ronnie Wood inject just enough grit into the guitars to keep things sharp.

Recorded in a predictably glamorous setting in France, the track marries timeless bluesy undertones with a crisp production sheen, offering a sound that’s comfortable but walking the line of predictable.

Ronnie’s guitar solos, while proficient, tread familiar ground, evoking a sense of déjà vu for long-time fans.

The song found moderate chart success—hinting at its likability—but its placement as a setlist staple during the Licks Tour arguably kept it in cultural circulation more than the track itself demanded.

The accompanying music video opts for archival nostalgia, a fitting, if unadventurous, choice for a band whose legacy dwarfs its present-day outputs.

“Don’t Stop” isn’t groundbreaking, yet it showcases The Rolling Stones doing what they do best—delivering rock that’s painstakingly well-worn, occasionally hitting brilliance, but often staying in their lane.

Lifted from : The Rolling Stones enjoy the Garden (2003)

8 . Linkin Park . One Step Closer

Linkin Park’s “One Step Closer” bursts onto the scene with a raw edge that refuses to apologize.

Built around heavy guitar riffs and an explosive rhythm, the track captures a volatile mix of frustration and defiance.

The juxtaposition of Chester Bennington’s searing screams with Mike Shinoda’s grounded delivery creates a dynamic push-and-pull, amplifying its angst-filled narrative.

The chorus isn’t just memorable; it’s a battle cry, a mantra of pent-up rage that resonates long after the final chord fades.

Both lyrically and sonically, the song taps into an undercurrent of adolescent rebellion, framing it within the confines of early 2000s nu-metal.

The music video—a visual descent into a shadowy, claustrophobic world—mirrors the song’s intensity, complete with rapid cuts and a gritty underground setting.

The aggression is undeniable yet measured, showcasing the band’s ability to harness chaos into something tightly constructed and impactful.

“One Step Closer” isn’t just a song; it’s an expression of unfettered anger that defined a generation teetering on the edge.

Lifted from : On TV today . Linkin Park with Conan O’Brien (2001)

9 . Korn . Did My Time

“Did My Time” captures Korn at their brooding best, dripping with the paranoia and frustration that defines their brand of nu metal.

The main riff, crafted by James “Munky” Shaffer and salvaged from the “Untouchables” era, acts as the spine of a song that’s pure bottled ferocity.

Written for “Lara Croft Tomb Raider: The Cradle of Life,” the track’s dark undercurrents align well with the franchise’s grim but action-packed narrative, though contractual hiccups kept it off the film’s official soundtrack.

Shoving boundaries within the mainstream, the song became the band’s first (and only) top forty hit on the Billboard Hot 100, peaking at thirty-eight—a surprising anomaly for a group synonymous with the fringes of heavy rock radio.

The lyrics simmer with themes of internal struggle and external blame, a hallmark of frontman Jonathan Davis’s tortured writing style, delivering screams as raw as they are relatable.

Despite its aggression feeling somewhat formulaic for Korn by 2003, the song found its place on “Take a Look in the Mirror,” an album aiming to reassert the band’s heavier roots.

The accompanying video, starring Angelina Jolie, fuses Hollywood glamour with the band’s signature despondent chaos, giving it a visual edge that propelled repeat MTV airings.

Though it failed to snag a Grammy, losing to Metallica’s polarizing “St. Anger,” the song remains one of their better-charting anthems, holding its own on alternative and rock stations alike.

Performed live over 500 times before 2019, its live energy captures a primal intensity that—despite the band’s evolving sound—remained a crowd-pleaser until it quietly exited their setlists.

Its legacy sneaks into niche avenues, such as a feature in the “Fight Club” PS2 game, subtly keeping the angst alive in unexpected corners.

“Did My Time” is a snapshot of a band at a complicated juncture, balancing mainstream flirtations with a commitment to their abrasive roots, all while still speaking to the disenchanted masses.

Lifted from : As we wish Jonathan Davis, . ‘Happy Birthday’, the day is perfect for . ‘Korn At Their Bests’ post

10 . Richard Ashcroft . New York

Richard Ashcroft’s “New York,” tucked within his 2000 debut solo effort, *Alone with Everybody*, offers up an evocative meditation rather than a traditional ode to the city. The track lands as the fourth entry in an album that saw massive commercial success, claiming the number one spot on the UK charts and riding out 42 weeks in the Top 40. Yet, for all its surroundings of acclaim, “New York” shies away from the limelight, never earning a single release or associated accolades.

The song finds Ashcroft leaning on his well-worn knack for expansive arrangements, balancing introspection with grandeur. While the album itself marks his definitive step away from The Verve’s sweeping Britpop aesthetic, “New York” feels more like a postcard from a quieter, more cinematic headspace—a departure that subtly speaks to his evolving artistry. Layered with expressive vocals and carried along by lush orchestration, it underscores his ability to craft moments that feel both intimate and vast.

Despite its position within the tracklist, “New York” doesn’t scream for attention but rather lingers in its own reflective haze. It’s a piece that rewards repeat listens, not through obvious hooks but through mood—an urban daydream that’s less concerned with capturing the city’s chaos and more absorbed in its quieter, contemplative corners. Though Ashcroft’s lyrics remain elusive, there’s an unspoken energy here that mirrors the ebb and flow of urban life, letting imagination fill in the gaps.

“New York” may lack the flashier credentials of singles or overt critical spotlight, but its understated charm aligns neatly with the album’s broader narrative arc. While some might find it meandering, others will appreciate its ability to let the listener drift, carried by a quiet confidence unburdened by expectations. It’s this balance of ambition and restraint that continues to make his solo work such an intriguing chapter in his evolution as an artist.

Lifted from : On TV today . Richard Ashcroft with David Letterman (2001)

11 . Kid Rock . So Hott

“So Hott,” the fiery track from Kid Rock’s 2007 album *Rock n Roll Jesus*, is a bold, unfiltered ode to infatuation and lust, packaged with his distinctive fusion of rock, rap, and swagger.

The lyrics lean heavily on provocation, delivering a no-holds-barred celebration of raw attraction that borders on obsession, while the instrumentation pounds forward with gritty guitar riffs and an anthemic hook straight out of a barroom brawl soundtrack.

Co-written with Marlon Young and produced alongside Rob Cavallo, the song finds its strength in unabashed energy, though subtlety isn’t invited to the party.

The chart performance reinforces its mass appeal, snagging the number two spot on the US Mainstream Rock Chart and maintaining a significant presence across the alternative scene.

Its inclusion in pop culture moments, from *Californication* to WrestleMania XXV, further cements its status as a brash anthem for hedonistic escapism.

Love it or loathe it, “So Hott” thrives in its dedication to pure, unapologetic excess.

Lifted from : Happy Birthday Kid Rock

12 . The Roots . The Seed [2.0]

“The Seed (2.0)” by The Roots, featuring Cody Chesnutt, hits like a genre-crossing collision of rock, hip-hop, and something undeniably untamed.

A revamped version of Chesnutt’s original track, this joint from their 2002 album *Phrenology* manages to feel gritty and smooth all at once.

The opening guitar riff hooks your ear immediately, as if daring you to look away, while Questlove’s impeccable drumming glues the chaos together with precision.

Black Thought’s verses slice through the heavy instrumentation like a scalpel, exuding lyrical prowess that turns each line into its own stand-alone statement.

Meanwhile, Cody Chesnutt’s raw, raspy vocals ooze unvarnished confidence, as if injected directly from a dimly lit rock dive.

The song’s eclecticism feels deliberate yet effortless, a balancing act of polished studio work and the rowdy energy of a live jam session.

Was it meant for head-bopping at a club or reflected contemplation at 2 a.m.? Maybe both.

The video may have been MTV’s darling back in 2003, but the real star here is its seamless genre-melding, making it a standard for any mash-up experiment since.

Does it break new ground? Maybe not in concept, but it bulldozes past tedious boundaries like it never knew they existed.

A cultural oddity—and proudly so—this track’s enduring grit ensures its place in the pantheon of genre-defying staples.

Lifted from : As we wish The Roots drummer Questlove . Happy Birthday, the day has come to do . ‘The Roots At Their Bests’ post