This week In ‘2000s Throwback’ 07/52

Carolina Chocolate Drops, Prince, Michael Mcdonald, Toni Braxton, George Benson . Al Jarreau, Sergio Mendes, Madonna, Gorillaz, PJ Harvey, Beth Hart, Nneka, Tenacious D, Robbie Williams, Peter Gabriel

They are the ‘2000s Throwback’ artists selected among the 305 Posts we publish this week.

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

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Tracklist

1 . Carolina Chocolate Drops . Hit ‘Em Up Style

Carolina Chocolate Drops’ “Hit ‘Em Up Style” boldly recasts Blu Cantrell’s 2000 R&B hit through the prism of old-time string band sensibilities. Featured on their 2010 album “Genuine Negro Jig,” it stands as an audacious bridge between modern pop and deeply rooted folk traditions.

The band strips the original of its slick, lush production, reimagining it with banjos, fiddles, and jug-band textures that position the track firmly within the Piedmont musical lineage they’re deeply tied to. This approach is not only a stylistic shift but a conceptual one, reflecting their knack for revisiting overlooked African American contributions to American music. The result is a rendition that feels less vengeful and more mischievously wry, like a carnival mirror reflection of the original’s sleek venom.

The release of “Genuine Negro Jig” via Nonesuch Records saw the album achieve chart success, peaking at number one on the US Bluegrass Albums chart and claiming second position on both the US Folk and Heatseekers Albums charts. These accolades underscore how deftly the band reshaped perceptions of genre boundaries. Yet the album’s appearance at a modest number 150 on the Billboard 200 hints at the niche reach of such an experiment.

A live performance from May 2008 at WDVX’s Blue Plate Special offers a vibrant snapshot of their ability to inject kinetic energy into what might otherwise read as a historical exercise. Here, the adaptation truly comes alive, showcasing not just their technical skill but their playful charisma. It’s a stark contrast to the studio recording, pulling the arrangement into something more immediate and tactile.

Collaborative ventures like their EP recorded with the Luminescent Orchestrii further amplify the versatility of this track within the band’s repertoire. In these iterations, the song flexes its adaptability across different musical settings, though this breadth isn’t without the risk of thinning its character.

Ultimately, “Hit ‘Em Up Style” embodies the band’s dual instincts: preservation and reinvention. Yet the dense layering of historical context atop a fashionable pop revenge fantasy could, for some listeners, dull the bite of Cantrell’s original. It’s a compelling exercise, though perhaps one more intellectually satisfying than emotionally gripping.


Lifted from : Nonesuch publish Carolina Chocolate Drops’ fourth album . ‘Genuine Negro Jig’ (2010)

2 . Prince . Fury

“Fury,” the acid rock-infused funk standout from Prince’s 2006 album “3121,” finds him both revisiting and refining familiar territory. Recorded in 2005 at Paisley Park in Chanhassen, Minnesota, the track’s production bears all the hallmarks of his meticulous craftsmanship—clean, assertive, and undeniably his own.

The song’s core aesthetic straddles two worlds: the controlled chaos of acid rock and the rhythmic precision of funk. Yet, it doesn’t fully commit to either. While the track has its blistering guitar moments, with Prince bending notes to agony and ecstasy, it never quite reaches the emotional peak one might hope for. It’s not that “Fury” lacks fire; rather, its sparks sometimes seem more contained than spontaneous.

Released on May 30, 2006, the single didn’t make much of an impact chart-wise, peaking at 60 on the UK Singles Chart and finding modest placements in regions like Italy (44), Scotland (36), and Switzerland (92). Even the Netherlands kept it fighting for attention, floating just below the measurable pulse of the Top 40. Yet within those tepid numbers lies the broader success of “3121.” With its Billboard 200 No. 1 debut, the album marks the last time Prince reached the chart summit during his lifetime—a quiet punctuation in an otherwise roaring legacy.

Live renditions breathe additional life into “Fury,” most notably on its “Saturday Night Live” debut and the BRIT Awards performance featured in both the CD single and 12” vinyl release. The stage seems to be where the track thrives; hearing it as part of a live set underscores Prince’s peerless energy and ability to wring emotion out of every chord. The vocal delivery, crisp and urgent, complements the studio version’s simmering intensity.

If “Fury” illustrates anything, it’s Prince’s chameleonic ability to blend genres—though here, the fusion feels more constructed than fluid. Striking in execution but slightly restrained in spirit, the track falls somewhere between a showcase of sharp technical skill and a reminder of the potential for incendiary abandon that only Prince can hint at, even when holding back. B+


Lifted from : Prince, Wendy, Lisa . Sheila E. attend the Brit Awards (2006)

3 . Michael Mcdonald & Toni Braxton . Stop Look Listen To Your Heart

“Stop, Look, Listen (To Your Heart)” on Michael McDonald’s “Motown II” finds itself wedged between reverence for soul classics and the pitfalls of over-polished reinterpretation.

This 2004 cover merges two distinctive voices: McDonald, with his weathered rasp honed from years in the Doobie Brothers, and Toni Braxton, whose sultry vocal warmth lent heft to 1990s R&B balladry. Their blend is undoubtedly rich, yet it rarely edges toward the emotive finesse found in The Stylistics’ original rendition from 1971.

The track’s production, shaped by Simon Climie among others, leans into a pristine smoothness that risks losing the raw vulnerability Thom Bell and Linda Creed injected into their Philadelphia soul masterpiece. While McDonald’s phrasing retains some wistfulness, it operates within a controlled framework, missing the aching intimacy Russell Thompkins Jr.’s falsetto exuded in the original. Conversely, Braxton’s powerhouse delivery, though technically flawless, feels a shade too commanding for a track that thrives on tenderness refracted through melancholy.

Chart success eluded this take, unlike its 1971 predecessor, which secured a modest position at number 39 on the Billboard Hot 100 and a stronger foothold at number 6 on the R&B chart. Yet, the recording dutifully fulfills the overarching mission of “Motown II”: honoring the spirit of classic soul. Despite its laudable intentions, the end result is less a stirring homage and more a studiously crafted facsimile, longing for the vulnerability and spontaneity that defined its source material.


Lifted from : Happy Birthday Michael McDonald. ‘On His Own’

4 . George Benson & Al Jarreau . Summer Breeze

“Summer Breeze” by George Benson and Al Jarreau reshapes the 1972 Seals & Crofts original into an entirely jazz-infused experience, firmly planting it within the lush grounds of “Givin’ it Up,” their 2006 collaborative album.

This reimagining operates in the shadow of the original, substituting sunlit folk-rock with a smoother, more urbane R&B inflection. Al Jarreau’s vocals glide delicately over the timeless melody, reframing the nostalgia of the lyrics without ever toppling into overt sentimentality. Benson, on the other hand, delivers his trademark fluid guitar lines, weaving a counterpoint that feels intricate yet restrained, never showing off at the expense of the song’s innate simplicity.

Coming as part of “Givin’ it Up,” the track benefits from an impeccable roster of collaborators, including Stanley Clarke and Marcus Miller, though their fingerprints aren’t as sharply felt here as they are on other tracks. The production, polished to studio-sheen smoothness, sidesteps grit in favor of a warmth that borders on sterility—a choice that feels divided between amplifying the performers’ virtuosity and sapping some organic energy from the piece.

This isn’t just a cover; it’s a reinvention, albeit one that adheres firmly to the genteel trappings of ‘accessible jazz.’ The pairing of Jarreau and Benson works precisely because it rations their talents well: Jarreau’s controlled vocal acrobatics avoid veering into excess, while Benson’s understated fretwork lets the melody breathe, ensuring the song never suffocates under its own adornments.

If there’s a critique worth levying, it’s that the track leans heavily on aural gloss, occasionally dulling the edge of what made the original soar. By trading youthful breeziness for mature sophistication, it courts a trade-off that will likely divide purists from jazz enthusiasts. Still, as part of the “Givin’ it Up” repertoire, it’s a respectful homage and a testament to the chemistry between its two interpreters.


Lifted from : We remember Al Jarreau. ‘Al Is For Always’

5 . Sergio Mendes . The Frog

“The Frog” by Sergio Mendes may have peaked modestly on the charts—reaching number 126 on the US Billboard Hot 100 and number 21 on the US Adult Contemporary chart in 1967—but its charm lies far beyond mere numbers.

As part of the “Look Around” album, this track encapsulates the Mendes formula: Brazilian bossa nova rhythms seamlessly merged with the pop sophistication of mid-’60s America. Backed by his group Brasil ’66, Mendes crafts an atmosphere where samba’s jubilance coexists with arrangements polished enough for any easy-listening radio station of the era.

The song’s rhythm is undeniably lively, but whether that energy translates into memorability is another story. For a piece brimming with the “joyful spirit” of Mendes’ oeuvre, it risks being overshadowed by the bolder tracks of its parent album or Brasil ’66’s more iconic performances, like their Oscar-stage rendition of “The Look of Love” in 1968. That said, “The Frog” does showcase Mendes’ talent for blending sonic worlds, adapting traditional Brazilian motifs without sacrificing their cultural texture.

However, for all its lightheartedness, the track feels like it was designed more for background ambiance than a deep dive into musical innovation. It’s not lazy, but it’s not ambitious either—quintessential mid-century lounge music, sharp enough to bring a smile but soft enough to fade into conversation.


Lifted from : Concord publish Sérgio Mendes’ ‘Timeless,’ . collaborative album produced by will.i.am (2006)

6 . Madonna & Gorillaz . Hung Up

Madonna and Gorillaz’s partnership on “Hung Up,” as immortalized during their 2006 Grammy Awards performance, is a flashy convergence of pop spectacle and technological ambition. For a song already pulsating with 1980s pop nostalgia, the inclusion of Gorillaz’s holographic avatars adds a layer of surrealism, blurring lines between the physical and virtual in ways that feel sharply of their time.

Originally the standout lead single from Madonna’s 2005 album “Confessions on a Dance Floor,” the track weaponizes ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight)” sample with Madonna’s zealous pursuit of its licensing forming part of the song’s cultural lore. The result is a feverish slice of dance-pop, polished to perfection with a ticking clock effect that ticks heavier as Madonna leans into fear of time slipping away—a thematic cliché, albeit executed with sleek precision. That sound, paired with D minor’s introspective mood, secures the song as both club fuel and a wink at darker existential anxieties.

The 2006 staging at the Grammys, complete with Madonna’s hologram, followed closely on the heels of Gorillaz’s own experimental visual tricks at the MTV Awards a year prior. Where Madonna’s holographic visage played into her reputation for reinvention, the moment arguably felt strained, bordering on gimmick—it’s uncertain if the real and digital Madonnas colluded or simply competed for attention. Meanwhile, “Hung Up”’s chart conquest—reaching the summit in 41 countries—remains a testament to its populist effectiveness, though its emotional resonance can feel calculated in its ABBA-infused glitter.

Subsequent live renditions have done little to dampen the song’s maximalist spirit. Whether draped in the disco opulence of her “Confessions Tour” or reimagined as heavy-metal theater during 2008’s “Sticky & Sweet Tour,” Madonna treats it as an evolving emblem of her career-long commitment to pop reinvention. But with so much riding on its high-energy veneer, “Hung Up” struggles to eclipse its reliance on borrowed nostalgia. The clock ticks, the beat loops; you can’t help but wonder if it’s Madonna herself, and not time, caught in that same repetitive cycle.


Lifted from : Alicia, Madonna, Gorillaz et al at the ’47th Grammys’ (2005)

7 . PJ Harvey . The Sky Lit Up

“The Sky Lit Up,” nestled within PJ Harvey’s 1998 album “Is This Desire?,” is a rapid and ecstatic piece that feels like it’s constantly teetering on the edge of combustion.

Produced by Harvey alongside Marius de Vries, Mark Ellis, and Howard Bullivant, the track exemplifies the controlled chaos that Harvey consistently wields. Its engineering pedigree, including Andy Todd, lends it an exacting, deliberate sound—technical, but never sterile.

Musically, the song pulls threadbare influences from early Roxy Music, particularly “Virginia Plain.” Yet it swaps calculated glam for fevered bursts of energy, leaning on Mick Harvey’s bass guitar and Robert Ellis’s drumming to ground its flighty nature. John Parish’s guitar and keyboards work in tandem with Eric Drew Feldman’s piano to weave an instrumental framework that is ironclad yet restless.

Lyrically, Polly Jean Harvey holds her cards close, her composition eschewing overt narrative in favor of visceral immediacy. The track jolts forward with an urgency that reflects the experimental ethos guiding “Is This Desire?” as a whole—rock, blues, and electronica churning together in a storm of genres.

Despite the critical acclaim surrounding the album, the song’s impact remains largely atmospheric—more a moment within a mosaic than a self-contained masterpiece. While it echoes Harvey’s talent for distillation and contrast, the piece can feel fleeting, almost ethereal—less tangible, perhaps, than its ambitions demand.


Lifted from : PJ Harvey tells various Stories in London (2001)

8 . Beth Hart . Hiding Under Water

“Hiding Under Water,” the opening track from Beth Hart’s 2003 album “Leave the Light On,” is a potent encapsulation of her trademark blues-rock grit and raw vulnerability. Clocking in at 4:27, it sets the tone for an album steeped in emotion and personal struggle, mirroring the themes of mental health, isolation, and self-discovery central to Hart’s songwriting.

Co-written with Rune Westberg, the song unfolds with a steady intensity that feels less like a wave crashing and more like a relentless undercurrent tugging at the listener. A collaboration that prioritizes emotional resonance over flashy production, it’s a work both intimate and unpolished—qualities that mirror Hart’s lyrical exploration of trauma and meaning-seeking. If there’s a criticism, it’s that the arrangement plays it a little too safe, sticking to the established blues-rock palette without venturing into riskier or more experimental waters.

While the song itself did not chart independently, the album enjoyed significant success across various international markets, peaking at No. 5 on the Denmark Albums Chart and making notable appearances in the Netherlands, New Zealand, and Norway. It’s tempting to wonder how “Hiding Under Water” might have fared as a standalone release, given its layered interplay of introspection and catharsis, but it seems destined to remain a deep cut rather than a flagship.

The live performances, particularly the recording at the Paradiso in Amsterdam, lend the song a heightened sense of intimacy. Stripped of studio polish, the Paradiso rendition emphasizes Hart’s raspy vulnerability and gives the listener a clearer window into her emotional world. However, like much of Hart’s work, “Hiding Under Water” thrives less on memorable hooks and more on the sheer weight of the feeling it carries—making it a touchstone for fans of emotionally charged songwriting but a harder sell for casual listeners.


Lifted from : Beth Hart destroys . Californian bar (2010)

9 . Nneka . Come With Me

“Come With Me” sits as a moment of quiet insistence on Nneka’s U.S. debut, “Concrete Jungle,” released February 2, 2010, a compilation drawn from her earlier European catalog. Stripped of overproduction and densely layered textures, the track opts for stark vulnerability, leaning into her hallmark blend of soulful vocals and subdued hip-hop grooves shaped under producer DJ Farhot’s steady hand.

Its live renditions, particularly when Nneka shares the stage with just her acoustic guitar, shift the song’s equation entirely. The rawness sharpens, the sentiment saturates, and what is already deeply personal edges into unvarnished confession. Small wonder these performances found an avid audience—intimacy as execution rather than embellishment.

Unlike “Heartbeat,” another track from “Concrete Jungle” that climbed to number 20 on the UK Official Singles Chart, “Come With Me” didn’t burden itself with chart ambitions. Yet its unassuming demeanor might be the point. The song seems uninterested in chasing numbers, content instead to reflect themes Nneka frequently circles back to: identity, justice, and the restless negotiation with belonging as a Nigerian in Germany.

Nothing here shocks or reinvents. That isn’t the energy. Instead, “Come With Me” is all quiet defiance, a politely extended invitation to lean closer and listen harder. Whether you take it—or how long you stay—is yours to decide.


Lifted from : On radio today, Nneka at KDHX (2010)

10 . Tenacious D . Dude I Totally Miss You

“Dude (I Totally Miss You)” by Tenacious D, off their 2006 soundtrack album “The Pick of Destiny,” exemplifies the band’s skillful balance of irony and earnestness—two forces often at odds but uniquely harmonious in their hands.

The song teeters between a comedic pastiche of overwrought ballads and a surprisingly sincere ode to longing. Opening with lyrics like, “Dude, I totally miss you / I really fucking miss you,” the track rides a thin line between parody and pathos, though whether the listener feels moved or merely entertained depends on their threshold for tongue-in-cheek melodrama.

Much of the track’s strength stems from the chemistry between Jack Black and Kyle Gass, whose credibility as comedic troubadours underscores the track’s emotional heft without tipping into self-parody. John King’s production is polished but deliberately minimal, ensuring the focus remains on the pair’s vocals while allowing the comedic undertones to simmer beneath the surface.

Contextually, as part of “The Pick of Destiny” project, the song gains an added layer when linked to its cinematic counterpart. Fans familiar with their over-the-top cinematic journey may find themselves drawn to its placement within the absurdist narrative, though the track stands alone well enough for those unaware of the film’s premise.

Live performance provides an additional dimension. As seen during appearances like the 2008 Reading and Leeds Festival, the song thrives on the theatricality Tenacious D injects into their sets. Predictably, it garners laughs but just as often evokes a surprising emotional response, manifesting its peculiar charm before packed audiences.

To some fans, the song resonates in deeply personal ways, as recounted by anecdotes of connection and grief shared on online forums. Whether this stems from nostalgia or from the track’s unassuming relatability, “Dude (I Totally Miss You)” exemplifies Tenacious D’s capacity to blend rock music with emotional introspection, however tongue-in-cheek the packaging may be.


Lifted from : Tenacious . spend two nights in Seattle (2007)

11 . Robbie Williams . Monsoon

“Monsoon” sits as the fourth track on Robbie Williams’ 2002 album “Escapology,” a project that symbolizes both his creative zenith and the complicated dynamics of his collaboration with Guy Chambers, who co-wrote and produced the song alongside Steve Power.

Though the track itself never enjoyed a single release, it occupies a notable place within an album that saw massive commercial success, claiming the top spot on the UK Albums Chart for a week and holding a respectable 22-week tenure in the Top 40. “Escapology” wasn’t a failure in the numbers game, breaking into top-ten positions in various European markets and underscoring Williams’ undeniable mass appeal during this period of his career.

“Monsoon” benefits from its thoughtfully interwoven contributions, including Jeremy Stacey on drums, Phil Spalding’s bass textures, and Phil Palmer’s acoustic guitar flourishes, which complement the emotionally volatile theme. Still, the song’s placement alongside more definitive singles like “Feel,” “Come Undone,” and “Something Beautiful” arguably dilutes its individual impact. It feels like an album track in the most traditional sense—not filler, but not a bold contender either.

“Escapology,” as a whole, is historically marked by Williams’ eventual split with Guy Chambers after the release of “Come Undone.” In retrospect, “Monsoon” carries a certain bittersweet charge, tied to the undercurrents of a partnership fraying while still producing chart-topping results.

Despite Williams’ penchant for dramatic delivery, the track itself strays from producing undeniable hooks or groundbreaking lyrical depth. It stands as an emblematic yet imperfect testament to an artist grappling with personal and professional transitions amid the crest of his commercial dominance.


Lifted from : Happy Birthday Robbie Williams. ‘Sing That’

12 . Peter Gabriel . Father Son

“Father, Son,” nestled within Peter Gabriel’s “Ovo” project, transcends its origins as a Millennium Dome soundtrack contribution to emerge as an intensely personal meditation on familial bonds.

Drawn from a yoga retreat shared with his father, Ralph Gabriel, the song translates an intimate exercise in physical connection into a tender musical portrait. There’s a simplicity to its arrangement—Gabriel accompanied by Tony Levin’s bass during the “Growing Up Live” tour—that mirrors the stark vulnerability of relayed emotions.

The lyrics sidestep florid declarations in favor of understated warmth, a choice that avoids cloying sentimentality but may also leave some listeners yearning for greater poetic resonance. The piano-driven melody gives it a reflective, elegiac tone, though it occasionally flirts with the risk of monotony in its measured pacing.

Produced by Anna Gabriel, the official music video amplifies the song’s intimacy, with reserved visuals ensuring that the emotional core remains untouched by unnecessary theatrics. Its inclusion on the “Hit” compilation subtly underlines its understated appeal within Gabriel’s catalog.

While Ralph Gabriel reportedly appreciated the piece, one wonders if the delicate simplicity that makes “Father, Son” so poignant might also restrict its broader appeal. Yet in this restraint lies its unique strength: a deeply personal yet relatable ode to reconciliation, stripped of pretense but not vulnerability.


Lifted from : Happy Birthday Peter Gabriel. ‘Big Timer’

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