Audio Bullys, Jet, Good Shoes, Ofenbach, Holly Valance, System Of A Down, Paolo Nutini, Nickelback, A Perfect Circle, Pendulum, Sea Power, Scissor Sisters
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (02/52) BUT… in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 2000s Music Videos – week 02/52 – click here and here
Tracklist
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1 . Audio Bullys – We Don’t CareReleased in 2003, “We Don’t Care” by Audio Bullys captures the pulse of early 2000s UK electronic music, blending house beats with gritty, hip-hop-tinged vocals. The track sits comfortably in that rowdy middle ground between reckless and restless, channeling a swagger that’s less about being polished and more about owning chaos. Simon Franks and Tom Dinsdale, the duo behind Audio Bullys, weave defiance into every synth and kick drum, creating something raw yet oddly infectious. The lyrical aggression doesn’t bother with subtlety, but that’s precisely the point—this is music made to sneer, not to soothe. The production has a frenetic energy that mirrors the music video’s fast-paced, urban montage, conjuring a rebellious aesthetic without feeling over-engineered. The single peaked at No. 15 on the UK charts, a respectable spot that hints at its underground appeal more than its mainstream aspirations. Its home, the “Ego War” album, feels aptly named, as the track barrels forward with an unapologetic sense of self-expression. Not revolutionary but undeniably self-aware, “We Don’t Care” thrives in its own corner of boundary-pushing electronic grit. Featured on the 2007 album “Ego War”.
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2 . Jet – Get Me Outta Here“Get Me Outta Here” by Jet rips through speakers like a rebellious scream from the early 2000s garage-rock revival. It’s nestled within the band’s wildly successful debut, *Get Born,* which dropped in 2003 and became a defining moment for the group, even if this particular track wasn’t a ballyhooed single. The album itself sold millions globally and found a sweet spot between unapologetically loud rock and commercial appeal, channeling the ethos of their Aussie forebears like AC/DC but dressing it up in early Strokes-inspired swagger. But “Get Me Outta Here” leans heavier into a messy punk energy than anything striving for radio-friendly gloss. Its fast tempo and raspy delivery seem designed to power barroom dances fueled by cheap beer and fleeting camaraderie—less a song, more a bottle thrown into the ruckus. Jet, always game to mimic vintage rock tropes, throws in just enough grit to make the track endearing but stops shy of innovation, relying instead on sheer electricity. While the band would falter as indie rock moved on, this song remains a time capsule of an era where razor-sharp guitar riffs and shouted frustrations were the order of the day. Featured on the 2016 album “Get Born”.
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3 . Good Shoes – The Photos On My WallGood Shoes’ “The Photos On My Wall,” taken from their 2007 debut album *Think Before You Speak*, is a snapshot of mid-2000s South London indie rock at its most angular and introspective. The track builds on quick bursts of jangly guitar riffs and a rhythm section that’s as tight as it is restless, capturing a sense of suburban unease that feels both personal and generational. Produced by Per Sunding, whose past work with The Cardigans brings a crispness to the otherwise raw-edged delivery, the song manages to balance its scrappy charm with a polished undercurrent. The lyrics, like the pacing, are unapologetically brisk—a reflective nod to nostalgia and memory that avoids dipping into saccharine territory. While it didn’t reach the heights of radio chart success, its presence on BBC Radio 1 playlists and live festival circuits, such as Glastonbury 2007, solidified its place in indie rock circles. A music video accompanying the track mirrors its themes with snapshots of suburban discontent, amplifying its connection to a very specific time and place. The album as a whole climbed to No. 55 on the UK Albums Chart, a respectable achievement for a band carving out their identity amid a crowded scene, even if this particular single stayed shy of individual chart recognition. In an era when indie rock was shifting gears, “The Photos On My Wall” serves as an energetic time capsule, reflecting not just on what’s past but the moments we catch ourselves trying to hold onto, not entirely sure why. Featured on the 2002 album “Think Before You Speak”.
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4 . Ofenbach – Be MineReleased in late 2016, Ofenbach’s “Be Mine” entered the music scene as a standalone track, quickly earning its place as an earworm for countless listeners worldwide. This French DJ duo concocted a sonic cocktail balancing deep house beats with electro-blues grit, anchored by a tantalizingly repetitive guitar riff that refuses to fade from memory. The smoky vocals, delivering lyrics steeped in yearning and late-night magnetism, intertwine effortlessly with the punchy production, serving as the backbone of its global traction. The song sidestepped the typical album rollout, a testament to its commercial ambition, landing chart positions across Europe while snagging a respectable spot on U.S. dance charts. Its music video, a visual companion mixing sultry aesthetics with a pulse of reckless abandon, found resonance on YouTube, racking up hundreds of millions of views. Despite bypassing award ceremonies, the track didn’t escape platinum certifications, notably in markets craving infectious hooks like France, Italy, and Poland. From TV live sets to a presence on ad soundtracks, the song found ways to implant itself into shared cultural spaces. Far from complex, yet undeniably effective, “Be Mine” illustrates how simplicity framed with focus can propel a track into the collective zeitgeist. Featured on the 2001 album “Be Mine”.
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5 . Holly Valance – Naughty GirlReleased in 2002 as part of Holly Valance’s debut album *Footprints*, “Naughty Girl” hides in the hazy middle ground of early-2000s pop experimentation. Crafted by a team of writers—Grant Black, Cozi Costi, and Jez Ashurst—alongside producer Niall Flynn, the track leans into a sultry yet polished vibe befitting the turn-of-the-millennium pop zeitgeist. The production, drenched in glossy undertones and soft synth embellishments, doesn’t quite shout its intentions—it’s more a flirtatious smirk than a bold declaration. While the album spawned international hits like “Kiss Kiss” and “Down Boy,” “Naughty Girl” quietly stayed nestled within the tracklist, refusing to elbow its way into the spotlight with a standalone release or distinct visual identity. Valance herself performed the song during promos for *Footprints*, but its absence from major televised performances or iconic moments leaves it drifting slightly in the shadow of its more ambitious siblings. Thematically, the song toys with attraction and confidence, an efficient mood-setter for late-night playlists but lacking the same bold hooks that elevated her bigger singles. Its modest cultural footprint mirrors Holly’s own career trajectory—briefly ablaze, undeniably stylish, and rooted in the same charm that transitioned her from Australian soap star to ephemeral pop royalty. If anything, “Naughty Girl” glimmers as a glossy artifact of its era: a quieter echo of the more extroverted pop ambitions that dominated the charts back then. Featured on the 2006 album “Footprints”.
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6 . System Of A Down – Chop Suey!Released in 2001 as the centerpiece of System of a Down’s album *Toxicity*, “Chop Suey!” roars with a volatile blend of hard-hitting metal riffs and nuanced introspection. Originally titled “Suicide” but wisely renamed for broader appeal, the track refuses to ease listeners in, opting instead for an aggressive, jagged structure punctuated by manic tempo shifts. Lyrically, the song tackles themes of mortality and existential wrestling with a theatrical fervor, oscillating between anguish and self-awareness. Serj Tankian’s operatic delivery pairs unpredictably with Daron Malakian’s chaotic composition, making each line both a cry for clarity and a dive into chaos. Rick Rubin’s production balances the band’s raw intensity with a peculiar crispness—every note, shout, and silence feels meticulously placed yet on the brink of collapse. The track’s Grammy nomination for Best Metal Performance in 2002 signaled its critical impact, while its cultural staying power has been cemented by over a billion YouTube views and its ubiquitous presence in video games like *Guitar Hero Live*. The music video, splicing between live performance chaos and religious imagery, mirrored the song’s themes, amplifying its unsettled energy. Neither a metal anthem in the traditional sense nor a ballad of reflection, “Chop Suey!” straddles both worlds, thriving in its contradictions and leaving listeners suspended in its whirlwind of sorrow and defiance. Featured on the 2008 album “Toxicity“.
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7 . Paolo Nutini – RewindReleased in 2006, Paolo Nutini’s “Rewind” occupies a reflective corner of his debut album, *These Streets.* The track rests on a blend of acoustic simplicity and understated folk-pop production, courtesy of Ken Nelson. Nutini’s delivery brims with quiet yearning, a wistful sketch of longing and regret that feels both personal and universal. The lyrics, while not groundbreaking, are poetic enough to stir emotions, leaning into nostalgia and vulnerability in a way that feels honest instead of overwrought. Though never a chart-topping single, the song’s understated charm found its way into live performances and acoustic sessions that highlight Paolo’s raw vocal talent. Its wider appeal lies in its restraint—a calculated absence of grandeur that gives space for sentimentality without drowning in melodrama. *These Streets* as a whole carved a niche for itself in mid-2000s pop, and “Rewind” stands quietly as one of its more poignant offerings. Featured on the 2000 album “These Streets”.
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8 . Nickelback – Gotta Be SomebodyNickelback’s “Gotta Be Somebody,” a cornerstone of their 2008 album *Dark Horse*, offers what might best be described as a populist rock anthem for those who crave connection without venturing into lyrical poetry. Written by Chad Kroeger, Mike Kroeger, Ryan Peake, and Joey Moi, this track is less about nuance and more about loudly declaring the universal longing for love with the subtlety of a brick through a window. If there’s an innovation here, it’s in how seamlessly the song marries arena-rock bombast with radio-friendly accessibility, peaking at number 10 on the Billboard Hot 100 and securing top spots globally. Its appeal is as wide as it is calculated, delivering a lush production gloss that’s heavy on power chords and sing-along choruses, making it a safe bet for both angst-filled teens and nostalgic adults alike. The music video, directed by Nigel Dick, was a melodramatic affair that leaned on scenic vistas like El Matador Beach to drive home its themes of yearning, as if natural beauty could elevate the otherwise straightforward production. Chad Kroeger himself labeled the track universal, a sentiment that rings true if only because the lyrics are vague enough to apply to nearly anyone. Performances during their *Dark Horse Tour* solidified its presence in Nickelback’s concert repertoire, alongside appearing in VH1’s *Storytellers* episode—proof of the band’s knack for vacillating between commercial rock staples and pseudo-introspective showcases. With themes of hope and devotion presented in an earnest yet predictable package, “Gotta Be Somebody” says just enough to resonate with its broad target audience, even if it risks blending into the tapestry of similar anthems Nickelback has mastered. Featured on the 2007 album “Dark Horse”.
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9 . A Perfect Circle – 3 Libras“3 Libras” by A Perfect Circle is like a delicate bruise you can’t help but press—aching yet beautiful. Released in 2000 as part of the band’s debut “Mer de Noms,” its melancholic introspection pairs perfectly with the haunting wails of Maynard James Keenan. The orchestral strings bring a touch of elegance to the raw vulnerability woven into its DNA, making it feel both intimate and grandiose. Thematically, it’s a poetic lament on being unseen, a quiet rage against indifference, and an ode to resilience despite rejection. Billy Howerdel’s arrangements offer a measured swirl of alternative rock, where melody and despair form a tightrope act that never feels overwrought. The track flirted with mainstream presence, peaking at #12 on Billboard’s Modern Rock chart—not bad for an emotional gut punch disguised as a radio hit. Its accompanying music video, all close-ups and stark imagery, strips the glam from rock, leaving you with raw expression. Equal parts piercing and cathartic, “3 Libras” showcases the balancing act A Perfect Circle mastered—balancing fragility against thunderous emotion without saying too much or too little. Featured on the 2008 album “Mer de Noms”.
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10 . Pendulum – GraniteReleased in late 2007, Pendulum’s “Granite” marked a turning point for the band, throwing aside pure drum and bass roots in favor of a harder, rock-tinged electronic approach. The track’s fusion of aggressive beats, searing synths, and an undercurrent of tension made it both an outlier and a highlight of their sophomore album, *In Silico*. Its placement on the UK Singles Chart at number 29 wasn’t groundbreaking, but the song’s lasting impact wasn’t reliant on its chart position. “Granite” drew from eclectic influences, even cheekily slipping in a vocal sample from Joe Tex’s “You Better Believe It, Baby,” though recontextualized within Pendulum’s frenetic landscape of sound. The track was an energetic, chaotic anthem of rebellion—a relentless adrenaline rush that felt both futuristic and defiant in its execution. The accompanying music video leaned heavily into sci-fi aesthetics, tying into the album’s overarching themes of technological unease and dystopia. Frontman Rob Swire’s involvement was front and center, his production choices creating a jagged yet polished energy that became synonymous with the band’s evolving style. While it may not have garnered awards, “Granite” secured its place in Pendulum’s live repertoire, resonating with fans during explosive performances at events like the Download Festival. Its raw, untamed energy continues to thrive in fan mixes and mashups, standing as a snapshot of a transitional moment in both the band’s career and the broader electronic music landscape. “Granite” wasn’t everyone’s favorite Pendulum experiment, but it remains a bold statement of the band’s artistic risk-taking and their ability to confound expectations while shaking the floor. Featured on the 2004 album “In Silico”.
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11 . Sea Power – Waving FlagsSea Power’s “Waving Flags” is less an indie rock anthem and more a rallying call for unity in a fractured world. Bristling with anthemic energy, the track pairs pulsating rhythms with swelling melodies, creating a soundscape that’s as inviting as it is provocative. The lyrics tug at ideologies of identity and migration, navigating the precarious waters of nationalism and global belonging without devolving into preachiness. Originally featured on their 2008 album *Do You Like Rock Music?*, the song teased big moments—both stadium-sized and intimate—translating seamlessly from record to live performances, as showcased on *Later… with Jools Holland*. Its chart position at #31 in the UK Singles Chart might not scream “blockbuster,” but its cultural resonance proves harder to quantify. As part of the BBC’s Euro Football Championships coverage, “Waving Flags” bridged the gap between sport and art, resonating on a communal level while subtly retaining its introspection. Production credits from Graham Sutton, with contributions by Efrim Menuck and Howard Bilerman, lend it a layered texture, grounding its universal themes in complex but accessible sonic craftsmanship. The accompanying music video underscores this vision, fusing symbolic imagery with the band’s earnest performance, offering a reflective counterpoint to the song’s brisk rhythms. If anything, “Waving Flags” stands as a sharp reminder that even in an era of fractured borders, music still beckons people toward a kind of shared understanding, equal parts pride and hope. Featured on the 1990 album “Do You Like Rock Music?”. |
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12 . Scissor Sisters – Filthy/GorgeousFew songs capture the razor-sharp edge of rebellion and unapologetic self-expression quite like Scissor Sisters’ “Filthy/Gorgeous.” Released in 2004 as part of their eponymous debut album, this glam-pop anthem doesn’t flirt with the outrageous—it fully embraces it, tossing out convention with a sneer and a wink. Penned by band members Jake Shears and Babydaddy, the track wastes no time in plunging listeners into a world vibrating with energy, confidence, and self-assured eccentricity. The production, helmed by Babydaddy under Polydor Records, is a disco-fueled blend of glittery chaos and precision, strutting proudly on its pulsating rhythm and cheeky lyrics. The song’s flamboyant hook is irresistible, tailor-made for underground club nights, late-night mischief, or anyone looking for permission to be utterly, unapologetically themselves. Its flirtation with grit and glamour made it a standout, scaling to number 5 on the UK Singles Chart and cementing its cultural impact among early 2000s pop provocations. The accompanying music video, directed by John Cameron Mitchell, doesn’t just lean into taboo topics—it joyfully plunges headfirst into them, offering a glimpse of colorful, unapologetic queer nightlife. At the core of the video is a vibrant tableau of LGBTQ+ faces and avant-garde aesthetics, a visual counterpart to the song’s seedy-glam energy. Yet, “Filthy/Gorgeous” isn’t content to be just a glitter cannon of hedonism—it cleverly mirrors the release’s brazen themes of individuality, unabashed self-revelation, and empowerment. Beyond its initial releases, its presence loomed large in pop culture, finding a home on the soundtrack for “Queer as Folk” and sneaking into the odd promo spot for shows like “The Sopranos,” feeding its reputation as a sly cultural disruptor. Bow to it or roll your eyes at its audacity, but “Filthy/Gorgeous” pulls no punches and breaks no sweat doing so, proving Scissor Sisters excel at making their musical provocations impossible to ignore. Featured on the 1989 album “Scissor Sisters”.
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