‘Vous Avez Dit Bizarre’ N°321 – Vintage 2000s Music Videos
The Offspring, The Killers, Miley Cyrus, Franz Ferdinand, The Shins, Wheatus, My Chemical Romance, Feeder, Ryan Adams, The Airborne Toxic Event, Creed, Eurythmics
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (05/52) BUT… in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
WATCH IN FULL
For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 2000s Music Videos – week 05/52 – click here and here
AUDIO ONLY
Tracklist
HEAR IT |
![]() 1 . The Offspring – Hit That“Hit That” by The Offspring is an unapologetically incisive punk rock anthem landing smack in the middle of the early 2000s era of alternative radio dominance. It examines the pitfalls of fleeting connections and their aftermath on families, packaging social commentary in a fast-paced, synth-laced rhythm that never overstays its welcome. The track relies on a blend of sharp guitar riffs, punchy drum lines, and a playfully sardonic vocal delivery from Dexter Holland, keeping the energy high and the mood tongue-in-cheek. Chart-topping success on the Billboard Modern Rock Tracks and strong international performance signal its immediate resonance, but the song’s gut-poking humor ensures it doesn’t just fade into static from the airwaves of yesteryear. The accompanying music video amplifies its irreverence with quirky computer animations, following a canine avatar embodying recklessness, a sharp visual metaphor for irresponsibility cloaked in absurdity. Balancing humor with critique, “Hit That” exemplifies The Offspring’s knack for riding the line between biting statements and radio-ready hooks. Featured on the 2003 album “Splinter”.
|
HEAR IT |
![]() 2 . The Killers – Spaceman“Spaceman” by The Killers is a dazzling piece of 2008 alternative rock that straddles the line between introspection and theatricality. Anchored by Brandon Flowers’ unmistakable vocal delivery, the track marries interstellar themes with sharp synths and an infectious, dance-floor-ready rhythm. Written partly in a Panamanian rainforest and refined in a hotel room with touring musician Ted, the song retains a raw energy rarely found in polished studio outputs. Its DNA draws inspiration from David Bowie’s “Space Oddity” and Elton John’s “Rocket Man,” yet it carves its own orbit, reflecting a playful streak that followed the band’s irreverent holiday single, “Don’t Shoot Me Santa.” Lyrically, alien abduction serves as a metaphor for the universal tug-of-war between isolation and a longing for connection—a sci-fi narrative delivered with a wink and a neon glow. The accompanying music video amplifies the surreal tone, adding a splash of otherworldly camp to the melancholy undertones. Chart performance speaks to the song’s broad appeal, with its reach spanning from American alternative stations to the pop-heavy European market. Its placement in the TV series *Fringe* reinforces its sci-fi credentials, tapping into an interdimensional mystique that resonates beyond music charts. Featured on the 2008 album “Day & Age”.
|
HEAR IT |
![]() 3 . Miley Cyrus – Fly On The Wall“Fly on the Wall” by Miley Cyrus electrifies with its edgy fusion of pop-rock and industrial influences, delivering a pounding beat and sharp lyricism that critiquely toys with notions of fame and voyeurism. The song’s driving energy is paired with a gritty undertone, amplified by clipped electric guitar riffs and pulsating keyboards that feel both infectious and relentless. Cyrus’ soprano vocals stretch across a dynamic range, expertly balancing a playful intensity against the frustration embedded in the lyrics, creating a juxtaposition both captivating and deliberate. The video, awash in theatrical escapism, transforms the narrative into a kinetic portrayal of celebrity paranoia, with the paparazzi—literally and metaphorically—cast as relentless shapeshifters. Despite its sleek production, a certain tension hums in the track’s DNA, blending pop accessibility with an assertive rock bite, making it both danceable and defiant in equal measure. The live performances, particularly during her Wonder World and later Gypsy tours, expand the track’s cinematic flair, incorporating choreography pulled straight from Michael Jackson’s iconic “Thriller,” a tongue-in-cheek play on its theme of omnipresent watchers. While the song doesn’t shy away from its critique of media saturation, it never slips into self-pity, remaining feisty and self-aware, with its cheeky refrain acting as a hook that lingers longer than its runtime. Featured on the 2008 album “Breakout “.
|
HEAR IT |
![]() 4 . Franz Ferdinand – Take Me OutReleased in 2004 from their debut album, Franz Ferdinand’s “Take Me Out” struts in with enough swagger to leave an indelible mark on indie rock’s landscape. The track plays as a clever tension-builder, luring listeners with staccato guitar plucks before detonating into a groove that feels both frenetic and polished. Its structure toys with expectations, offering urgent verses that suddenly swerve into more languid, disco-tinged choruses—a mix equal parts Howlin’ Wolf edge and Giorgio Moroder sheen. Thematically, it’s a wry metaphor, likening romantic pursuit to a deadly sniper duel, drawing inspiration from the 2001 war film *Enemy at the Gates.* This darkly humorous undertone wraps around the punchy riffs, urging listeners to either surrender to its charm or fall prey to its defiance. The accompanying video doesn’t just complement the song; it’s a collage of Dadaist oddities and cartoonish propaganda, channeling Monty Python’s absurdism through Soviet-era visuals. What truly elevates “Take Me Out” is its audacious sense of fun—the kind of track that beckons you to the dance floor while nailing its clever cultural references to the wall. A decade-spanning favorite, the song juggles artistic ambition and infectious energy with enviable ease, cementing Franz Ferdinand’s reputation without ever feeling self-serious. Featured on the 2004 album “Franz Ferdinand“.
|
HEAR IT |
![]() 5 . The Shins – Phantom Limb“Phantom Limb” is a peculiar blend of shimmering indie pop and cryptic storytelling, showcasing The Shins at their lyrical and melodic peak. The track orbits a fictional lesbian couple navigating the suffocating social fabric of a small town, wrapped in wistful harmonies that feel like sunlight filtered through stained glass. James Mercer’s pen transforms alienation into something strangely luminous, with lines that seem to linger like half-remembered dreams rather than blunt declarations. Unfolding across a bed of jangly guitars and a lilting rhythm, the song manages to sound both buoyant and curiously melancholic, the sonic equivalent of nostalgia dipped in something bittersweet. The accompanying music video, directed by Patrick Daughters, is as erratic and inventive as the song itself, reenacting historical scenes like Joan of Arc’s demise through the lens of juvenile theater, lending the track a surreal folkloric quality. Though its hook feels insistently catchy, there’s an odd emotional tension simmering beneath the surface—comforting yet unshakably restless. Topped off with chart performance that’s respectable yet never overstated, the song exists in that peculiar space where indie crosses paths with mainstream without entirely surrendering to it. Its placement on *Rolling Stone’s* “100 Best Songs of 2007” and appearances in niche shows underscore a quiet resonance within pop culture spheres, even if it remains just obscure enough to feel a bit like a well-kept secret. The single’s vinyl extras, including an offbeat alternate cut of “Split Needles,” further highlight the band’s penchant for quirks with charm. In many ways, it’s a song about détentes—between longing and belonging, past and present, and, perhaps most poignantly, between lyrical abstraction and emotional clarity. Featured on the 2007 album “Wincing the Night Away”.
|
HEAR IT |
![]() 6 . Wheatus – Wannabe Gangstar“Wannabe Gangstar” by Wheatus serves a playful and biting commentary on suburban posturing, wrapped in an alternative rock package from their self-titled debut album, released in 2000. The track’s satirical edge pokes fun at middle-class fascination with urban struggles, delivered with Brendan B. Brown’s sardonic lyrics and unmistakable nasal twang. Featuring contributions from multi-instrumentalist Philip A. Jimenez, the song balances its humor with an infectious melody, supported by harmonica riffs and a groove-driven rhythm section. It first hit the charts in 2002 as part of a double A-side single alongside “Leroy,” charting respectably at number 22 in the UK Singles Chart, a testament to its earworm quality and cultural resonance. The accompanying music video directed by Jeff Gordon leans into the track’s humorous yet critical take on identity and rebellion, amplifying its tongue-in-cheek narrative approach. While the album boasts a blend of irony and hooks strong enough to achieve platinum sales in the UK, “Wannabe Gangstar” stands out as a sharp critique of performative personas disguised in suburban disillusionment and pop-rock sensibilities. Refusing to pander but not without its contradictions, it’s a track that pairs self-awareness with levity, making it both entertaining and thought-provoking. Featured on the 2000 album “Wheatus”.
|
HEAR IT |
![]() 7 . My Chemical Romance – Famous Last Words“Famous Last Words” from My Chemical Romance’s “The Black Parade” showcases a storm of raw defiance, pulsating with emo angst and theatrical fervor. Opening with a shake of assertive guitars and Gerard Way’s piercing vocals, the track builds into a climactic declaration of resilience amid chaos. Released as a single in January 2007, the song served as a powerful conclusion to their ambitious concept album, backed by vivid, almost rebellious energy. The music video, directed by Samuel Bayer, delivers an apocalyptic vision, with the band performing in a backdrop ablaze with remnants of their previous “Welcome to the Black Parade” shoot. This setting not only mirrors their sonic intensity but also symbolizes a metaphorical rebirth during a turbulent phase in their career. Peaking at No. 8 on the UK Singles Chart, the song’s chart success, while modest stateside, secured its status as an anthem of the mid-2000s emo resurgence. The combination of its pounding drumbeats, lyrics calling for survival, and Gerard’s gripping delivery makes this track a standout blend of vulnerability and strength. Whether through the stark imagery of its video or the thundering final notes, “Famous Last Words” confidently stakes its place as a triumphant moment in their discography. Featured on the 2006 album “The Black Parade“.
|
HEAR IT |
![]() 8 . Feeder – Tumble and Fall“Tumble and Fall” is an earnest slice of alternative rock that balances Feeder’s characteristic melodic sensibility with a tinge of introspection. Released as part of their 2005 album *Pushing the Senses*, the track manages to channel hope through its lyrics while remaining grounded in the pulsating instrumentation that defined the era. Its success on the UK Singles Chart—climbing to number five—might hint at a mainstream appeal, yet it doesn’t surrender its integrity to mass palatability. With Fran Healy and Dougie Payne of Travis lending their vocal textures, there’s a faint camaraderie that permeates the song’s lush harmonies. At its core, “Tumble and Fall” reflects optimism but tempers it with melancholy, as if recovery is hard-won rather than inevitable. The music video leans into this delicate balance, painting visuals that underscore the resilience embedded in the track’s DNA. For a band that often straddled the line between indie sensibility and mainstream charm, this song showcases their deft handling of both spheres. Featured on the 2005 album “Pushing the Senses”.
|
HEAR IT |
![]() 9 . Ryan Adams – So AliveRyan Adams’ “So Alive” stands as a bold entry in the 2003 indie rock milieu, radiating with its textured falsetto and emotive urgency. The track is co-written by Johnny T. Yerington, with James Barber handling production duties, tying it squarely to the era’s inclination toward blending melodic experimentation with straightforward rock sensibilities. Adams claims the lyrics were conjured in the album’s final stretch, allegedly sparked by watching boats glide over Stuyvesant City Cove—a moment of clarity that, true or not, syncs with the song’s oscillation between triumph and dreamy melancholia. The desert dreamscape of the music video, crafted by Doug Aitken, wades into surrealist territory, reflecting the track’s liberated energy without tipping into over-indulgence. “So Alive” landed on UK and Irish charts, though its lukewarm reception in the Netherlands reiterated the occasional unpredictability of Adams’ global reception. Its outtakes as B-sides, such as “Ah, Life” and “Luxury,” cap off the single with sparks of what might’ve been, providing glimpses into the “Rock n Roll” sessions. Though not flawless, it’s a moment where Adams’ aesthetics flirt with mainstream appeal, unapologetically straddling the lines between heartfelt and performative. Featured on the 2003 album “Rock n Roll”.
|
HEAR IT |
![]() 10 . The Airborne Toxic Event – Sometime Around Midnight“Sometime Around Midnight” by The Airborne Toxic Event pulls listeners into an all-too-familiar scenario: spotting an ex across a crowded bar, and suddenly, every suppressed emotion comes roaring back. The track’s distinct lack of a traditional chorus gives it a raw, narrative flow, where each verse escalates with unrelenting intensity. The strings creep in like an afterthought, soon swelling into a storm that mirrors the protagonist’s unraveling state of mind. The lyrics paint the night in sharp, cinematic detail—sweaty palms, a returning ache, and fleeting hope swallowed by reality. It’s heartbreak wrapped in five minutes of beautifully controlled chaos, moving from quiet melancholy to a near-operatic climax. The accompanying video, a stark visual interpretation, doubles down on the emotional terrain, teetering between vulnerability and desperation. While it danced across modest chart positions, the real triumph lies in its ability to turn personal trauma into a shared catharsis. Featured on the 2008 album “The Airborne Toxic Event”.
|
HEAR IT |
![]() 11 . Creed – With Arms Wide Open“With Arms Wide Open” by Creed offers a contemplative take on impending fatherhood, wrapped in the melodic trappings of early-2000s post-grunge. Scott Stapp’s introspective lyrics, written in the flush of parental revelation, find their home between introspection and arena-ready sentimentality. The track’s blend of earnestness and swelling instrumentation charmed its way to the top of the US Billboard Hot 100, aligning personal vulnerability with mass appeal. Mark Tremonti’s guitar work lays a groundwork of restrained grit, emphasizing the tension between self-doubt and hope that permeates the track. The music video, leaning into CGI-laden meteor drama and quasi-religious posturing, mirrors the year 2000’s flair for the theatrical without entirely losing its footing. Grammy accolades notwithstanding, “With Arms Wide Open” occupies a curious space where unabashed sincerity risks tipping into mawkish sentiment, depending on the ear of the beholder. Its enduring crossover into video games and cinematic covers speaks to its knack for finding resonance beyond its moment, despite—or perhaps because of—its overt emotionality. While not immune to the criticisms lobbed at its genre’s penchant for grandiosity, the track remains a relic of a time when rock bands weren’t afraid to emote without irony. |
HEAR IT |
![]() 12 . Eurythmics – 17 Again“17 Again” arrives as a wistful nod to both nostalgia and reinvention, draped in the synth-pop sheen Eurythmics wield with such precision. The track sees Annie Lennox and Dave Stewart revisiting echoes of their own past by weaving in a snippet of “Sweet Dreams (Are Made of This),” a self-referential touch that borders on both clever and indulgent. The lyrics grapple with time’s unrelenting march, reflecting on youth’s fleeting thrill while peering cautiously into the rearview mirror. Production is slick to the point of polished sterility, with Andy Wright’s programming and David Whitaker’s orchestrations building a lush, layered backdrop that almost overshadows the raw sentiment at the song’s core. Commercially, it secured a respectable spot on the UK Singles Chart and dominated the US dance floors, its club remixes serving as a reminder of the duo’s adaptability. As for the music video, it amplifies the song’s introspective tone, though its execution leans heavily on predictable visual tropes. Eurythmics’ attempt to capture lightning in a bottle once more feels reflective rather than revolutionary, toeing the line between homage and repetition. Featured on the 1999 album “Peace”.
|
Comments are closed.