‘Vous Avez Dit Bizarre’ N°85 – Vintage 2000s Music Videos
Robbie Williams, Florence + The Machine, Fall Out Boy, James Blunt, Keane, Death In Vegas, Bodyrox, Freemasons, Gabriella Cilmi, Vampire Weekend, The Ting Tings, Victoria Beckham
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week 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 02/52 – click here and here
AUDIO ONLY
Tracklist
HEAR IT |
![]() 1 . Robbie Williams – It’s Only UsRobbie Williams’ “It’s Only Us” playfully catapults listeners into a world of vivacious energy, fast-paced rhythms, and a cheeky sense of camaraderie. Released in 1999, the song sidesteps the usual pop-rock clichés to root itself in a sporting theme, aptly serving as FIFA 2000’s official anthem. This collaboration between Williams and Guy Chambers smirks in the face of conventional sports anthems, striking a playful yet determined chord. The track thrives on its punchy arrangement—hooks and shouts paired with a compact, high-octane riff that suggest ambition without veering into arrogance. Williams’ voice leans into a tongue-in-cheek rebellion, declaring independence with a self-aware swagger that’s equal parts confident and chaotic. Despite its standalone obscurity outside certain regions, the song’s presence alongside “She’s the One” on the UK charts secured it a number-one slot, further proof of its populist charm. The accompanying music video, steeped in arcade-style football absurdity, mirrors the defiant humor of the track without undercutting its streak of teamwork-focused optimism. It’s a time capsule of late-90s pop culture as much as it’s a testament to Williams’ knack for packaging irreverence with memorable melody. Featured on the 2002 album “I’ve Been Expecting You“.
|
HEAR IT |
![]() 2 . Florence + The Machine – Dog Days Are OverAh, “Dog Days Are Over”—the kind of song that demands a reaction, whether you’re ready for it or not. Florence Welch’s voice, equal parts theatrical and primal, hurdles over a backdrop drenched in harp strings, pounding drums, and an almost feverish urgency that transcends mere indie rock stereotypes. The track itself feels like an emotional stampede, urging listeners to let go, move forward, and embrace something closer to catharsis. Inspired by Ugo Rondinone’s text installation and wrapped in production that marries grandeur with grit, it’s as much about sensory overload as it is lyrical simplicity. The line “Happiness hit her like a train on a track” alone carries a visual clarity that feels both violent and liberating, mirroring the duality of the song’s driving force. Originally a quiet single, it swelled into a cultural moment, appearing in film, TV, and even a much-buzzed-about MTV VMA performance, where Welch’s operatic presence stunned the crowd. The accompanying video, heavy on surreal imagery and tribal motifs, only reinforced its reputation as more of an experience than a simple radio track. What Florence + The Machine created here isn’t just a song—it’s an anthem for shedding the weight of what holds you down. Featured on the 2009 album “Lungs “.
|
HEAR IT |
![]() 3 . Fall Out Boy – I Don’t CareWith a punchy riff and a swagger-laden melody, “I Don’t Care” stands out as Fall Out Boy’s unapologetic anthem of rebellion from their 2008 album *Folie à Deux*. The track struts confidently through themes of defiance and disinterest, blending sharp lyrics with the band’s signature energy that’s equal parts sarcasm and charisma. Its polished production, courtesy of Neal Avron, places it firmly within the bounds of pop-punk, but with a cheeky wink at mainstream indulgences. The accompanying music video, directed by Alan Ferguson, opts for bold satires on celebrity culture, with quirky masks and cameos from the likes of Mark Hoppus and Pharrell Williams that add an ironic layer to its commentary on identity and fame. While the song’s boldness earned it a Best Rock Video nomination at the 2009 MTV VMAs, it also carved out a wider cultural footprint, making its way into *Guitar Hero 5* and WWE’s *Judgment Day* event. Certified Platinum in the U.S. with over 2 million downloads, “I Don’t Care” pairs brazen defiance with a dash of humor, making it an enduring bright spot in the band’s discography. Featured on the 2008 album “Folie à Deux “.
|
HEAR IT |
![]() 4 . James Blunt – HighJames Blunt’s “High” arrives as a quietly powerful introduction to his debut album, “Back to Bedlam,” released in October 2004. Written alongside Ricky Ross of Deacon Blue and produced by Tom Rothrock, the song’s understated acoustics and contemplative tone set the stage for Blunt’s brand of introspection and yearning. Initially released with modest fanfare, the track received a wider rollout in 2005, coinciding with the runaway success of “You’re Beautiful.” Its chart performance was modest in some regions—No. 16 in the UK and a spot in the US Billboard Hot 100—yet its reach extended significantly following its use in “Grey’s Anatomy” during the show’s first season. The placement in one of television’s most zeitgeist-y medical dramas underscored the song’s emotive appeal, as it resonated with themes of longing and perseverance. The music video, filmed across picturesque Ibiza, adds a layer of visual serenity to the song’s reflective narrative, keeping the aesthetic spare yet evocative. “High,” like the rest of Blunt’s work, is an exercise in balancing poetic lyricism with singable accessibility—managing to feel both aspirational and relatable. A mid-tempo meditation on connection and inner resilience, its appeal lies in its ease, unfussy structure, and ability to evoke emotions with delicately simple tools. Featured on the 2004 album “Back to Bedlam”.
|
HEAR IT |
![]() 5 . Keane – SpirallingReleased in 2008 as the lead single for Keane’s third album “Perfect Symmetry,” “Spiralling” signaled a departure from their earlier melancholy-fueled piano rock toward a bold, synth-heavy aesthetic. Bursting out with a brash, swaggering energy, the track almost dares listeners to embrace its danceable dissonance while reflecting on themes of ambition and disillusionment. The vintage electronic flourishes, layered with frontman Tom Chaplin’s soaring falsetto, evoke a soundscape that feels both retro and forward-looking, akin to a glam-rock fever dream channeled through ’80s synth-pop lenses. Commercially, the song struck a chord, debuting at number 23 on the UK Singles Chart through digital sales alone and climbing into indie chart territory with ease, crystallizing its appeal among fans and skeptics alike. The accompanying music video is a kaleidoscopic concoction of abstract visuals, framing the band as architects of their own experimental evolution while avoiding the trappings of predictable rock tropes. While “Spiralling” lacks the deep lyrical introspection associated with the band’s earlier hits, its brash nature and infectious eccentricity make it an unmistakable centerpiece of “Perfect Symmetry.” Keane performed the track on platforms like “Later… with Jools Holland,” demonstrating the track’s live dynamism while further cementing its place as a turning point in their creative trajectory. Even years later, this audacious pivot in Keane’s discography remains divisive, a sonic time capsule from an era when the band flirted unapologetically with reinvention. Featured on the 2008 album “Perfect Symmetry”.
|
HEAR IT |
![]() 6 . Death In Vegas – Scorpio Rising“Scorpio Rising” from Death In Vegas threads together Liam Gallagher’s raspy vocals with an eclectic mix of psychedelic undertones, shimmering electronics, and a touch of 1960s Indian-influenced instrumentation. Borrowing its name from Kenneth Anger’s provocative 1963 film, the track doesn’t just wear its cinematic influences on its sleeve—it practically projects them onto a wall with a flickering reel-to-reel of sonic experimentation. The song cleverly leans into nostalgia yet feels tethered to its own moment, pulling a sample from The Pretty Things’ 1965 track “Pictures and Designs” while carving out a sound both hypnotic and unclassifiable somewhere between Britpop swagger and electronica cool. The Liam Gallagher collaboration might initially seem like an odd coupling, but his defiant drawl punches through the track’s moody haze, giving it a sharp, human edge as the swirling production threatens to swallow everything whole. Released as the second single from the album of the same name in early 2003, it performed respectably, climbing into the UK charts and securing a devoted cult following among fans of genre-blurring music. The accompanying music video underscores the song’s cinematic tendencies, drenched in surreal, dreamlike imagery that feels like a refurbished archive of retro pop culture filtered through an art school lens. The track itself feels more like an experience than a straightforward listen, with moments that simultaneously lure and unsettle, speaking to themes of allure, mystique, and rebellion woven into a sonic tapestry that defies easy categorization. Featured on the 2002 album “Scorpio Rising”.
|
HEAR IT |
![]() 7 . Bodyrox – Yeah YeahReleased at the height of the mid-2000s electronic wave, “Yeah Yeah” by Bodyrox delivers an aggressive, unapologetic burst of electro-house energy, powered by Luciana’s snarling vocals. It’s a track that barges in without asking for permission, stepping over the polished delicacy of more melodic offerings in favor of sheer pulsing audacity. Charting at number 2 on the UK Singles Chart in 2006, the song became a staple not just in clubs but in the broader cultural zeitgeist, blaring out of radios and remix decks alike. D. Ramirez’s remix only magnified its potency, repackaging its already hyped momentum into an even more adrenaline-fueled stomp that dominated dance floors. Both a product of its era and a driving force within it, “Yeah Yeah” embraces its own simplicity, layering bold hooks over tireless rhythms to create something that felt both immediate and visceral. Its success wasn’t just about timing; it was about creating a sound so infectious it transcended its own genre, cementing itself as a mid-2000s dance cornerstone. The music video mirrors the track’s unrelenting energy, serving up kinetic scenes that feel purpose-built to get the heart racing. Emotionally, it’s not deep—nobody will call this a lyrical masterpiece—but that’s missing the point; what it offers is a snapshot of a period when club music was king, without pretense or apology. The high-gloss production channels themes of wild abandon and late-night euphoria, offering both attendees and audiophiles a visceral reminder of why electro-house grabbed so many by the collar during that time. “Yeah Yeah” never aimed to be subtle, and for that, it remains an enduring emblem of a culturally unruly, sonically maximalist moment in electronic music history.
|
HEAR IT |
![]() 8 . Freemasons – Uninvited (w/ Bailey Tzuke)Freemasons’ “Uninvited,” featuring Bailey Tzuke, reframes Alanis Morissette’s atmospheric 1998 ballad into a pulsating 2007 house anthem that practically demands a packed floor illuminated by strobes. The British production duo, celebrated for transforming pop into dance-floor staples, amplifies the original’s haunting melancholy with a lush, rhythmic backdrop while retaining its emotional core. Tzuke’s airy yet assertive vocals replace Morissette’s raw intensity, striking a balance between introspection and euphoria that’s perfect for late-night revelry. The production is slick without being sterile, employing layered synths and precise beats to invigorate the track without losing sight of its emotive underpinnings—longing sounds polished, but never hollow. The result was a commercial success, peaking at number eight on the UK Singles Chart and reigning supreme atop the UK Dance Chart, bridging club culture and chart sensibilities with seamless finesse. While the track received significant airplay and DJ rotation, some listeners found its transformation too clean, possibly sacrificing the grit that made the original so distinct. Included in the Freemasons’ “Unmixed” compilation, the track serves not only as a reinterpretation but as a testament to the duo’s ability to re-contextualize songs for a wholly different audience. Its accompanying music video added visual polish, prominently featuring Tzuke, further cementing its status as a dance-floor favorite of the late 2000s. For all its mastery, the version also sparks reflection on how the dance genre’s sheen can blur the emotional rawness that birthed the original composition in favor of adrenaline-pumping chorus drops. Featured on the 2007 album “Unmixed”.
|
HEAR IT |
![]() 9 . Gabriella Cilmi – Warm This WinterGabriella Cilmi’s remake of “Warm This Winter” doesn’t try to reinvent the wheel, but rather polishes it for contemporary appeal. Originally a 1962 Connie Francis tune, Cilmi’s version transplants the vintage charm into a pop-forward landscape, giving it a glossy, slightly saccharine finish. Its release as part of the extended version of her debut album, “Lessons to Be Learned,” suggests calculated timing, targeting the festive mood of late 2008 with undeniable precision. The track gained traction in the UK, not through sheer musicality, but courtesy of a supermarket ad campaign for Co-operative supermarkets—a commercial tie-in as warm as it is blatant. Chart success followed, peaking at a respectable 22 on the UK Singles Chart, which underscored its fleeting seasonal resonance. Produced by Xenomania, the song clings to warm, cheery themes of love, connection, and nostalgia—a sugary antidote to winter’s chill, but hardly groundbreaking. The music video, with its festive stylings, leans into kitsch without much subtlety, complementing the track’s cozy yet unoriginal vibe. While Cilmi’s version isn’t particularly inventive, it does what it needs to—seasonal, catchy, marketable—making it less a timeless hit and more a fleeting holiday jingle. Featured on the 2008 album “Lessons to Be Learned “.
|
HEAR IT |
![]() 10 . Vampire Weekend – A~Punk“Vampire Weekend – A” occupies an intriguing place in the band’s repertoire, existing outside their studio album canon yet maintaining the characteristic eclecticism that cemented their influence on indie rock. This track reflects the band’s signature blend of clever lyricism and diverse instrumentation, a hallmark cultivated through collaborations with producer Ariel Rechtshaid and former member Rostam Batmanglij. Unlike chart-climbing singles like “Harmony Hall” or the Grammy-winning “Father of the Bride,” this song hasn’t been officially tied to significant accolades or high-profile performances on platforms like “Saturday Night Live” or Coachella. Its apparent absence from major cultural moments lends it an enigmatic charm, a rarity in an otherwise highly visible discography. Despite these ambiguities, the song’s availability on platforms like YouTube ensures it remains accessible, offering listeners a glimpse into an under-addressed facet of Vampire Weekend’s evolving artistry. Neither a revolutionary departure nor merely a footnote, “Vampire Weekend – A” seems to straddle the line between the band’s experimental tendencies and their commitment to crafting vibrant, textured music. Featured on the 2008 album “Vampire Weekend“.
|
HEAR IT |
![]() 11 . The Ting Tings – Shut Up and Let Me GoReleased in 2008, “Shut Up and Let Me Go” by The Ting Tings bursts with a defiant energy that mirrors the band’s unapologetically indie ethos. The fourth single off their debut album *We Started Nothing*, its angular bassline and staccato vocals practically demand your attention, capturing a frenetic restlessness. With lyrics steeped in self-assertion and themes of breaking free, the track became a rallying cry for independence and individuality during the late 2000s. Its sharp-turn trajectory on the charts—reaching #6 in the UK and #55 in the US—only amplifies its relevance as an artifact of indie-pop’s moment in the spotlight. Boosted by a prominent slot in a 2008 iPod commercial, the song carved out a cultural foothold, though arguably its music video, with its dizzying stop-motion sequences, did just as much to propel its appeal. Directed by Alex and Liane, the video’s visual chaos aligns seamlessly with the track’s kinetic insistence—an obsession with motion, autonomy, and self-direction. Though occasionally criticized for leaning more on style than substance, the single finds virtue in precisely that flair, embracing its impulsive, hook-driven structure without apology. Written, performed, and produced by the duo themselves, Katie White and Jules De Martino’s minimalist but effective arrangement achieved what they likely intended: a shout, not a whisper, defining their place in the pop conversation. “Shut Up and Let Me Go” may not reinvent the wheel, but its sharp hooks and raw attitude delivered on the band’s promise of something bold, edgy, and unfiltered, embodying the spirit of the DIY indie resurgence of its era. |
HEAR IT |
![]() 12 . Victoria Beckham – Don’t Disturb This GrooveVictoria Beckham’s rendition of “Don’t Disturb This Groove” feels like a fascinating footnote in her post-Spice Girls career—a whispered secret among fans rather than a bold statement of reinvention. Originally a 1987 synth-R&B hit by The System, Beckham’s version is cloaked in mystery, circulating solely through leaked demos on platforms like YouTube. Produced during her sessions with Damon Dash for an ultimately shelved second album, the track offers a glimpse into her flirtation with R&B and hip-hop textures, steering away from the polished pop of her solo debut. Her take brings a glossy yet understated vocal approach, though it never quite settles into the sultry groove of the original. Its existence is a reminder of Beckham’s willingness to veer outside her comfort zone, even if the results never saw the light of day. Without any official release or promotion, it lingers in limbo—half ambition, half abandon—fueling curiosity more than acclaim. Then there’s her 2003 single, a tune that sashays with an air of self-assured playfulness. Here, a flirtatious chorus underpinned by sleek pop production delivers a confection aimed squarely at a radio-friendly audience. Produced by Damon Elliott under Virgin Records, it peaked at #26 on the UK charts but felt more like a glossed-up formality than a career-defining moment. The accompanying music video leaned hard into high-glam aesthetics, with Beckham striking poses that oscillated between confident artist and tabloid fixture. Lyrically, it wafts between passion and longing, with just enough cheek to be intriguing, though not enough to anchor itself deeply in memory. While the track hints at her potential to intertwine charm with commercial sensibilities, it never escapes the gravitational pull of the Victoria Beckham brand, leaving the music more curated than connected.
|
Comments are closed.