The Strokes, Morrissey, Jamie Scott, Kelly Osbourne, Take That, Head Automatica, Athlete, Guns N’ Roses, Noisemaker, Phantom Planet, Switches, The Cooper Temple Clause
They are the performers of twelve “live” music videos that were ranked in various charts, this week (06/52) BUT … in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
Tracklist
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1 . The Strokes – The Modern AgeReleased in 2001, “The Modern Age” by The Strokes delivers an energetic slice of indie rock, serving as an early showcase of the band’s sharp style and raw sound. The track’s staccato guitar chords and buoyant bass line create a taut framework, while Fabrizio Moretti’s stomping drums keep the rhythm urgent and unpolished. Nick Valensi’s searing guitar solo slices through the track with precision, adding a layer of controlled chaos to the song’s structured foundation. Julian Casablancas’ nonchalant vocal delivery imbues lines like “Work hard and say it’s easy” with a peculiar mix of detachment and longing, capturing a clash between disaffection and ambition. Originally part of their demo EP, the song’s success fueled a whirlwind of label interest, signaling the arrival of a band poised to disrupt the indie landscape of the early 2000s. Though its chart success was modest, the track cemented its place in the canon of early-aughts alternative rock, a touchstone for a generation restless with convention. Featured on the 2001 album “Is This It“.
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2 . Morrissey – That’s How People Grow Up“That’s How People Grow Up” by Morrissey finds its place on the “Greatest Hits” album but is also tied to the 2008 “Years of Refusal” sessions, blending indie rock with Morrissey’s signature biting lyricism. The track unravels themes of life’s inevitable bruises and disappointments, offering a deadpan reflection on failed attempts at love and the bruises left in their wake. The line “Disappointment came to me and booted me and bruised and hurt me” underscores the bleak humor that defines Morrissey’s work. Musically, it leans into guitar-driven melodies courtesy of Boz Boorer, building a soundscape that’s both defiant and resigned, with Morrissey’s baritone delivery anchoring the emotional heft. While the accompanying music video adds a visual layer to the narrative, its relatively standard production offers little beyond a platform for Morrissey’s stage presence. Chart-wise, it peaked at #14 in the UK, but its broader cultural impact feels muted, lacking significant association with award circuits or iconic performances. As a standalone piece, the track does not reinvent Morrissey’s formula but functions as a quintessential example of his ability to blend bleak introspection with wry wit, resonating with those navigating the scars and absurdities of personal growth. Featured on the 2008 album “Greatest Hits”.
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3 . Jamie Scott – Searching“Searching” by Jamie Scott occupies an intriguing place in his early discography, emerging as a 2005 single following his debut release, “Just.” This track sits within the formative years of Scott’s career, absent from major chart acclaim, as confirmed by Official Charts data, yet quietly asserting his presence as an artist inclined toward introspection and delicate musical textures. The song illustrates Scott’s propensity for crafting tender ballads, carried by emotive vocal delivery and a production style that leans heavily on acoustic elements. Though it predates his high-profile collaborations with acts like One Direction and 5 Seconds of Summer, “Searching” offers a glimpse into the lyrical sensitivity and melodic sensibilities that would shape his trajectory as a songwriter for some of pop’s most prominent figures. With no awards or landmark moments tethered to the track, it holds value as a stepping stone, hinting at the narrative and introspective voice found later on his 2007 debut album, *Park Bench Theories.* Here, Scott trades theatrics for subtlety, a choice that underscores his quieter devotion to communication through music, though the lack of overt charisma may leave some listeners less compelled. Featured on the 2005 album “Soul Searching”.
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4 . Kelly Osbourne – Shut Up“Shut Up” by Kelly Osbourne delivers a bite-sized slice of early 2000s pop-punk with a sneer and sass that feels tailor-made for the MTV generation’s short attention span. The track’s bratty energy, reportedly inspired by childhood rivalries with her brother Jack, captures sibling antics through its raw, almost diary-like candidness. The songwriting team PowerPack deserves a nod for crafting a chorus that’s as sticky as spilled soda on a tour bus floor. From the crunchy guitar lines to Osbourne’s half-sung, half-spit vocals that almost dare you to talk back, the production wears its calculated roughness on its sleeve. Commercially, the single grabbed decent positions across charts, holding its ground in the UK and even climbing its way into Nordic playlists. The UK Rock & Metal Chart crown might raise an eyebrow or two, given the track’s polished rebellion feels more mall punk than mosh pit. The accompanying music video doubles down on the aesthetic—a chaotic pastiche of youthful angst, fashion-forward chaos, and just the right amount of eyeliner. But for all the snark and guitar riffs, Kelly’s later dismissive stance toward the album betrays the glittering highs and fast-food disposable nature of the era’s pop-punk wave. It’s a song that, like many crash-course starlets of the time, serves as a time capsule for a moment where attitude mattered as much as substance. Featured on the 2002 album “Shut Up “.
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5 . Take That – Up All Night“Up All Night” by Take That is a spirited pop tune radiating warmth and camaraderie, the kind of track that dresses nostalgia in its Sunday best and invites it to a street party. Released in 2009 as part of their album “The Circus,” the song feels like a deliberate pivot to intimate storytelling, with Mark Owen’s unassuming vocals painting a picture of life’s simpler joys. The production leans on a stripped-back ensemble of piano, drums, and acoustic guitar, offering a homespun charm with an edge of polished craftsmanship, courtesy of a band well-versed in sonic reinvention. The accompanying music video amplifies this congenial vibe, setting the performance against the lively backdrop of a neighborhood gathering in Croydon—an aesthetic choice that cleverly mirrors the track’s lyrical content. Notable for its amusing real-world quirk, Gary Barlow’s brief disappearance halfway through filming, due to his wife’s labor, adds an unintended layer of authenticity, grounding the spectacle in relatable life interruptions. Chart-wise, its peak at number 14 in both the UK and Ireland serves as a respectable, if not earth-shattering, feat, extending the band’s streak of Top 20 singles to an impressive 20. Meanwhile, the B-side “84” provides a subtler contrast, showcasing the group’s ability to balance levity with introspection in their broader discography. Although it doesn’t aim for grandeur, “Up All Night” thrives within its modest ambitions, offering an accessible anthem for collective celebration without overreaching into sentimental excess. Featured on the 2008 album “The Circus”.
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6 . Head Automatica – Beating Heart BabyHead Automatica’s “Beating Heart Baby” lands as a frenetic anthem of the 2000s dance-punk wave, its jittery energy capturing the raw enthusiasm many associate with their debut album, “Decadence.” From its opening seconds, the track’s ecstatic rhythm promises immediacy, and its blend of garage-rock grit with glittering disco influences gives it a refreshing edge, a rare hybrid that manages not to trip on its own ambition. Co-writing credit belongs to Daryl Palumbo and Craig Bonich, while Howard Benson’s production pulls it into crisp, polished terrain. Yet, the lack of Dan the Automator’s programming—featured elsewhere on the album—adds an organic charm to its unrelenting pulse. Lyrically, the song plays coy; the words ride the wave of an emotive plea coated in pop sensibilities without veering into saccharine melodrama. Its hook is unapologetically infectious, weaponizing repetition to etch itself into memory. The accompanying music video, filmed at CBGB, nods to New York’s storied music past but is more a time capsule for an era in the alternative scene bursting at the seams with fusions and contradictions. Critics likened this track to At the Drive-In funneled through the glitz of ‘70s glam rock, but it sidesteps direct comparisons by embracing its patchwork DNA and, crucially, not overstaying its welcome at just under four minutes. Though released as a single in 2004, it gained traction for its ability to mirror the snarl of the underground while creeping into mainstream consciousness, even brushing the UK Singles Chart at number 44. A series of remixes followed, a gesture that almost feels unnecessary given the track stands on its own merits without needing reinterpretation. If “Beating Heart Baby” doesn’t quite reinvent the wheel, it at least spins it with enough delightfully chaotic verve to make it memorable in a landscape increasingly churning out disposable one-off hits. Featured on the 2004 album “Decadence “.
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7 . Athlete – Wires“Wires” by Athlete is a poignant indie rock ballad that came from a deeply personal place. Released in 2005 on the album “Tourist,” the song stands as an understated testimony of vulnerability, inspired by lead singer Joel Pott’s harrowing experience with his premature daughter’s hospital care. The lyrics, wrapped in a tidal wave of restrained but mounting emotion, take listeners through a maze of fear, helplessness, and ultimate gratitude. Far from leaning into melodrama, the track manages to channel raw intensity into something cleansing rather than overbearing. The minimal yet haunting arrangement cleverly lets the lyrical narrative take center stage, with crescendos hinting at a fragile hope beneath the surface. The context surrounding its creation adds weight to its reception, but that’s not to say it leans entirely on backstory to linger in memory. This song ascended to the fourth position on the UK Singles Chart, a feat that suggests it tapped into something beyond personal anecdotes, resonating widely with audiences. Pott’s tribute to the medical staff who saved his daughter adds a noble dimension that refrains from lapsing into overt sanctimony, giving the song an added layer of humanity. The accompanying music video matches this ethos, filmed at an atmospheric, disused military site that hints at threads of tension and release. Despite its weighty subject matter, “Wires” resists falling into the pit of overwrought sentiment, showing a maturity that isn’t often found in tracks this intimately charged. Featured on the 2005 album “Tourist “.
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8 . Guns N’ Roses – Paradise City“Paradise City” is a hard rock anthem that wears its grit and longing on its sleeve. Guns N’ Roses found magic in the mundane—writing the song during a post-gig journey that transformed into a piece of rock history. The track features the rare addition of a synthesizer—an anomaly on “Appetite for Destruction” but one that injects texture amid the storm of iconic guitar riffs. Unlike the urban chaos the band often inhabited, the lyrics yearn for an idealized escape, inviting us to a utopia “where the grass is green and the girls are pretty.” The video blends on-stage bravado with grainy footage from Giants Stadium and Donington Park, embodying the excess and raw energy of the late ’80s rock scene. This is no subtle detour in their catalog; it’s speed and swagger, with every element built to dominate stadiums and headphones alike. The track anchored its place in pop culture with its inclusion in the video game “Burnout: Paradise,” further cementing its urban-meets-idyllic narrative. Twelve weeks on the UK chart and over a billion Spotify streams don’t lie—it’s a song that thrives in both nostalgia and relevance. Guns N’ Roses closes their concerts with it for a reason; the track encapsulates everything they were, everything they wanted us to believe in, and everything they still are. Featured on the 1999 album “Live Era ’87–’93”.
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9 . Noisemaker – FlagFew songs embody the tensions of historical struggle and cultural symbolism as starkly as “The Red Flag.” Written in 1889 by Irishman Jim Connell, its lyrics channel the fervor of early labor movements against a backdrop of political upheaval. Originally paired with the rousing pro-Jacobite melody of “The White Cockade,” it somehow ended up more commonly sung to the familiar strains of “O Tannenbaum,” a dissonance that raises questions about tone versus content. The song’s measured pace belies its fiery intent, chronicling the sacrifices of workers under the banner of the titular red symbol. Billy Bragg’s 1990 rendition attempts to rehabilitate the original melody, giving it gravitas but keeping its rebellious undercurrent intact. On the other hand, “The Bonnie Blue Flag” revels in its unabashed Confederate pride, doubling as an idealogical time capsule and propaganda piece. Penned by Harry Macarthy, it stakes its claim to Southern allegiance with a chirpy Irish tune that contrasts sharply with the grim history it represents. As an anthem for secession, it elevates defiance to an art form, listing state departures with almost gleeful precision. It’s not just a song—it’s a rallying cry that Union forces felt strongly enough about to financially punish its publisher, A.E. Blackmar. Its toe-tapping rhythm veils the bitter division at its heart. Shifting gears entirely, Noisemaker’s “Flag,” released in 2014, is a far more contemporary tirade. This Japanese rock anthem fuses punk grit with alt-rock melodies to produce something unapologetically raw. Foregoing historical allegory, its lyrics dissect personal rebellion and the fight for individuality in a society desperate for conformity. With its frenetic guitars and relentless vocals, “Flag” shakes off pomp and delves straight into the chaos of self-expression. It’s less about preaching and more about flinging emotional shrapnel, a fitting offering in an era of fractured identities.
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10 . Phantom Planet – California“California” by Phantom Planet emerges as a wistful anthem of wanderlust, threading lyrics about driving along U.S. Route 101 with melodies that evoke the open road’s endless possibilities. Initially released in 2002 as part of their sophomore album *The Guest*, the track strikes a careful balance between dreamy introspection and infectious choruses, tethered to a production style that feels polished yet emotionally raw. The song’s cultural relevance skyrockets when it becomes synonymous with the early 2000s zeitgeist, thanks to its pivotal use as the theme for *The O.C.*, a series that captured suburban ennui with unprecedented flair. Beyond teen drama associations, *California* ingrains itself into global consciousness as it charts prominently in countries like the UK and Italy, while simultaneously borrowing a sliver of its DNA from Al Jolson’s “California, Here I Come,” earning shared songwriting credits. If the original track embodies youthful yearning, the 2005 redux offers a subdued take, gently sanding down the edges for its return in *The O.C.’s* third season—less gritty, more reflective. Its impact transcends its origins, inspiring a slew of disparate covers, from Mates of State’s indie charm to Alvin and the Chipmunks’ cacophony, even making its way into media as varied as a documentary on corporate greed and a Canadian hip-hop tribute to Natalie Portman. The video’s straightforward narrative, focusing on candid moments with the band, mirrors the song’s unpretentious vibe, adding warmth without veering into overt sentimentality. Though steeped in nostalgia, the song avoids saccharine excess, threading a needle between escapism and the tangible, making it a piece that resonates long after its initial release. Featured on the 2002 album “The Guest”.
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11 . Switches – Drama Queen“Drama Queen” by Switches, a standout from their 2007 debut “Heart Tuned to D.E.A.D.,” thrives in its unapologetically playful defiance. Its indie rock energy is infectious, laced with punchy guitar riffs, jaunty rhythms, and lyrics that wear their cheeky disposition on their sleeve. The track, like the band itself, refuses to take itself too seriously, and therein lies its charm—danceable without descending into frivolity. Switches taps into the mid-2000s indie zeitgeist, echoing the angular swagger of Franz Ferdinand while carving a space of their own with its polished yet impish production. The song’s chart performance, peaking at No. 61 in the UK Singles Chart, suggests it struck a chord, though arguably not as sharp as it could have in a crowded indie scene. What keeps it afloat is its unrelenting self-awareness, a quality bolstered by its music video, which amplifies the track’s sense of chaos and joy. Switches’ spunky theatrics and magnetic hooks make “Drama Queen” a buoyant, if brief, entry into indie rock’s playful repertoire. Featured on the 2007 album “Heart Tuned to D.E.A.D.”. |
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12 . The Cooper Temple Clause – Been Training Dogs“Been Training Dogs,” released in 2002, encapsulates The Cooper Temple Clause’s knack for blending post-rock grit with electronic textures and the jagged edges of prog rock. Emerging as part of a double A-side single alongside “Film-Maker,” this track defies easy categorization, plunging listeners into a restless sonic landscape driven by snarling guitars, hypnotic basslines, and a vocal delivery teetering between detached cool and visceral urgency. The song slots into the band’s early catalog, marked by a rebellious experimentation that felt as much a reaction against Britpop’s hangover as it was a dive into darker, more chaotic territories. Though not tied to sweeping accolades or iconic performances, its raw energy captured a specific moment when the band appeared to harness both angst and ambition in equal measure. The abrasive production mirrors its thematic pulse, creating a track that feels perpetually on the verge of implosion, yet paradoxically controlled in its chaos. It’s a snapshot of a group unafraid to lean into dissonance, crafting something that lingers without bothering to charm. Featured on the 2002 album “See This Through and Leave”.
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