A decade in songs: A look at the most timeless tunes of the 2000s
By Todd Martens
Looking back at the last decade in songs is not an easy task. There were plenty of great singles, and works by Beyonce and Justin Timberlake are reflected in the pages ahead. But the 2000s meant more than having a sexy-back and taunting an old lover. Unlike cinema or television, music has the ability to react and reach almost instantly. In a decade marked by war and depression, music was often on the front line. So sure, pop music can make you dance, but the decade won’t be defined simply by shaking a bootie.
Here’s a look at some of the timeless songs of the 2000s, with an honorable mention for each year. (Images: Kid Sister (Don Flood), Kanye West (Lawrence K. Ho / Los Angeles Times); Green Day’s Billie Joe Armstrong (Kim Kulish / For The Times)
Granted, the White Stripes’ “Seven Nation Army” would have been easy vote from the rock ‘n’ roll camp, but the relaxed beauty of “Maps” is something rather unique. One never quite knows if the song is going for a slow dance or a grand-finale explosion, as this is a love song that’s all tension. (Stefano Paltera / For The Times)
With this faith-questioning single, West went from a middle-class rapper simply trying to make it to church on time to an international celebrity, and one who would dominate headlines for much the remainder of the decade. Here, he mixes old-soul, Chicago homeliness and a bevy of hooks. He never looked back. Say what you will about West, to this day he doesn’t fail to challenge himself and the audience. (Kevin Winter / Getty Images)
The snotty West Coasters finally grew up and offered an album detailed with youngsters focusing on suburban alienation, political turmoil and a future without many promising options. It was a tale as rich as a Broadway musical. (Kim Kulish / For The Times)
The dance-rock project of James Murphy never quite reached superstar status, but his beats were coveted by the likes of Britney Spears, and LCD Soundsystem awoke a new generation of young’uns to disco and electronic music (“Daft Punk is Playing At My House,” anyone?). But perhaps Murphy’s biggest achievement was getting the kids to dance to self-effacing lyrics that seemed destined for a midlife crisis. (Robert Lachman / Los Angeles Times)
There are grittier and more philosophical songs on Common’s 2005 masterpiece, “Be,” but this trade-off with pal
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Lyrically, this is a paranoid freak-out, but also a bit aggressive. Musically, it’s vintage, but with plenty of modern touches. Crazy? No doubt, but even more chaotic. If there was a sound to the decade, this was it. (Liz O. Baylen / Los Angeles Times)
A more critical choice may have been Lily Allen’s “Smile,” but “SexyBack” was the rarest of breeds. A pop hit that sounded wholly unfamiliar and unique, and completely sold its silly lyrics. The fact that it remade a teen star into a certified celebrity only made it all the more fascinating. (Wally Skalij / Los Angeles Times)
In some ways, the pay-what-you-want back story was the star of Radiohead’s “In Rainbows,” but the music was some of Radiohead’s warmest, most accessible to date. The song “All I Need” is mesmerizing in its build and frightening in its honesty. “I only stick with you,” Thom Yorke sings, “because there are no others.” A crash of cymbals and piano soon devour everything, with Yorke lost in sound screaming, “It’s all wrong, it’s all right.” Sounds about right. (Robert E Klein / Associated Press)
The song opens with a solemn, almost hymn-like backdrop before revealing the gripping rhythm, a sharp militaristic beat that sounds as though it’s being played by a tiny toy drum. Fiasco then launches into a narrative about boy soldiers, 10-year-old rebel fighters killing for soccer balls and “shooting into heaven like they trying to kill the ‘Jetsons.’’
Wartime hip-hop if there ever was. (Ricardo DeAratanha / Los Angeles Times)
West stops rapping and gets sappy, using what had become trendy Auto-Tune mechanics to illustrate human emptiness. A shocking change of pace from one of the world’s biggest superstars, “Welcome to Heartbreak” is also a uniquely modern break-up anthem. Images of report cards, sport cars and jet-setting emptiness play over synthesized drums, which somehow seem to be the only thing that actually feels real. (Lawrence K. Ho / Los Angeles Times)
This stark rhythm-heavy dance became a global phenomenon and managed to champion female independence while still upholding old-school values. (Barbara Davidson / Los Angeles Times)
After a 2008 election in which “hope” was the operative word, these Parisian rockers delivered an optimistic blast of rock ‘n’ roll sunshine. Synthesizers could reach the rafters, and guitars could echo even further, and with soft vocals and a hard-to-resist chorus, Phoenix captured what should have been the sound of the future. (Karl Walter / Getty Images)
Alternately vulgar and fascinating, West does away with any niceties or emotional roadblocks and puts the human mind up for examination, including all of its warped fears, sadistic dreams and selfish bravado. And he does it all while asking you to join him in a toast. (Ethan Miller / Getty Images)
The easy choice would have been Cee Lo Green’s “Forget You,” which is not the song’s official title. Although the latter is no doubt a great cut, and one sure to be heard for years to come, the
