The Strokes’ Julian Casablancas was born on this date in 1978. Lots of music from his band on today’s playlist.
Your (Almost) Daily Playlist: 8-11-24
Ben Gibbard of Death Cab For Cutie and The Postal Service was born on this date in 1976. You’ll hear a lot of his music on today’s playlist.
Tunes Du Jour Presents 2001
The music of 2001 offered listeners a diverse array of sounds, reflecting the eclectic tastes and creative experimentation prevalent at the turn of the millennium. From hip-hop’s continued evolution to electronic music’s broader appeal, the year’s musical landscape was characterized by a spirit of innovation and cross-genre pollination. While not necessarily revolutionary, 2001’s musical offerings showcased artists pushing boundaries and audiences embracing fresh sounds across multiple genres.
At the forefront of this sonic revolution was Missy Elliott’s “Get Ur Freak On,” a track that redefined hip-hop with its bold beats and futuristic soundscapes. Elliott’s unique style blended traditional hip-hop with global influences, introducing a raw, hyper-sexualized energy that was both provocative and empowering. This era also saw the rise of Jay-Z with “Izzo (H.O.V.A.),” a masterclass in braggadocio that solidified his status as one of rap’s most influential figures. Meanwhile, newcomer Alicia Keys made her mark with the soulful “Fallin’,” combining classical piano with soulful vocals to create a fresh voice in R&B that earned her critical acclaim and multiple awards.
Electronic music found its way into the mainstream consciousness with Daft Punk’s “One More Time,” a euphoric dance anthem that transcended the dance floor, bridging the gap between underground rave culture and pop sensibilities. This electronic influence seeped into other genres as well, with acts like Gorillaz blending hip-hop, rock, and electronica on their debut hit “Clint Eastwood.” The cross-pollination of genres was further exemplified by Eve and Gwen Stefani’s collaboration on “Let Me Blow Ya Mind,” a standout track that seamlessly merged rap and pop elements.
Rock music in 2001 was marked by both innovation and nostalgia. Radiohead continued to push boundaries with the haunting “Pyramid Song,” a complex composition that resonated with fans and critics alike. Meanwhile, bands like The Strokes and The White Stripes led a garage rock revival with “The Modern Age” and “Hotel Yorba” respectively, influencing a new generation of bands. System of a Down’s “Chop Suey!” delivered a powerful mix of metal and alternative rock, addressing themes of life and death with intense energy. Veterans weren’t left behind, as evidenced by Bob Dylan’s “Mississippi” and R.E.M.’s “Imitation of Life,” both of which showcased the enduring relevance of established artists.
The pop landscape of 2001 was equally dynamic, with artists like Britney Spears (“I’m a Slave 4 U”) and P!nk (“Get The Party Started”) dominating the airwaves with infectious hooks and undeniable energy. Janet Jackson’s “All for You” brought a feel-good vibe with its upbeat tempo and catchy chorus. This era also saw the last major hit from Michael Jackson during his lifetime, “You Rock My World.” From the reggae-pop fusion of Shaggy’s “It Wasn’t Me” to the unexpected success of Afroman’s “Because I Got High,” 2001 offered a rich and varied soundtrack that balanced humor with storytelling, demonstrating that sometimes a catchy hook and a good story are all you need to make a hit. In retrospect, 2001 was a pivotal year that saw the emergence of new stars, the redefinition of established genres, and a time when music felt refreshingly unpredictable, with artists boldly experimenting and audiences eagerly embracing the new and unfamiliar.
Your (Almost) Daily Playlist: 6-21-24
On the latest UK Top 100 singles chart, The Killers’ “Mr. Brightside,” from their 2004 debut album Hot Fuss, moves up from number 66 to number 63 in its 415th week on that chart. I think it’s on its way to hit song status.
The Killers’ Brandon Flowers was born on this date in 1981. A handful of that band’s songs are included on today’s playlist.
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Tunes Du Jour Presents 2002
The year 2002 was a turbulent one for the world, marked by wars, terrorism, scandals, and natural disasters. But it was also a year of creativity, innovation, and diversity in music. From hip-hop to rock, from pop to indie, from dance to folk, the music of 2002 reflected the mood and spirit of the times, offering both escapism and commentary, both nostalgia and novelty, both challenge and comfort.
One of the most dominant genres of the year was hip-hop, which reached new heights of popularity and influence. Eminem’s Lose Yourself became an anthem of determination and resilience, while Missy Elliott’s Work It showcased her inventive and playful style. Nelly’s Hot in Herre was a summer smash, while Clipse’s Grindin’ introduced a minimalist and gritty sound. Tweet and Missy Elliott’s Oops (Oh My) was a sensual and empowering ode to self-love, while Truth Hurts and Rakim’s Addictive sampled a Bollywood song and sparked a controversy. Cam’ron’s Oh Boy featured a catchy sample of Rose Royce’s I’m Going Down, while Khia’s My Neck, My Back (Lick It) was a raunchy and explicit hit.
Rock music also had a strong presence in 2002, with a variety of styles and sounds. Elvis Presley’s A Little Less Conversation (JXL Edit) was a remix of a 1968 song that became a worldwide hit, thanks to its inclusion in a Nike commercial. Avril Lavigne’s Complicated was a pop-rock anthem for the rebellious and misunderstood youth, while Coldplay’s In My Place was a melancholic and soaring ballad. The Strokes’ Hard to Explain was a garage rock revival, while Wilco’s Jesus, Etc. was a country-rock masterpiece. Interpol’s Obstacle 1 was a post-punk gem, while Spoon’s The Way We Get By was a catchy and quirky indie rock tune. The Libertines’ What a Waster was a punk rock blast, while Bruce Springsteen’s The Rising was a tribute to the victims and heroes of 9/11.
Pop music also had its share of hits and surprises in 2002, with some old and new faces. Christina Aguilera’s Dirrty was a provocative and edgy reinvention, while Beyonce’s Work It Out was a funky and soulful solo debut. Brandy’s What About Us was a futuristic and sleek R&B track, while No Doubt’s Hella Good was a disco and rock fusion. Bjork’s Pagan Poetry was a haunting and experimental song, while Las Ketchup’s Asereje was a catchy and silly novelty. Alanis Morissette’s Hands Clean was a confessional and catchy pop-rock song, while Rufus Wainwright’s Across the Universe was a beautiful and faithful cover of the Beatles classic.
Some of the most memorable songs of 2002 were not easily categorized, but rather blended genres and styles. Sugababes’ Freak Like Me was a mash-up of Adina Howard’s Freak Like Me and Gary Numan’s Are ‘Friends’ Electric?, creating a pop and electro masterpiece. The Flaming Lips’ Do You Realize?? was a psychedelic and uplifting song, while X-Press 2’s Lazy was a house and spoken word collaboration with David Byrne. The Streets’ Weak Become Heroes was a rap and piano tribute to rave culture, while Doves’ There Goes The Fear was a rock and electronic epic.
The music of 2002 was a reflection of the year itself: diverse, unpredictable, exciting, and sometimes challenging. It was a year of contrasts and surprises, of highs and lows, of old and new. It was a year that gave us some of the most memorable songs of the 21st century, and a year that we can revisit through this playlist. Enjoy!
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Your (Almost) Daily Playlist: 8-11-23
Ben Gibbard and Jimmy Tamborello, the two members of The Postal Service, collaborated by sending recordings of their music back and forth through the mail, which inspired their band name. The fact that they used FedEx and UPS for this purpose is besides the point. Do you really think they could get away with calling their project FedEx?
Ben Gibbard of The Postal Service and Death Cab For Cutie was born on this date in 1976. His work is well-represented on today’s playlist.
https://open.spotify.com/embed/playlist/7grUUfw8JYyKEGgrINX7Lb?utm_source=generator
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Your (Almost) Daily Playlist: 6-13-23
My favorite Weezer song is “Buddy Holly,” from their 1994 album titled Weezer, not to be confused with their 2001 album titled Weezer, their 2008 album titled Weezer, their 2016 album titled Weezer, or either of their 2019 albums titled Weezer. My second favorite Weezer song is “Hash Pipe,” from their 2001 album titled Weezer, not to be confused with their 1994 album titled Weezer, their 2008 album titled Weezer, their 2016 album titled Weezer, or either of their 2019 albums titled Weezer. In third place I’d probably put “Island in the Sun,” also from their 2001 album titled Weezer, not to be confused with their 1994 album titled Weezer, their 2008 album titled Weezer, their 2016 album titled Weezer, or either of their 2019 albums titled Weezer. Next for me would be “Beverly Hills,” from an album not titled Weezer, which I find confusing.
Weezer’s Rivers Cuomo was born on this date in 1950 and has never been the governor of New York. To celebrate a handful of Weezer songs are on today’s playlist. Oddly, I didn’t include any of the favorites I mentioned, which is the most confusing part of this post.
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