Tunes Du Jour Presents 2000

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The year 2000 arrived with a collective sigh of relief. The much-hyped Y2K bug turned out to be a non-event, and the new millennium stretched out before us, feeling both futuristic and strangely familiar. Looking back at the music from that year, you can hear a similar dynamic at play. It wasn’t a time of radical genre fusion or crossover; instead, it felt like several distinct musical movements were all cresting at the exact same time, each one confident and fully-formed. It was a year where you could switch the radio station and feel like you were jumping between entirely different worlds—from the polished pop of Britney Spears to the raw energy of DMX.

On one hand, pop and R&B were operating at peak performance, dominating the charts with precision-engineered hits. This was the era of the blockbuster music video, and artists delivered. Madonna reinvented herself yet again with the electro-thump of “Music,” while Britney Spears’s “Oops!…I Did It Again” perfected the formula she had established just a year prior. At the same time, R&B was in a period of remarkable innovation. You had the staccato, futuristic production of Timbaland on Aaliyah’s “Try Again,” the iconic, conversational flow of Destiny’s Child on “Say My Name,” and the deep, simmering soul of D’Angelo’s “Untitled (How Does It Feel).” These weren’t just great songs; they were statements of intent from artists at the top of their game.

Meanwhile, rock music was pulling in several different directions at once. Pop-punk had fully broken through to the mainstream, and blink-182’s “All the Small Things” was its endlessly catchy, stadium-sized anthem. More established acts like Foo Fighters and Red Hot Chili Peppers were delivering some of their most memorable melodic rock with “Learn to Fly” and “Californication,” respectively. Yet, on the fringes, things were getting much stranger and more interesting. Radiohead completely abandoned guitar-rock expectations with the anxious, electronic pulse of “Idioteque,” while Queens of the Stone Age offered a taste of heavy, hypnotic desert rock with “Feel Good Hit Of The Summer.” There was no single, unified “sound of rock” in 2000; there were several.

Hip-hop was arguably the most creatively vibrant and commercially powerful force of the year. The genre’s expansion was on full display, from the confrontational wit of Eminem’s “The Real Slim Shady” to the pure, unbridled velocity of OutKast’s “B.O.B.” which still sounds like it was beamed in from the future. The clubs were fueled by the aggression of DMX’s “Party Up (Up in Here)” and M.O.P.’s “Ante Up,” while Jay-Z’s “Big Pimpin’” projected an image of untouchable cool. And of course, you can’t talk about 2000 without acknowledging the songs that were simply inescapable. The unabashedly goofy charm of Sisqó’s “Thong Song” and the perhaps baffling, universal appeal of “Who Let the Dogs Out” added a unique and memorable flavor to the year’s sonic identity.

Listening back to this collection of songs now, what’s most striking is how separate but equal everything feels. This was one of the last moments before the digital revolution would completely flatten the music landscape, encouraging artists to borrow from everywhere at once. The year 2000 wasn’t about blending; it was a snapshot of distinct scenes, each with its own definitive soundtrack. From the raw scream of Kelis on “Caught Out There” to the quiet contemplation of Moby’s “Porcelain,” it was a year of powerful, parallel streams, a final, confident roar from the 20th-century music industry before everything changed.

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Tunes Du Jour Presents The John Lennon Songbook

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It’s interesting to start a playlist of John Lennon songs with David Bowie’s “Fame.” It feels like an outlier at first, until you remember Lennon co-wrote the track, contributed guitar, and sang backup vocals. It’s one of just a handful of songs on this list that isn’t a straightforward cover, and its placement at the top serves as a great reminder: one of the best ways to understand a songwriter’s impact is to see how their work thrives in the hands of others. Listening to a collection like this isn’t just about nostalgia; it’s an active exploration of how durable and adaptable Lennon’s compositions truly are, revealing the deep-seated melodic and lyrical strengths that invite constant reinterpretation.

The sheer variety of artists drawn to his work speaks volumes about its fundamental structure. A Lennon song can be a sturdy vessel for almost any style. In its original form, “Help!” was a desperate plea disguised as an upbeat folk-rock hit. But when Tina Turner gets ahold of it, she strips away the disguise, transforming it into a full-throated, soulful cry for salvation. Similarly, Johnny Cash takes “In My Life,” a song of youthful reflection, and imbues it with the profound weight of a long life lived, making each line land with a different, more somber gravity. From the raw R&B groove Otis Redding finds in “Day Tripper” to the cool, atmospheric poise Roxy Music brings to “Jealous Guy,” these songs prove to be exceptionally resilient, their core emotions accessible to any genre.

Beyond musical versatility, the playlist highlights the different facets of Lennon’s lyrical persona. There’s the acerbic political commentator, whose pointed dissatisfaction is channeled perfectly by the punk sneer of Generation X on “Gimme Some Truth” and the world-weary defiance of Marianne Faithfull on “Working Class Hero.” Then there is the deeply vulnerable Lennon, the man wrangling with insecurity and fame. You can hear this in the anxious, propulsive energy The Feelies bring to “Everybody’s Got Something To Hide (Except Me And My Monkey)” or the stark, pleading quality Maxïmo Park finds in the solo track “Isolation.” He could be pointedly political or achingly personal, and both modes have continued to resonate with artists who have their own truths to tell.

Of course, no look at Lennon’s work would be complete without touching on his more surreal and experimental side. These are often the songs that seem most tied to a specific time, yet they possess a dreamlike logic that continues to inspire. Elton John, a friend and collaborator, treats “Lucy in the Sky with Diamonds” not as a museum piece but as a glam-rock epic. R.E.M. leans into the hypnotic, floating quality of “#9 Dream,” while Fiona Apple’s take on “Across the Universe” honors its ethereal nature while grounding it with her distinctive emotional intensity. These artists don’t just copy the psychedelia; they find new ways to access the spirit of imaginative freedom that fueled the original recordings.

Ultimately, listening through these interpretations feels less like a tribute and more like a conversation across decades. We hear Billy J. Kramer’s simple pop charm on “Bad to Me,” a song Lennon wrote for him in 1963, and then Glen Campbell’s posthumous, heart-rending version of “Grow Old With Me,” one of Lennon’s last compositions. The journey between those two points is remarkable. This collection of songs, re-shaped by everyone from The Breeders to Bettye LaVette, demonstrates that the power of Lennon’s work isn’t just in his own iconic recordings. It’s in the bones of the songs themselves—the unforgettable melodies, the honest lyrics, and the restless spirit that others can’t help but be drawn to, again and again.

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Tunes Du Jour Presents The Original Versions

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Many of us grow up assuming the hit version of a song is the original. This playlist celebrates those surprising musical genealogies: well-known songs that were originally recorded by someone else, often with little fanfare. Here are the stories behind the transformations—where they started, and how they became iconic.

“Don’t Leave Me This Way” – Thelma Houston / Originally by Harold Melvin & the Blue Notes (1975)
Houston’s disco anthem actually began life as a Philly soul track sung by Teddy Pendergrass. Thelma took it to the dancefloor—and to #1.

“War” – Edwin Starr / Originally by The Temptations (1970)
This protest song started as an album cut by The Temptations. Starr’s rawer, angrier take made it a searing hit during the Vietnam era.

“Strawberry Letter 23” – The Brothers Johnson / Originally by Shuggie Otis (1971)
Otis’ dreamy, psychedelic original flew under the radar until producer Quincy Jones supercharged it with funk for The Brothers Johnson.

“I Feel for You” – Chaka Khan / Originally by Prince (1979)
Prince wrote it, recorded it, and released it on his 1979 self-titled album. Chaka Khan added Stevie Wonder’s harmonica and Melle Mel’s rap, creating a genre-blurring smash that gave the song a second life—and a much bigger audience.

“Louie Louie” – The Kingsmen / Originally by Richard Berry (1957)
Berry’s calypso-tinged rhythm & blues song became an unintelligible rock ‘n’ roll classic in the hands of teenage garage rockers.

“Pass The Koutchie” – Musical Youth as “Pass the Dutchie” / Originally by Mighty Diamonds (1981)
Musical Youth’s version cleaned up the ganja references but kept the groove. A British reggae hit born from a roots original.

“Tainted Love” – Soft Cell / Originally by Gloria Jones (1964)
This Northern Soul favorite was ignored in the U.S. until Soft Cell’s chilly synth-pop cover turned it into an international sensation.

“You Are So Beautiful” – Joe Cocker / Originally by Billy Preston (1974)
Preston’s gospel-inflected original was co-written with Dennis Wilson of the Beach Boys. Cocker slowed it down into a tearjerking ballad.

“The First Cut Is The Deepest” – Rod Stewart / Originally by P.P. Arnold (1967)
Before Cat Stevens, the song’s writer, sang it himself, P.P. Arnold delivered a powerful version. Stewart’s cover gave it global traction.

“Red, Red Wine” – UB40 / Originally by Neil Diamond (1967)
Diamond’s mournful original was a slow ballad. UB40’s reggae version confused even him—he didn’t recognize his own song on the radio.

“Brand New Cadillac” – The Clash / Originally by Vince Taylor and His Playboys (1959)
This rockabilly obscurity became a snarling punk track on London Calling. Vince Taylor later served as an inspiration for David Bowie’s Ziggy Stardust persona.

“Take Me To The River” – Talking Heads / Originally by Al Green (1974)
Green’s swampy soul gave way to Talking Heads’ jittery art-funk. An old-school spiritual reborn in new wave style.

“The Tide Is High” – Blondie / Originally by The Paragons (1967)
Jamaican rocksteady meets NYC cool. Blondie took this mellow gem and gave it a global pop sheen.

“Brandy” – Barry Manilow as “Mandy” / Originally by Scott English (1971)
English’s sad and simple original got a new name and new polish. Manilow’s grand version topped the charts.

“Don’t Let Me Be Misunderstood” – The Animals / Originally by Nina Simone (1964)
Simone’s pleading ballad became a snarling British Invasion hit. Her nuanced sorrow gave way to the raw edge of rock.

“Bette Davis Eyes” – Kim Carnes / Originally by Jackie DeShannon (1974)
The original was breezy and piano-driven. Carnes and her producer Val Garay turned it into new wave noir.

“Heaven Must Have Sent You” – Bonnie Pointer / Originally by The Elgins (1966)
Pointer’s disco version revived a Motown deep cut and put it back on the charts over a decade later.

“Love Buzz” – Nirvana / Originally by Shocking Blue (1969)
Nirvana turned this obscure Dutch psych-rock tune into a distorted grunge landmark. Their debut single.

“Piece Of My Heart” – Big Brother & The Holding Company / Originally by Erma Franklin (1967)
Aretha’s sister recorded it first, but Janis Joplin made it a fiery centerpiece of her legend.

“It’s Oh So Quiet” – Björk / Originally by Betty Hutton (1951)
A novelty big-band number revived by Björk into a theatrical showstopper. Old Hollywood meets Icelandic art-pop.

“China Girl” – David Bowie / Originally by Iggy Pop (1977)
Co-written with Bowie, Iggy’s version was skeletal and raw. Bowie’s version added synth gloss and MTV appeal.

“Good Lovin'” – The Young Rascals / Originally by The Olympics (1965)
The Olympics had the groove, but The Rascals turned it into a garage-rock rave-up and a #1 hit.

“Valerie” – Mark Ronson featuring Amy Winehouse / Originally by The Zutons (2006)
The Zutons wrote it as a bluesy rock song. Winehouse made it retro-soul perfection.

“Police On My Back” – The Clash / Originally by The Equals (1967)
A stomping, paranoid track from Eddy Grant’s first band. The Clash turned it into a punk fugitive anthem.

“After Midnight” – Eric Clapton / Originally by J.J. Cale (1966)
Cale’s laid-back shuffle was juiced up with guitar licks by Clapton, who kept the songwriter’s cool intact.

“On Broadway” – The Drifters / Originally by The Cookies (1962)
Songwriters Barry Mann & Cynthia Weil gave this to a girl group first, but The Drifters made it a city-slick R&B classic.

“Love Hurts” – Nazareth / Originally by The Everly Brothers (1960)
Gentle heartbreak became hard rock agony. Nazareth’s arena wail made the song a power ballad staple.

“I Love Rock ‘n’ Roll” – Joan Jett & the Blackhearts / Originally by The Arrows (1975)
Jett saw it on UK TV and recorded a fiercer, snarling version that girls (and boys) everywhere could scream along to.

“Without You” – Nilsson / Originally by Badfinger (1970)
Badfinger’s version was plaintive; Nilsson’s was operatic. He didn’t just sing it—he wailed it.

“Superman” – R.E.M. / Originally by The Clique (1969)
A psychedelic pop obscurity turned indie-rock cult classic. One of R.E.M.’s rare early tracks not written by the band.

These songs remind us that inspiration doesn’t always strike where the spotlight shines. Sometimes greatness is borrowed—and reinvented.

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Tunes Du Jour Celebrates Pride 2025

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Every June, Pride Month invites us to honor the LGBTQ+ community—not just its triumphs and ongoing struggles, but its wildly varied voices. This playlist, drawn from over six decades of music, is less a neat collection than a vibrant mix of statements, emotions, and identities. From Sylvester’s ecstatic disco classic “You Make Me Feel (Mighty Real)” to Billie Eilish’s “LUNCH,” the selections aren’t organized by genre, time period, or even theme. That’s fitting. The LGBTQ+ experience is too broad and multifaceted to be summed up by any single sound.

Some tracks speak directly to queerness, like Lou Reed’s “Walk on the Wild Side,” which namechecks drag queens and trans women, or Bronski Beat’s spiritual descendants, the Scissor Sisters, with their cheeky, loving anthem “Take Your Mama.” Others, like “Rocket Man” or “Do You Really Want to Hurt Me,” resonated with queer audiences before the artists behind them publicly came out—or even if they never did. There’s a history of coded expression here, of lyrics that offered solace to those reading between the lines.

Then there are the songs that became anthems of empowerment by sheer force of feeling: Christina Aguilera’s “Beautiful” offered a lifeline to LGBTQ+ youth when it first aired on MTV, while Madonna’s “Vogue” gave a global spotlight to a ballroom culture that had long gone ignored by the mainstream. Judy Garland’s “Over the Rainbow” might seem quaint next to Chappell Roan’s “Good Luck, Babe!,” but both songs capture longing, whether for love, acceptance, or the audacity to want more.

What unites these artists isn’t a single identity but a shared defiance—sometimes quiet, sometimes flamboyant—against what’s expected. Whether it’s the punkish ache of Buzzcocks’ “Ever Fallen in Love (With Someone You Shouldn’t’ve)” or the glossy Pet Shop Boys cover of “Go West,” the throughline is the refusal to shrink. Pride, in this sense, isn’t about perfection or performance. It’s about visibility, honesty, and a community that keeps evolving, note by note.

So, while this playlist won’t tell a single story, that’s exactly the point. Pride has never been about uniformity. It’s about claiming your truth, however it sounds—and blasting it through the speakers so someone else knows they’re not alone.

Hear last year’s Pride playlist here.

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Tunes Du Jour Presents 1988

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In 1988, hip-hop didn’t just make noise; it made history. Rob Base & DJ E-Z Rock’s “It Takes Two” lit up clubs and car stereos alike, while Eric B. & Rakim’s “Paid in Full (Seven Minutes of Madness)” remix turned the genre into a playground for sonic experimentation. Public Enemy’s “Bring the Noise” brought urgent political commentary to the mix, and LL Cool J’s “Going Back to Cali” offered a sleek, stylized West Coast daydream. Among them, Salt-N-Pepa’s “Push It” stood as a genuine milestone—a breakthrough for women in rap and, at the time, the biggest-selling hip-hop single to date. Though not on the playlist due to its hit version being unavailable on Spotify, its absence in no way reflects its cultural weight.

Elsewhere, 1988 was rich in songs that combined sincerity with staying power. Tracy Chapman’s “Fast Car” offered social commentary through intimate storytelling, and Michael Jackson’s “Man in the Mirror” turned self-reflection into an anthem. “Wishing Well,” performed by the artist then known as Terence Trent D’Arby, brought soul swagger to the top of the charts, while Prince’s “Alphabet St.” reminded listeners he was still capable of keeping them on their toes. Songs like Kylie Minogue’s “I Should Be So Lucky” and Rick Astley’s “Never Gonna Give You Up,” both produced by the UK’s Stock Aitken Waterman, were pure pop that have endured far beyond their original chart runs, largely due to their catchiness and an occasional boost from internet-era rediscovery.

Dance floors were equally alive with invention. M/A/R/R/S’s “Pump Up the Volume” and S’Express’s “Theme from S’Express,” the latter missing from the playlist due to its unavailability on Spotify, helped define a new frontier of UK club music that was steeped in sampling and shaped by emerging house and techno scenes.

INXS’s “Need You Tonight” merged rock and funk with a modern sheen, while The Cure’s “Just Like Heaven” and Morrissey’s “Everyday Is Like Sunday” balanced emotion with pop craftsmanship. The Pixies’ “Where Is My Mind?” and Dinosaur Jr.’s “Freak Scene” would prove even more influential in hindsight, while Mudhoney’s “Touch Me I’m Sick” gave an early signal of what would soon be called grunge.

Both the UK and Australia contributed standout tracks that reflected their national scenes’ strength. From the UK, Depeche Mode’s “Never Let Me Down Again” and Erasure’s “Chains of Love” explored emotional depth through electronic textures, while Pet Shop Boys teamed with Dusty Springfield on “What Have I Done to Deserve This?” to bridge classic and contemporary pop. Australia’s Midnight Oil brought urgency and political purpose with “Beds Are Burning,” The Church crafted dreamlike melancholy in “Under the Milky Way,” and Nick Cave & The Bad Seeds delivered stark intensity with “The Mercy Seat.” All three pointed to a vibrant and diverse Australian presence in global music that year.

The year also held room for collaboration, reinvention, and the unexpected. Traveling Wilburys’ “Handle With Care” saw rock legends joining forces without sounding self-indulgent. my bloody valentine’s “You Made Me Realise” hinted at the hazy swirl of shoegaze to come. The Bangles’ cover of “Hazy Shade of Winter” showed that ‘60s source material could thrive in a late-’80s rock context, and Anita Baker’s “Giving You the Best That I Got” offered polished, grown-up soul amid the noisier trends. Nineteen wighty-eight wasn’t about any one genre dominating the conversation; it was about cross-pollination, with club tracks rubbing shoulders with indie rock, hip-hop expanding its reach, and pop songs finding new ways to stick.

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Tunes Du Jour Presents 1986

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Looking back at 1986, what stands out isn’t just the quality of the music, but how effortlessly genres merged and boundaries dissolved. Run-D.M.C. and Aerosmith’s “Walk This Way” wasn’t just a collaboration – it was a statement about how rock and hip-hop could amplify each other’s strengths. Prince, at the height of his powers, stripped everything down to bare essentials with “Kiss,” proving his superstardom could take any form. Robert Palmer’s “Addicted to Love” became inescapable, powered by one of the era’s most iconic videos, while Peter Gabriel’s “Sledgehammer” merged art rock with soul and funk, accompanied by groundbreaking stop-motion animation.

The women of pop music wielded particular influence that year. Madonna continued pushing buttons with “Papa Don’t Preach,” tackling teenage pregnancy in a way that sparked national conversation. Whitney Houston’s “How Will I Know” showcased her extraordinary vocal range while proving dance-pop could be both sophisticated and irresistible. Janet Jackson asked “What Have You Done for Me Lately,” establishing herself as a force independent of her famous family. Cyndi Lauper’s “True Colors” transcended its moment, becoming an enduring anthem of self-acceptance that would be covered for decades to come.

The underground was rising to the surface, but keeping its edge. The Smiths’ “There Is A Light That Never Goes Out” brought literary depth to alternative rock, while New Order’s “Bizarre Love Triangle” helped blueprint the future of electronic dance music. The Pet Shop Boys’ “West End Girls” married street-smart observations with pristine synth-pop, and Public Image Ltd.’s “Rise” proved post-punk could evolve without losing its bite. Even The Cure, with “In Between Days,” found a way to make melancholy sound surprisingly radio-friendly.

Soul and R&B were experiencing their own renaissance. Anita Baker’s “Sweet Love” brought sophisticated quiet storm to the mainstream, while Cameo’s “Word Up!” demonstrated funk’s continuing vitality. Grace Jones’ “Slave to the Rhythm” showcased the artist’s commanding presence, and James Brown reminded everyone he was still the Godfather of Soul with “Living in America.” The year also saw George Michael step out of Wham!’s shadow with “A Different Corner,” proving he could hold his own as a solo artist.

The year proved fertile ground for both established and emerging voices. Bruce Springsteen’s “My Hometown” painted a portrait of a changing America, while Billy Bragg’s “Levi Stubbs’ Tears” showed how personal stories could carry political weight. Elvis Costello’s “I Want You” pushed the boundaries of what a love song could express, and R.E.M.’s “Fall on Me” managed to be both cryptic and urgently relevant. Meanwhile, LL Cool J’s “I Can’t Live Without My Radio” brought hip-hop closer to the mainstream while maintaining its street credibility. In retrospect, 1986 wasn’t just a great year for music – it was a moment when artists across the spectrum proved that innovation and accessibility weren’t mutually exclusive.

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Tunes Du Jour Presents The David Bowie Songbook

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David Bowie’s songwriting genius extends far beyond his own performances, as evidenced by this eclectic collection of covers spanning five decades. From punk pioneers to country legends, pop icons to elementary school choirs, artists across the musical spectrum have found fresh ways to interpret Bowie’s compositions. Iggy Pop’s raw, proto-punk “Lust for Life” shares space with Willie Nelson and Karen O’s unlikely but touching duet on “Under Pressure,” while Barbra Streisand’s take on “Life on Mars” contrasts with Ibibio Sound Machine’s Afrofuturistic reimagining of “Heroes.”

What’s particularly fascinating is how these songs illuminate different facets of Bowie’s writing. Some artists stay relatively faithful to the originals, while others take bold creative liberties. Together, these versions demonstrate not only Bowie’s versatility as a songwriter but also the enduring adaptability of his work across genres, generations, and cultures.

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