Every year has one number one that sounds utterly of that time. (In fact, that would be an interesting exercise, to go back through each year and choose one chart-topper to represent it…) Anyway, here is 2004’s.
Yeah!, by Usher (his 2nd of four #1s) ft. Lil’ John & Ludacris
2 weeks, 21st March – 4th April 2004
Compare and contrast ‘Yeah!’ with ‘Toxic’, the other contender for ‘song of the year’. ‘Toxic’ is timeless, while ‘Yeah!’ remains stuck in its time and place. But maybe I’m biased, as I was always going to be Team Britney, and to lean towards fun female pop. ‘Yeah!’ is the male equivalent though, in that it set the tone for boy-led, R&B/hip-hop pop for much of the rest of the decade.
It’s all homies, shawties, and booties – three lyrical must haves for a song of this type – and a chorus that is just Yeah! repeated twelve times. Not that the lyrics of ‘Toxic’ were Shakespearian; but this is really dumb. Musically it is equally simplistic, with a relentlessly memorable air-raid syren synth that runs, unwavering, from start to finish, complemented by what sounds like a phone ringing off the hook. This was one of the first hit records to bring crunk – a danceable subgenre of hip-hop from the Southern US – mainstream, and certainly the first UK #1 to do so. (It is, I think, one of only two crunk #1s, and is by far the lesser of the two…)
Also bringing the crunk is the appearance of Lil John, one of the godfathers of the genre, though he does little more than repeat what Usher sings, and shout ‘Yeah!’. (Considering that some artists have sung entire choruses on recent chart-toppers and not received a credit, Lil John can consider himself very lucky.)
I’m sounding pretty down on this record, when I do actually quite like it. And, considering that it instantly drags me back to being eighteen, it does hold some nostalgic weight. What saves it is the appearance of Ludacris, a rapper who enlivens any song he appears on. He never sounds like he’s taking his job seriously – and I mean that as a compliment, as he doesn’t have a serious job (though most rappers would argue otherwise…) He manages to keep his rap clean, but also delivers potentially one of the filthiest lines in chart-topping history: These women all on the prowl, If you hold the head steady, Imma milk the cow…
I’m just amazed that this was Luda’s only number one single, as ‘ft. Ludacris’ feels as common a ‘00s suffix as ‘ft. Jay-Z’. As for Usher, this was his second number one, over six years on from his teenage debut. Listen to ‘U Make Me Wanna’ then this back to back, and you’ll hear how much US R&B changed either side of the millennium. He won’t have to wait anywhere near as long for his third chart-topper.
The UK Number Ones Blog 
An unstoppable, unkillable relentless party banger. Never doesn’t put a smile on my face. The lead single to his blockbuster Confessions album, the first album he made after Chilli from TLC revealed to the press that she broke up with Usher because he cheated on her. These are his confessions. Unlike Robin Thicke when he tried to make a personal album about his relationship, Usher knew to lead the album off with a party banger continuing the ret hot streak of a red hot star. One of the defining party jams of the 2000s. Awesome awesome song. In the club, that fat bass even now is killer, same with that high-pitched, staccato three-note synth riff. Ludacris’s guest rap is honestly one of my favourite pop rap verses of the 2000s, and that decade had a ton of great ones. Seamlessly fits the song. For me, Usher’s vocals also really make the song. Despite Lil Yon’s YEAAHS!, Usher still rises to the top of this song. I’m not a big fan of crunk music or that whole ringtone rap era of music – probably one of the most forgotten and least acclaimed eras of music, rap’s hair metal era – but crunk&B or whatever it’s called, it’s great.