Erlend øye - dj-kicks - DJ-Kicks - Erlend Øye | Songs, Reviews, Credits | AllMusic

The Jane version was used in a 1986 commercial for Kleenex tissue in Japan, which itself has attracted attention as a Japanese urban legend . [21]

Those two songs seem to encapsulate Øye's intentions with his DJ Kicks album. In the liner notes, he places his DJ style somewhere between a house DJ who plays to drugs, dancing shoes, and "the artistic dimension", and a wedding DJ who plays strictly to vaguely foot-worthy nostalgia. "I am not really a skilled beat-mixer," says Øye-- which is only sort of true-- but it's clear that he's as concerned with his track selection as with making sure that his listeners are enjoying themselves: "A good DJ is not only musically responsible, but he is also the host of the party." With DJ Kicks bearing testament, Øye's party is truly a democratic one: The record is as warm and welcoming for first-timers as for longtime tech-house addicts.

Certainly one of the more curious entries in the long-running DJ-Kicks series, Erlend Øye 's edition rounds up the usual batch of tastefully chosen dance records, in this case a range of mainly German, or at least German-sounding, microhouse productions. That in itself isn't particularly curious -- microhouse was certainly the trendy dance sound circa 2004, with German labels like Kompakt and Perlon setting (or more precisely, having set) the trends, while most everyone else followed along. And as this mix illustrates, Øye has a keen ear, residing in Berlin (rather than his native Norway) at the time of this album's release, and he selects several excellent tracks typical of what you'd probably hear out in the more trendsetting techno clubs of that city: Jürgen Paape 's "So Weit Wie Noch Nie," Justus Köhncke 's "2 After 909," Jackmate 's "Airraid," Ricardo Villalobos ' "Dexter," Morgan Geist 's "Lullaby," and Ada 's "Luckycharm." Here's the curious part, though: Øye isn't your typical DJ -- he's a singing DJ, which means he likes to sing over certain tracks, or at least ad-lib over them. He does this to great lengths throughout his 18-track DJ-Kicks mix, singing over nearly half of the inclusions. And since the majority of the other, mainly neo-new wave tracks are already vocal in nature (., Cornelius , Phoenix , the Rapture ), the resulting overall mix is thoroughly melodic, especially given the frequency at which Øye mixes these tracks. If there's a catch, however, it's that Øye is a little challenged when it comes to mixing. Granted, he's mixing a diverse array of tracks here, and the melodic emphasis certainly doesn't make the mixing any easier, but still, jarring transitions are jarring transitions. If you can overlook this, which isn't too hard to do in light of everything else wonderful here, you have yourself one of the more curious entries in the DJ-Kicks series, one that is chock-full of tasteful selections and laden with Øye 's colorful singing.

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Erlend Øye often performs reworked versions of other bands' songs during his concerts. Among the most played covers, Thirteen by Big Star , Blowin' in the Wind and Don't Think Twice, It's All Right by Bob Dylan , Redemption Song by Bob Marley , E la chiamano estate by Bruno Martino , Brothers in Arms by Dire Straits , Dreams by Fleetwood Mac , Sapore di sale by Gino Paoli , Til þín by Hjálmar , Una ragazza in due by I Giganti , These Days by Jackson Browne , Tram No. 7 to Heaven by Jens Lekman , Happy Xmas and Jealous Guy by John Lennon , No Train To Stockholm by Lee Hazlewood , E la luna bussò by Loredana Berté , Grande grande grande by Mina , Wonderwall by Oasis , You Can Call Me Al by Paul Simon , Se a vida é by Pet Shop Boys , Wish You Were Here by Pink Floyd , Ignition by R. Kelly , (They Long to Be) Close to You by Richard Chamberlain , Norwegian Wood by The Beatles , Ask , Heaven Knows I'm Miserable Now , Please, Please, Please, Let Me Get What I Want and There Is a Light That Never Goes Out by The Smiths , Boys Don't Cry by The Cure , Last Christmas by Wham! .

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In a September 2005 review of the group for The Herald , Rachel Devine wrote, "Debbie D and Daphne D of Avenue D deserve to be queens of the electro scene. Not since Bananarama has a girl group exuded such effortless sexual energy in the pursuit of making music that runs the scale from the ridiculous to the sublime. [20] Michael Hamersly of The Miami Herald characterized songs "Do I Look Like a Slut?" and "The Sex That I Need" as "raunchy anthems". [5] In a later piece for The Miami Herald , journalist Tom Bowker described Avenue D as "the female Latina version of 2 Live Crew". [18] A 2008 review from The Morning Call of Swedish recording artist Robyn 's eponymous album compared it to the style of Avenue D., noting, "Robyn's pseudo-thug, occasionally profane lyrics hearken back to the earlier days of electroclash". [21]

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