Azzurro lyrics die toten hosen biography
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Die Toten Hosen
German punk rock band
Die Toten Hosen | |
|---|---|
| Also known as |
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| Origin | Düsseldorf, Germany |
| Genres | Punk rock[1] |
| Years active | 1982–present |
| Labels | JKP, Charisma (US) |
| Members | Campino (Andreas Frege) Breiti (Michael Breitkopf) Kuddel (Andreas von Holst) Andi (Andreas Meurer) Vom (Stephen George Ritchie) |
| Past members | Walter November (Walter Hartung; 1982–1983) Trini Trimpop (Klaus-Dieter Trimpop; 1982–1985) Jakob Keusen (1985–1986) Wölli (Wolfgang Rohde; 1986–1999) |
| Website | dietotenhosen.de |
Die Toten Hosen are a German punk rock band from Düsseldorf. The name is taken from the German slang idiom tote Hose (literally "dead trousers"), which means "nothing happening"; "boring". The band has had an important success through the years, and it has built a loyal following both in Europe and South America, being particularly popular in their home country and in Argentina.
History
[edit]The current members of Die Toten Hosen are Campino (Andreas Frege), Kuddel (Andreas
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“You’ll Never Understand Alone” get ahead of Gerry extremity the Pacemakers
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COVERS
A song often needs to be translated into the local language in order to be appreciated in other countries. This is the meaning of the word “cover” when associated to different recordings and versions of a song. This section of the portal features recorded Italian versions of many foreign songs, gathering a vast repertoire that affords an overview of the tastes and trends of a recording industry that has always boasted a high degree of globalization. The whole history of the song since the early twentieth century abounds with covers, not to mention the many American classics that came down to us during the Fascist years, despite the official policy of protection of the national musical production. However the golden age of covers was the 1960s, when Italy imported the best of the new foreign rhythms (beat, soul, pop) reproducing them faithfully except for the lyrics, which in some cases were literal translations and in other totally removed from the original. The purpose was to rearrange songs whose success on other markets was already tried and tested at a time when – apart from few major hits – not many foreign-language records could scale the charts and Italian audiences preferred songs in their own language. In some cases, however, singer