Teasing the Korean

Are his album covers as entertaining as Heino's?

https://usdaynews.com/celebrities/celebrity-death/rusty-warren-death-cause/

These are great, I will check them out! I'll have to look for the industrial musicals. In the early days of the InterWebz, my wife was online friends with the Letterman writer who wrote this segment and later featured in the film Bathtubs Over Broadway.

I remember Dave playing tracks from industrial musicals for "Dave's Record Collection," but I don't remember Heino. But I vividly remember the visual impression that those album covers made the first time that I saw them in the store with the international section.

1969 was such an awful year, wasn't it? If there is one thing worse than naked hippies, it is naked hippies with naked children. We used to laugh our heads off to this track:

An alternate shot that I've never seen before!

Oh, I'm not doubting you, and I appreciate the clarification. I assumed he was German, because of the records I've found by him are on German labels.

Didn't he work in Germany??? Every LP I've seen is from Germany. Granted, not many Czech LPs make their way over here. Precisely. I prefer his more refined, professional reading of the song, as opposed to the uncouth delivery by the pop group who wrote it.

"Last Tango" is the money cut!

The significance is that Heino spent some time in einer bar in Mexico, and began to pick up on the pronunciations of the locals.

I do believe that it is important for us, as adults, to listen to what today's generation is saying. However, some of us find their messages to be delivered in an uncouth and unrefined manner; and we prefer to hear those messages rendered more tastefully and professionally.

Referenced earlier, so as a good an excuse as any to post it. This blows away the original:

Agree on both counts. Maybe because Bud Shank had played something closer to Bossa Nova at one time, he felt freer to be less rigid in his approach later. I think Herbie Mann did a lot more mixing and matching later on also. But again, I think there is a big difference between (1) US artists doing a US version of Bossa and (2) slapping the words "Bossa Nova" on an album that has zero to do with Bossa, like the Gene Ammons and Barney Kessel albums I noted earlier,.

You will need to slog through a lot of names you likely won't recognize. Many of the names mentioned early on will be referenced later in the book. However, it really does a great job in giving the whole cultural background of Bossa and where Brasil was in the postwar era. It also reads like a novel, as opposed to a dry, academic treatise.

Ruy Castro uses it in his book Bossa Nova, which is the best book I've read on the history of the music.

That is very interesting. I have often wondered how and why Germany in the postwar period fully embraced that Octoberfest oompah sound. It is also interesting how few compelling German pop stars existed during that period, at least from the standpoint of someone in the US. I have accumulated all kinds of postwar pop vocals from France, Italy, Spain, etc., but what was Germany producing? Hildegard Knef is the only singer from that period with whom I am really familiar. There is also Karel Gott, whose version of the Stones' "Paint It Black" must be experienced to be believed. On the German volume of Get Easy, most of the singers are relatively unknown (in the US). Obviously, several of Germany's instrumental artists became relatively well-known. These would include MPS artists, and others such as James Last, Horst Jankowski, Berry Lipman, and of the course Thee Great Peter Thomas, whose Chariots of the Gods soundtrack would easily make my top 100 film score list.

I respectfully disagree.

True, but Charlie Byrd, Herbie Mann, Paul Winter, and others were pursuing Bossa independently of Getz and possibly before Getz. (I don't have all the dates in front of me.) I do agree with you that in some cases, ignorance of a genre can lead to some happy accidents in music. I love lots of film music, and I really love some of the early attempts at "jazz" scores by classically training composers. The results are sometimes very compelling.

Not among teenagers, but it was grassroots to a degree. While there were a lot of US cash-in records, there were also US musicians right from the get-go who made a serious attempt at playing Bossa. There was certainly an audience for Bossa in the US in the early- to mid-1960s.

Oh, I agree to an extent. But knowing something and putting your own spin on it is one thing. Doin' it wrong is quite another.

Well, there's that...