Dawn feat. Tony Orlando CD: Candida (CD)

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catalog number: CDRAZ2119
weight in Kg 0.1

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(1996/RAZOR & TIE) 12 tracks, the original Bell Hitsingles from the 70s! more

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Dawn feat. Tony Orlando: Candida (CD)

(1996/RAZOR & TIE) 12 tracks, the original Bell Hitsingles from the 70s!

Article properties: Dawn feat. Tony Orlando: Candida (CD)

Interpret: Dawn feat. Tony Orlando
Album titlle: Candida (CD)
Genre Pop
Label RAZOR
Artikelart CD
EAN: 0793018211925
weight in Kg 0.1

Orlando, Tony & Dawn - Candida (CD) CD 1
01	Candida	Dawn feat. Tony Orlando
02	Up On The Roof	Dawn feat. Tony Orlando
03	Country	Dawn feat. Tony Orlando
04	Look At	Dawn feat. Tony Orlando
05	Rainy Day Man	Dawn feat. Tony Orlando
06	What Are You Doing Sunday	Dawn feat. Tony Orlando
07	Knock Three Times	Dawn feat. Tony Orlando
08	Carolina In My Mind	Dawn feat. Tony Orlando
09	Let's Run Away Girl	Dawn feat. Tony Orlando
10	The Love In Your Eyes	Dawn feat. Tony Orlando
11	Perhaps The Joy Of Giving	Dawn feat. Tony Orlando
12	Home	Dawn feat. Tony Orlando

Tony Orlando, Tony Orlando, born in New York, on April 3, 1944, first worked as a singer... more

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"Dawn feat. Tony Orlando"

Tony Orlando,

Tony Orlando, born in New York, on April 3, 1944, first worked as a singer on demonstration discs for Don Kirshner's famous Brill Building music publishing operation. Orlando cut the originals of 'Will You Still Love Me To-morrow' and 'Some Kind Of Wonderful' (hits for the Shirelles and the Drifters) before Kirshner realized his potential as a singer in his own right. He specialized in the perfectly organized pop single and had three hits on Epic during 1961: 'Halfway To Paradise' (a British hit for Billy Fury), 'Bless You' (Top Twenty) and `Happy Times'. As a vocalist, he was one of the first 'blue-eyed soul' singers and the productions — by Kirshner and Al Nevins — were almost symphonic.

But despite the rich strings, Spanish guitars, castanets and girl choruses, it was Orlando that you heard. Hours of practice in acappella groups had helped to perfect a distinctive voice which often outshone the Goffin-King songs he was given. Machine-tooled, market-tested pop can be fine when you hum like Ben E. King. Although the Orlando voice disappeared later in the Sixties, he re-appeared in the next decade with a string of equally successful records with Dawn

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