Tony Orlando & Dawn House of Strangers (CD)

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catalog number: CDFAT121
weight in Kg 0.11

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(Fat Boy Records) 16 Tracks - more

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Tony Orlando & Dawn: House of Strangers (CD)

(Fat Boy Records) 16 Tracks -

Article properties: Tony Orlando & Dawn: House of Strangers (CD)

Interpret: Tony Orlando & Dawn
Album titlle: House of Strangers (CD)
Label FAT BOY RECORDS
Genre Pop
Artikelart CD
EAN: 5026310112122
weight in Kg 0.11

Orlando, Tony & Dawn - House of Strangers (CD) CD 1
01	House Of Strangers	Tony Orlando & Dawn
02	He Will Break Your Heart	Tony Orlando & Dawn
03	Missing That Girl	Tony Orlando & Dawn
04	If Only He Would	Tony Orlando & Dawn
05	Grandma's Hands	Tony Orlando & Dawn
06	Come Back Billie Joe	Tony Orlando & Dawn
07	Jolie	Tony Orlando & Dawn
08	Dance To The Music	Tony Orlando & Dawn
09	Mornin' Beautiful	Tony Orlando & Dawn
10	Maybe I Should Marry Jamie	Tony Orlando & Dawn
11	Tommorow's Got To Be Sunny	Tony Orlando & Dawn
12	Daydream	Tony Orlando & Dawn
13	Skybird	Tony Orlando & Dawn
14	Did You Ever Think She'd Get Away From You	Tony Orlando & Dawn
15	Personality	Tony Orlando & Dawn
16	Easy Evil	Tony Orlando & Dawn

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

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"Tony Orlando & Dawn"

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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