Tony Orlando & Dawn To Be With You - Tony Orlando & Dawn Series No.6 (CD)
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- catalog number:CDELEK006
- weight in Kg 0.11
Tony Orlando & Dawn: To Be With You - Tony Orlando & Dawn Series No.6 (CD)
Article properties:Tony Orlando & Dawn: To Be With You - Tony Orlando & Dawn Series No.6 (CD)
Interpret: Tony Orlando & Dawn
Album titlle: To Be With You - Tony Orlando & Dawn Series No.6 (CD)
Genre Pop
Label Elektra Records
Artikelart CD
EAN: 0823753730693
- weight in Kg 0.11
| Orlando, Tony & Dawn - To Be With You - Tony Orlando & Dawn Series No.6 (CD) CD 1 | ||||
|---|---|---|---|---|
| 01 | Cupid | Tony Orlando & Dawn | ||
| 02 | To Be With You | Tony Orlando & Dawn | ||
| 03 | Caress Me Pretty Music | Tony Orlando & Dawn | ||
| 04 | Selfish One | Tony Orlando & Dawn | ||
| 05 | Happy Man | Tony Orlando & Dawn | ||
| 06 | Midnight Love Affair | Tony Orlando & Dawn | ||
| 07 | Talk To Me | Tony Orlando & Dawn | ||
| 08 | You're All I Need To Get By | Tony Orlando & Dawn | ||
| 09 | Growin' On Me | Tony Orlando & Dawn | ||
| 10 | When The Party's Over | Tony Orlando & Dawn | ||
| 11 | Don't Let Go | Tony Orlando & Dawn | ||
| 12 | I Count The Tears | Tony Orlando & Dawn | ||
| 13 | Bring It On Home To Me | Tony Orlando & Dawn | ||
| 14 | Save The Last Dance For Me | 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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