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Tony Orlando & Dawn Definitive Collection

Definitive Collection
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catalog number: CDAR19036

weight in Kg 0,107

$23.99 *

Tony Orlando & Dawn: Definitive Collection

Their most complete collection ever, digitally remastered and repackaged with new liner notes. Features Candida, Knock Three Times, Tie A Yellow Ribbon Round The Ole Oak Tree and much more.


Tony Orlando & Dawn - Definitive Collection Medium 1
1: Candida  
2: Knock Three Times  
3: Carmen  
4: Play And Sing  
5: Summer Sand  
6: What Are You Doing Sunday  
7: Medley: Runaway/Happy Together  
8: Vaya Con Dios  
9: You're A Lady  
10: Tie A Yellow Ribbon Round The Ole Oak Tree  
11: Say Has Anybody Seen My Sweet Gypsy Rose  
12: Who's In The Strawberry Patch With Sally  
13: It Only Hurts When I Try To Smile  
14: Steppin' Out (Gonna Boogie Tonight)  
15: Look In My Eyes Pretty Woman  
16: Skybird  
17: He Don't Love You Like I Love You  
18: Mornin' Beautiful  


Artikeleigenschaften von Tony Orlando & Dawn: Definitive Collection

  • Interpret: Tony Orlando & Dawn

  • Albumtitel: Definitive Collection

  • Format CD
  • Genre Pop

  • Music Genre Pop
  • Music Style Pop Vocal
  • Music Sub-Genre 281 Pop Vocal
  • Title Definitive Collection
  • Label ARISTA

  • SubGenre Pop - Vocal Pop

  • EAN: 0078221903622

  • weight in Kg 0.107

Artist description "Orlando, Tony & 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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