So I’m in the Southern Studio again this weekend, which means I don’t have a good handle on the way the show sounds until long after I’ve posted it. Also, I tried something very different with my workflow this week so I’m curious to know what you think of the way the shows sounds at your end. I won’t be upset if you think it stinks, promise. Next week I’ll be back in Baltimore, sounding more typical.
To tell the story of “Knock Three Times” we had to dive a little bit into the early career of Tony Orlando and how he got that way. Orlando had actually retired from singing and was doing well with producing and working in Columbia Records’ music publishing department, when someone asked him a favor: could you please record this for us?
Orlando said, “No thanks. You’re not even a Columbia label. “
They said, “Please? We’ll give you three thousand dollars.”
And Orlando said, “Don’t put my name on this or there’ll be trouble.”
So Bell Records kept their promise and released the record under the name Dawn. They even took the time to fake a photo of the band for the 45’s picture sleeve. Look at those guys over there. None of them are on this record. They’re literally just four guys in a photograph. The band was composed of session musicians and a couple of backup singers, including Toni Wine, who co-wrote the song.
This wound up being a good news/bad news thing, because “Candida” was a pretty huge hit worldwide, and Bell Records got hot for a follow-up track. Orlando went back into the studio with the same session players and made an entire album, including a second single, “Knock Three Times.” That song was an even bigger hit, and Orlando was forced to come out in the open, hire some genuine members of Dawn and go on tour.
But I’m pretty sure it worked out okay for him in the end, yeah?