Superior Dancing - Superior Dancing, Volume 5

Superior Dancing, Volume 5

1998

  1. "Tennessee Waltz" – 3:03 (30 MPM) Patti Page (Waltz)
  2. "Tammy" – 3:13 (26 MPM) Connie Francis (Waltz)
  3. "Around The World" – 2:23 (33 MPM) Connie Francis (Waltz)
  4. "There Goes My Everything" – 2:52 (29 MPM) Engelbert Humperdinck (Waltz)
  5. "Der Walzer des Sommers" – 3:27 (29 MPM) Alexandra (Waltz)
  6. "Adios Amigo" – 2:21 (29 MPM) Sascha Distel (Waltz)
  7. "Kriminal Tango" – 3:29 (32 MPM) Hazy Osterwald Sextett (Tango)
  8. "Que Sera, Sera" – 2:27 (60 MPM) Connie Francis (Viennese Waltz)
  9. "September In The Rain" – 2:07 (29 MPM) Dinah Washington (Foxtrot)
  10. "I Will Wait For You" – 3:05 (27 MPM) Connie Francis (Foxtrot)
  11. "Put The Blame On Mame" – 2:47 (29 MPM) Viktor Lazlo (Foxtrot)
  12. "Snowbird" – 2:23 (52 MPM) Bert Kaempfert Orchestra (Quickstep)
  13. "La Gente" – 1:58 (56 MPM) Connie Francis (Samba)
  14. "Yo Se" – 2:09 (56 MPM) Connie Francis (Samba)
  15. "Quien Sere (Sway)" – 1:51 (33 MPM) Connie Francis (Cha Cha)
  16. "Never On Sunday" – 2:40 (32 MPM) Connie Francis (Cha Cha)
  17. "Aquellos Ojos Verde (Green Eyes)" – 2:37 (29 MPM) Connie Francis (Rumba)
  18. "Solamente Una Vez (You Belong To My Heart)" – 2:44 (28 MPM) Connie Francis (Rumba)
  19. "Quiereme Mucho (Yours)" – 2:51 (30 MPM) Connie Francis (Rumba)
  20. "Beso De Fuego" – 2:34 Connie Francis
  21. "Malaguena" – 3:03 Connie Francis

Read more about this topic:  Superior Dancing

Famous quotes containing the words superior and/or volume:

    “In literary circles, the men of trust and consideration, bookmakers, editors, university deans and professors, bishops, too, were by no means men of the largest literary talent, but usually of a low and ordinary intellectuality, with a sort of mercantile activity and working talent. Indifferent hacks and mediocrities tower, by pushing their forces to a lucrative point, or by working power, over multitudes of superior men, in Old as in New England.”
    —Ralph Waldo Emerson (1803–1882)

    “A tattered copy of Johnson’s large Dictionary was a great delight to me, on account of the specimens of English versifications which I found in the Introduction. I learned them as if they were so many poems. I used to keep this old volume close to my pillow; and I amused myself when I awoke in the morning by reciting its jingling contrasts of iambic and trochaic and dactylic metre, and thinking what a charming occupation it must be to “make up” verses.”
    —Lucy Larcom (1824–1893)