About the Song

Tony Orlando & Dawn, a popular pop group from the 1970s, left an indelible mark on the music world with their catchy tunes and infectious energy. Among their most iconic songs is “Knock Three Times,” a bubblegum pop classic that captured the hearts of millions. Released in 1971, the song quickly became a chart-topping hit, showcasing the group’s vocal prowess and their ability to create a fun and upbeat anthem.

“Knock Three Times” is a simple yet catchy song that tells the story of a young man who is trying to win over the heart of his crush. The lyrics are playful and lighthearted, capturing the excitement and anticipation of a budding romance. The chorus, “Knock three times, it’s the code I’ve got,” is instantly recognizable and has become a classic in its own right.

Tony Orlando’s vocals are sweet and energetic, while Dawn’s harmonies add depth and texture to the song. The instrumental arrangement is simple yet effective, featuring a funky bassline and a catchy guitar riff.

“Knock Three Times” has become a timeless classic, resonating with listeners across generations and cultures. The song’s universal theme of young love and infatuation continues to touch the hearts of audiences today. Tony Orlando & Dawn’s performance is a masterclass in vocal delivery and stage presence, showcasing the group’s ability to create a fun and memorable musical experience.

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Lyrics: Knock Three Times

Hey girl, whatcha doing down there
Dancing alone every night while I live right above you
I can hear your music playing
I can feel your body swaying
One floor below me, you don’t even know me
I love youOh, my darling
Knock three times on the ceiling if you want me
Mm, twice on the pipe if the answer is no
Oh, my sweetness
Means you’ll meet me in the hallway
Whoa, twice on the pipe means you ain’t gonna showIf you look out your window tonight
Pull in the string with the note that’s attached to my heart
Read how many times I saw you
How in my silence I adored you
And only in my dreams did that wall between us come apartOh, my darling
Knock three times on the ceiling if you want me
Mm, twice on the pipe if the answer is no
Oh, my sweetness
Means you’ll meet me in the hallway
Whoa, twice on the pipe means you ain’t gonna showWhoa, I can hear your music playing
I can feel your body swaying
One floor below me, you don’t even know me
I love youOh, my darling
Knock three times on the ceiling if you want me
Mm, twice on the pipe if the answer is no (I love you, I love you)
Oh, my sweetness
Means you’ll meet me in the hallway
Mm, twice on the pipe means you ain’t gonna show

Oh, my darling
Knock three times

You Missed

By early 1973, Bobby Bare had already spent more than a decade bouncing between record labels, radio hits, and near-misses, but he was hungry to try something completely different. Captivated by Joe South’s groundbreaking Introspect, Bare dreamed of crafting a cohesive country concept album that functioned as one living world instead of just a patchwork collection of radio singles. When he pitched the idea to his songwriter friends, however, nobody wanted to touch the project. Everything changed on a Saturday night at a Country Radio Seminar party when Bare ran into Shel Silverstein and vented his frustration about failing to find a collaborator. Silverstein listened closely, and by Monday morning, Bare’s telephone was ringing with a promise that an entire album’s worth of material was ready to go. Those songs blossomed into Bobby Bare Sings Lullabys, Legends and Lies. Bare took the reins as producer, keeping the musical arrangements loose and inviting to frame Silverstein’s eccentric characters, dark humor, and folk-tale simplicity with an intimate, living-room atmosphere—even mixing in live audience reactions to make the record feel like a gathering of friends. The creative gamble paid off instantly. “Daddy What If,” recorded as a duet with Bare’s five-year-old son Bobby Jr., climbed to No. 2 on the country charts, while “Marie Laveau” soared to No. 1, marking the sole chart-topping single of Bare’s career and pushing the album into the Top 10. More importantly, that weekend spark ignited a decades-long partnership. Bare went on to record well over a hundred of Silverstein’s compositions whenever he craved material that defied standard Nashville formulas. Bobby Bare set out looking for a single concept record, but he walked away with the creative partner who would define the rest of his legendary career.