Tony Orlando Bless You

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Item is temporarily out of stock.
Approx. delivery time: up to 3 weeks. (as far as available at the supplier - can be faster, but sometimes unfortunately not)

catalog number: CDCOL5827
weight in Kg 0.1

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CD on COLLECTABLE RECORDS by Tony Orlando - Bless You more

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Tony Orlando: Bless You

CD on COLLECTABLE RECORDS by Tony Orlando - Bless You

Article properties: Tony Orlando: Bless You

Interpret: Tony Orlando
Album titlle: Bless You
Label Collectables
Genre Rock'n'Roll
Artikelart CD
EAN: 0090431582725
weight in Kg 0.1

Orlando, Tony - Bless You CD 1
01	Bless You	Tony Orlando
02	Dream Lover	Tony Orlando
03	I'd Never Find Another You	Tony Orlando
04	Will You Love Me Tomorrow	Tony Orlando
05	Tell Me Where To Run To	Tony Orlando
06	Some Kind-A-Wonderful	Tony Orlando
07	Halfway To Paradise	Tony Orlando
08	Happy Times Are Here To Stay	Tony Orlando
09	Lonely Am I	Tony Orlando
10	The Lovin' Touch	Tony Orlando
11	Lonely Tomorrows	Tony Orlando
12	Am I The Guy	Tony Orlando
13	I'll Be There	Tony Orlando
14	My Baby's A Stranger	Tony Orlando
15	Shirley	Tony Orlando
16	Talkin' About You	Tony Orlando
17	Love On Your Lips	Tony Orlando
18	Joanie	Tony Orlando

Tony Orlando, Tony Orlando, born in New York, on April 3, 1944, first worked as a singer... more

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"Tony Orlando"

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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