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Tony Orlando Bless You

catalog number: CDJAS276

weight in Kg 0,100


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Tony Orlando: Bless You

(2014/Jasmine) 26 teenage strollers and ballads (64:08) 1959-63 incl. some rare bonus tracks.

(2014/Jasmine) 26 tracks



Tony Orlando - Bless You Medium 1
1: Halfway To Paradise
2: Lonely Tomorrows
3: Bless You
4: Am I The Guy?
5: Happy Times (Are Here To Stay)
6: Lonely Am I
7: The Lovin' Touch
8: Some Kinda Wonderful
9: Tell Me Where To Run To
10: Dream Lover
11: Will You Love Me Tomorrow
12: My Baby's A Stranger
13: Talkin' About You
14: I'd Never Find Another You
15: Love On Your Lips
16: Chills
17: At The Edge Of Tears
18: The Loneliest
19: Beautiful Dreamer
20: Shirley
21: Joanie
22: Ding Dong - Tony Orlando & The Milos
23: All The World Loves A Lover - Bertell Dache
24: You Gotta Have Chicks - Bertell Dache
25: Not Just Tomorrow, But Always - Bertell Dache
26: Love Eyes - Bertell Dache


Artikeleigenschaften von Tony Orlando: Bless You

  • Interpret: Tony Orlando

  • Albumtitel: Bless You

  • Format CD
  • Genre Rock 'n' Roll

  • Music Genre Rock 'n' Roll
  • Music Style Rock & Roll
  • Music Sub-Genre 201 Rock & Roll
  • Title Bless You
  • Release date 2014
  • Label JASMINE

  • SubGenre Rock - Rock'n'Roll

  • EAN: 0604988027624

  • weight in Kg 0.100

Artist description "Orlando, Tony"

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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