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Tony Orlando Hits And Rarities (LP)

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$17.75 *

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

  • LPBNG611
  • 0.21
(Epic) 18 tracks, produced by Nevins-Kirshner. more

Tony Orlando: Hits And Rarities (LP)

(Epic) 18 tracks, produced by Nevins-Kirshner.

Article properties: Tony Orlando: Hits And Rarities (LP)

  • Interpret: Tony Orlando

  • Album titlle: Hits And Rarities (LP)

  • Genre Rock

  • Label VINYL

  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Mint (M)
  • Sleeve Grading Mint (M)
  • Artikelart LP

  • EAN: 4000127721129

  • weight in Kg 0.21
Orlando, Tony - Hits And Rarities (LP) LP 1
01 Halfway To Paradise Tony Orlando
02 Happy Times Are Here To Stay Tony Orlando
03 The Lovin' Touch Tony Orlando
04 Lonely Tomorrows Tony Orlando
05 Am I The Guy Tony Orlando
06 At The Edge Of Tears Tony Orlando
07 Beautiful Dreamer Tony Orlando
08 What Am I Gonna Do Tony Orlando
09 I'll Be There Tony Orlando
10 Bless You Tony Orlando
11 Dream Lover Tony Orlando
12 I'd Never Find Another You Tony Orlando
13 Will You Love Me Tomorrow Tony Orlando
14 Some Kind-A Wonderful Tony Orlando
15 My Baby's A Stranger Tony Orlando
16 Shirley Tony Orlando
17 Accept It Tony Orlando
18 Chills Tony Orlando
Tony Orlando, Tony Orlando, born in New York, on April 3, 1944, first worked as a singer... more
"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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