Tony Orlando Hits And Rarities (LP)

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Item is temporarily out of stock.
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catalog number: LPBNG611
weight in Kg 0.21

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

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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)
Record Grading 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

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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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