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Tony Orlando Hits And Rarities - Vinyl LP

Hits And Rarities - Vinyl LP

catalog number: LPBN611B

weight in Kg 0,210


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Tony Orlando: Hits And Rarities - Vinyl LP

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

(Epic) 18 tracks



Orlando, Tony - Hits And Rarities - Vinyl LP LP 1
1: Halfway To Paradise
2: Happy Times Are Here To Stay
3: The Lovin' Touch
4: Lonely Tomorrows
5: Am I The Guy
6: At The Edge Of Tears
7: Beautiful Dreamer
8: What Am I Gonna Do
9: I'll Be There
10: Bless You
11: Dream Lover
12: I'd Never Find Another You
13: Will You Love Me Tomorrow
14: Some Kind-A Wonderful
15: My Baby's A Stranger
16: Shirley
17: Accept It
18: Chills


Artikeleigenschaften von Tony Orlando: Hits And Rarities - Vinyl LP

  • Interpret: Tony Orlando

  • Albumtitel: Hits And Rarities - Vinyl LP

  • Format LP
  • Genre Pop

  • Music Genre Rock 'n' Roll
  • Music Style Vinyl - Pop / Deutsch / Diverse
  • Music Sub-Genre 563 Vinyl - Pop/Deutsch/Diverse
  • Title Bless You
  • Vinyl size LP (12 Inch)
  • Speed / RPM 33 U/min
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Label VINYL

  • SubGenre Pop - General

  • EAN: 4000127721129

  • weight in Kg 0.210

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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