Connie Francis

Connie Francis

At the age of 3 she began to play accordion and she already sang as a child. At the age of 11, they opened with their accordion at Startime Kids, a New York television channel show, in which talented children occurred.

After a short time, the producer of the show, George Check (which was later became her manager) that Concetta’s vocal talent was much more pronounced as her arts on the accordion, and built her as a singer in the show, where she as Connie Franconero to celebrate Ingredient.

In 1955, the Startime Kids were taken from the transmitter, and she joined the TalentShow Arthur Godfrey’s Talent Scouts. The moderator of the program, Arthur Godfrey, had problems with their name correctly pronounced, and despite bitter resistance from the young girl, he announced her at her appearance as Connie Francis. She kept this name. However, an official name change never took place, so Connie Francis is still a stage name.

After rejected by many other record companies such as Columbia and RCA, they were offered a record agreement on the part of the label M-G-M Records (an offshoot of the film empire M-G-M) in the spring of 1955. The first single, Freddy, became an absolute flop, as well as the next eight following. Only the ninth single, the duet The Majesty of Love with the Rockabilly veterans Marvin Rainwater, was a little success, when she was ranked 93 of US charts in the fall of 1957 for a week. Nevertheless, the managers of M-G-M Records suggested that the record contract would not be extended after the last of the ten agreed singles.

For this last single, Connie’s father banged George Franconero, the driving engine for the career of the young woman, the song Who’s Sorry Now from 1923. Connie initially refused, because she hated the song – she found it too old-fashioned, even if her father had suggested a modern Slow rock arrangement. The loud discussions were about how Connie Francis himself expressed "like a second Korean war". In the end, she gave – in the knowledge that she had nothing to lose anyway – and picked up the song in just a single take.

As prophesied by her, this single was a weekly as lead in the shelves of the record dealers, and Connie had long since enrolled for medical studies at a college when the young television detector Dick Clark raised the plate in early 1958 in his daily television show American bandstand and so Often played up over one million copies were sold. This catapulted the single in the US up to 4th Billboard Charts and England even up to 1st 1st of the Charts of the Benefit Musical Magazine Melody Maker and New Musical Express.

Immediately MGM Records Connie Francis offered a new contract, and thanks to their Visted Manager George Check, she received incredible conditions that would never come back to another artist: she could choose her songs myself, the studio, the musicians, the Arrangers, the clothes for photoshoots and so on. The usual cost sharing, as she was deducted from any other musician from the torties of the sold records, did not take place with her. In addition, she had perfect control over the songs taken by her. The two-year contract (which was regularly renewed under the same conditions until 1969) would have it – purely theoretically – allowing an unlimited number of recordings unpublished in the archives and to drive M-G-M records in the ruin.

The next two singles to Who’s Sorry Now, I’m Sorry I Made You Cry and Heartaches (also modern versions of 320 people) were only moderate successes because they were too similar to the Superhit. An image change was required if Connie Francis did not want to end as a one-hit miracle with a fatigue for uraltongs. This image change found himself with the Rock ‘N’ Roll Number Stupid Cupid by Neil Sedaka and Howard Greenfield. The song became a huge hit and established Connie Francis in 1958 as the first female star at all in the top 5 of men dominated by men rock ‘n’ Roll Stars. Further rock ‘n’ roll hits like Lipstick on Your Collar and Frankie (both in 1959) followed, but Connie Francis realized that the Rock ‘N’ Roll were tailored exclusively on adolescent idols, and so she led a new image change from the end of 1959 By gradually preparing the change into the upscale adult entertainment.

In August 1959, she received the LP Connie Francis Sings Italian Favorites on which she presented popular Italian melodies such as Santa Lucia or Ciao, Ciao Bambino. The album became a huge success, was posted in the American LP charts in the American LP charts and managed it up to 2nd place. Thus Connie’s success was justified as an international star.

In the spring of 1960, Connie Francis with Everybody’s Somebody’s Fool was able to record its first place 1-hit in the US charts. This was surprised by themselves the most, for she had actually been writing this song for the market in Germany, where her records sold towards sluggish. The English original could not promptly score in Germany, so that Connie had to recognize that she could only win the German fans in their own language. That’s why she left the German version Love is a strange game writing, which would almost did not even appear after the will of the M-G-M Records German Distributor, the German Distributor of M-G-M Records. One thought that an American Rock ‘N’ Roll-Superstar could sing German, simply for "career self-murder". At the end one agreed on a compromise: the complete first stanza (in the Connies German singing was too incomprehensible) was cut out, and one published the song in a shortened form.

Love is a strange game became Europe’s most successful single of 1960, with numerous prizes, u. a. the Golden Lion of Radio Luxembourg, was excellent. Due to this success, Connie Francis decided to expand their language repertoire. Your US hits took them in German, Italian, Spanish, French, Japanese and Portuguese and brought it in the corresponding countries to numerous top ten and place 1-hits. In addition, songs written specifically in the respective national languages as well as ambitious LP and EP projects in Hebrew, Yiddish, Swedish, Dutch, Greek and Hawaiian language.

The LP repertoire of Connie Francis was basically differed from the song material represented on the singles. While the singles distinguished significantly on commerce, the LPS always the artistic claim was in the foreground. Therefore, your LPS treated so completely different topics such as Z. B. Jewish Traditionals, Country Music, Jazz, Melodies from Broadway Musicals, Portraits of Popular Composers (Z. B. Burt Bacharach) or posts of the music festival in San Remo.

Furthermore, the soundtracks of the four feature films WHERE The Boys Are (1960), Follow the Boys (1963), Looking for Love (1964) and When The Boys Meet The Girls (1965), where Connie Francis participated, on record again. Although her acting – especially her talent to the comedy – was praised by specialist critics such as fans, Connie Francis never saw himself as a serious representative of this genre, which is why they look for their last acting appearance in the television film The Sister and The Savage (1966) jack.

In the mid-1960s – with the beginning of the British invasion in the music scene – the charter sequence of Connie Francis decreased, but by constant stage and TV presence, she remained a sought-after superstar and traveled from an appointment to the other.

From 1958 to 1969 Connie Francis was represented 56 times in the pop charts of the most important music magazine Billboard, including 16 times in the top ten. From 1961, the separate charts were added to the second most important music division Adult Contemporary, in which they could record more numerous hits. She celebrated over 500 charter successes worldwide. After almost 2.000 recorded songs and 35 million recorded records ended Connie Francis in March 1970 after two last German-speaking singles for Polydor (the MGM Records had meant took over) their career, but already took a record again in 1973 (Should I Tie A Yellow Ribbon’s Round the Ole Oak Tree – The Answer) and entered the concert stage a little later.

In the seventies she had to accept a series of fate strikes: she was raped and a aunt and her brother were murdered. For some time, they lost their voice through a medical intervention, which recognized them through further operations. On the other hand, several comeback tests were only moderately successful.

Since the eighties she has suffered from the bipolar syndrome, which led to a suicide attempt, but could be brought under control through consistent lithium treatment. Nevertheless, other comeback tests failed during the 80s.

Since 1989 she is continuously active in the music business. In 1989, the album Where The Hits Are appeared with new recordings of her greatest achievements, in 1995 the live album followed The Return Concert as well as with Love to Buddy, a Buddy Holly Gemeinschemalbum. In 1992, Jive Connie, a medley of her five largest German hits, who were provided with modern dancerythm, in the annual top ten of the German charts.

Since 1990, she gives back live concerts; u. a. In December 2004, she even had a great commitment to Sahara Hotel in Las Vegas after almost thirty-five years ago in Las Vegas, in which she had been a regular guest during the 1960s with its legendary shows. Furthermore, she operates together with her manager Patrick J. Niglio a separate record label Concetta Records, on which you have previously made unpublished studio and live recordings.

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