Connie Francis Memories

by Jan Willem de Gee
Updated: 7-10-02

Editor's note: Jan has posted these messages on the Connie Francis yahoogroups mailing list. I've compiled those messages here.

Subject: *~*Connie Francis*~* CF memories volume XII
Date: 30 Jun 2002

Hello to you all.

As promised here is volume XII of the CF memories. As I already announced it is another UK interview from the past (37 years ago). Hope you all enjoy it.

CF Interview with Barry Chambers on "Teen Scene", BBC Radio, UK, June 1965.
(Recorded by Michael van Reenen)

BC: Why don't we see your name on the charts these days?

CF: Because I am not on them.

BC:What is it about records, I mean you were very big a few years ago?

CF: Well, first of all, it's very difficult to sustain yourself. You see, years ago, an American artist could do a song and because it was an American record it was succesfull in England. Now, in order to become a success for any amount of time in a particular country, you must be there, and spend time and know its songs. I don't know any of the songs in the British charts and being in the States, in order to keep on the hit parade you must be there and know what sounds change every week or month and be on top of it. And you won't unless you live in the States for quite a long time.

BC: But Elvis Presley has never been over here.

CF: Well, Elvis Presley, I think, is the exception to the rule. I think he has sustained himself more....longer, much longer, than any other artist in any country.

BC: I've always had the idea that you could have become the female Elvis Presley, if you hadn't perhaps, come over here so very much. You know we like to see you.

CF: Yeah, I spent too much time here, I guess. But you know, it's a funny thing, I have had a top ten record in Japan now, for three or four years. So everybody's saying "why don't you come to Japan? It would be great. You should do a tour." But I'm afraid to go, because I'm doing great and I don't want to win anything by going there.

BC: Do you, in fact, speak Japanese? I heard you did.

CF: No.

BC: You speak six languages?

CF: Four.

BC: Has your attitude to music changed? I mean are you now concentrating on single records quite so much?

CF: Yes. in the States I do. A single record is just as important to me as it ever was. It is important for any recording artist. For instance, Frank Sinatra doensn't need a single record. He's got pictures and everything else going for him and he's making all kinds of millions of dollars, but he would give anything to have a single record, and attempts every release to have a hit single. I think anybody in the business wants that.

BC: Well over here, we hear that the single record sales are dropping off. Has this, in fact, happened in the States and the L.P. is taking over?

CF: Well, it's happened a lot sooner in the States. It happened five or six years ago. If you sold a quarter of a million records five or six years ago, you might have had a top thirty record. Now you have a top ten record, because album sales have taken over.

BC: Over here, not long ago, we heard a lot about your marriage break up. It was the big news here.

CF: I've had longer engagements than that.

BC: What was it? Was it showbusiness that came between you?

CF: No as a matter of fact, when I was married I didn't work for the four months of my marriage except for two weeks. It was other personal things that I'd rather not talk about.

BC: Well, how hard it is, though, to get on to more general things, to have personal relationships, when you are a teen queen?

CF: Just as easy ast it is for anyone else.

BC: Do you think that publicity like this, like you had about your marriage, influences young people?

CF: No, I don't think so really. I'd like to think that it would. I don't think people are that concerned about your personal life. i think that it doens't have that much effect on the public. I think they buy the product that you are putting out whether it is a record or picture or whatever it is, on the basis of its merits.

BC: Well, Connie, I think they will buy your new one. So let's hear the latetst from Connie Francis.

"My Child" was then played.

********

Jan Willem de Gee
Netherlands,
June 30, 2002

Subject: *~*Connie Francis*~* Here are the CF memories volume XI
Date: 10 Jun 2002

INTERVIEW BETWEEN CONNIE FRANCIS AND KEITH FERDYCE ON 'POP INN',
BBC LIGHT PROGRAMME (UK) JUNE 1965

(RECORDED BY MICHAEL VAN REENEN) (Exact date of interview unknown to me).

K. Connie, it's great to see you on the Pop Inn at last. I think we've missed you on your previous trips here.
C. It's nice to be here.
K. In fact, how many trips have you made to England now? It's quite a lot, isn't it?
C. Well, in the last three years I haven't made any, I think, except for one day, when I was stopping over on my way to someplace else. So it's wonderful to be back. Before that I guess I have made about twenty.
K. Well, in that time, did you get any impressions of anything odd, unusual, different about this country?
C. Between here and the States?
K. Yes.
C. Oh, lots of things. First of all, some of the expressions you use here, are exactly the opposite to those in the States. For instance: if you say "He went over like a bomb", here that's great, but in the States it means "He fell flat on his face". You see exactly the opposite. And some of the expressions I can't repeat! Because in English at home they mean something that's double-entendre, but here they don't mean anything at all. And one other thing that's very unusual here, is the fact that in hotels, when the waiter or the chambermaid knocks on the door, they knock and they come right in. Well, in the States they don't do that! I was very surprised one time you know, because I was in underthings and the waiters came in. I was shocked.
K. I don't suppose he was though?
C. No. I guess he has seen lots of ladies like that.
K. Going on to your music, Connie. You've recorded in so many languages, I've lost count. How do you make it?
C. Well, I record almost every single in five or six languages.
K. You've done a lot of albums too, haven't you, of particular songs of particular countries.
C. I don't want to leave anybody out.
K. And do you find that any particular language is more musical that an other?
C. Yes, Italian and Japanese.
K. Japanese? You astonish me.
C. Yes, Japanese and Italian are so similar that they have exactly the same kind of vowel sounds.
K. You yourself have Italian ancestry, don't you?
C. Yes.
K. Is that anything to do with it, or is it just the language?
C. No, it's just the language. it's very musical.
K. The song you've just recorde is a British composition. Did you make the record here?
C. No, I made the record (" My Child" - Jan) in the States. But the two people who wrote the song are British. They are Vic Lewis and Don Black and they were with me when I recorded the song there.
K. How long are you staying for, this time, Connie?
C. I leave the day after tomorrow.
K. That's a pity. Don't make it another three years, before you come back again, will you?
C. I won't, No.

******(END)*******

(Next time a more interesting BBC-radio interview with Connie from the same visit to the UK).

******

Did you know that the name of the magazine of the fanclub I ran for Connie during the sixties was "Queen of Hearts"? It had the 8x10 picture of Connie number CF-49 on the cover.

******

The German recordings of Connie are all well produced to my opinion. Over the years Connie's pronunciation of the German language got better and better. The words of the songs are mostly simple, yet meaningful I think. I especially love the album "Lass mich bei dir sein". I don't care too much however for the last German recordings at the end of the sixties. Somehow they don't sound so inspired, or are not so attractive, but that is just my opion. The other day (about two weeks ago) I was watching a German movie on the German TV and there was music of Connie in it ("Jive Connie Jive"). I can't remember the title of the movie however. Connie has always been considered as a mega-star in Germany, especially in the sixties. She was always treated with much respect there and when she was leaving her German hotel room, e.g., because she was heading for the airport to leave for the States again, the people of the hotel (chambermaids etc.) would stand up in line and gave her a big round of applause. In the Netherlands she has had four German records that hit the charts: Paradiso - Wenn Du gehst - Barcarole in der Nacht and Napoli. I have seen Connie's TV special "Melodien die die Welt eroberten" on TV in 1966. It was in black and white (no colour yet). Connie looked very radiant at that time. On the album All time international hits Connie sings a small part of Mack the Knife in German. She pronounces oneof the words in the German section not correct (".... und die TRAEGT er im Gesicht..."). It should be pronounced as in "PLAY". During the recording session in London Connie was told she was wrong, but Connie persisted she was right in pronouncing it as in "MAMA" (I think you may have a better example, Christian?). But no Connie, it isn't right. I heard this from someone who attended the session.

More next time folks,

Best,

Jan Willem de Gee
Netherlands,
June 10, 2002.

Subject: *~*Connie Francis*~* Connie Francis memories volume X
Date: 28 Apr 2002

Hello to all of you,

Here are the following CF memories (volume X), as I promised.

I start with some Copa reviews.

**************

Connie was scheduled for a stint at the Copacabana in November 1971, but owing to illness she was only able to appear for four nights. The following extract ( taken from the magazine nr. 9 of the UK CF International Fan club magazine of December 1971/February 1972) however, covers her first performance.

"Connie has class at the Copa: New York.--

You should think that Connie Francis returning to the Copacabana would be an occasion for pure nostalgia - an evening of your favourite Sedaka-Greenfield songs sung by perhaps the foremost female record-seller of all time.

Well, she did sing a few of the old hits at her recent Copa opening (4) but she also did many newer things with so much class and feeling that the nostalgic character of the show was overshadowed by her interpretations of current song.

Connie, who now records for the Ivanhoe label, went through a set which featured insightful readings of many of today's most performed songs. Although it is difficult to get excited at the prospect of hearing anyone do "Something", "Help me make it through the night", "Joy to the world" or Bridge over troubled water" these days, she truly sang these songs in a way that added something to the countless versions already existing.

Her Italian medley and the oldies that she did sneak in ("Mama" and "Where the boys are" ) only added to the delight of the crowd which was moved to a near-unanimous standing ovation after Connie's several encores."

From the same Fan Club magazine:

"Connie thrumps again at the Copa" by Glennise Perkins (a CF fan).

Despite the fact that Connie was not too well on the evening of November 6th 1971, she still went on stage at the Copacabana Night Club.

Her opening number of "Love me tonight" proved that it was going to be a great performance for our number one girl singer.

Between jokes Connie sang many old favourites, including "Who's sorry now", "Exodus", "Al di la" and the one song which always captures audiences - "Mama". She also sang a medley of Jewish favourites, including "Hava negilah" and a selection of Italian favourites. She brought us up to date with songs such as "Something", "My way", "Help me make it through the night", "Joy to the world"/"Put your hand in the hand", "Amazing Grace" and an older song "Those were the days".

Connie certainly gave a great performance and received a wonderfully warm reception.

*****

From: Connie Francis fan Club Bulletin Chapter # 401 (USA 1967)

The Copacabana New York is still talking about the smash SRO (Standing Room Only) two-weeks engagement just colncluded by our talented Connie. it proved to be one of her moste succesful nightclub appearances ever and it will be long remembered by those who were lucky to attend. Connie was just sensational. Here is just a sample of some of her great reviews:

.....Looking spectacular in a feathered gown, the MGM canary trilled "Al di la", You don't have to say you love me", "Winchester cathedral" and the like .....

..... Miss Francis took charge the moment she stepped on the stage.....

.....When she finished her multiple-tuned Gershwin-medley and another lush medley of Italian numbers, you begin to wonder what she has saved for a finale. Then she takes your mind off that with a special material ditty titled "Would you believe it?" and swings back into some of her best-selling hits. At that point you want to meet her family.

Following Connie's smash opening, MGM Records held a cocktail party at the Hotel pierre in celebration of her 10 years in show business.

**********

Connie did a benefit in St. Louis on February 8th, 1967, along with Frank Sintara and Dean Martin, which was shown on three closed circuit television audiences that same evening. (CFFC Bulletin, Chapter # 401, 1967).

**********

MAYN SHTETL BELZ (Mein Shtetele Belz - CF sings Jewish favorites; released October 1960)

Belz - mayn shtetele Belz (Belz, my village Belz)

Mayn hemele, dort vu ich hob (My home where I spent)
Mayne kindershe yorn farbracht. (My childhood.)
Belz, mayn shtelete Belz, (Belz, my village Belz)
In oremen shtibele mit ale (In a poor little cottage)
Kinderlech dort gelacht. (All the children were laughing.)
Yedn shabes fleg ich loyfn dort (Every Shabath I used to go)
Mit der tchine gleych (With my prayer book)
Tsu zitsen unter dem grinem (And sit down under the green tree)
Beymele, leyenen bay dem taych. (And read on the river bank.)
Belz, mayn shtetele Belz, (Belz, my village belz)
Mayn heymele vu ch'hob gehat (My home, where I once had)
Di sheyne chaloymes a sach. (A lot of beautiful dreams.)

SHEYN VI DI L'VONE (Shein vi de Levone - CF sings Jewish favorites, also CF at the Copa, released Jan. 1961)

Sheyn vi di L'vone (Beautiful like the moon)
Lichtik vi di shtern (Shining like the stars)
Fun himl a matone (A gift from heaven )
Bistu mir tsugeschikt. (You were sent to me)
Mayn glik hob ich gevinen (I gained my fortune)
Ven ich hob dich gefinen (When I found you)
Shaynst vi toyzent zinen (You shine like thousand suns)
Host mayn harts baglikt. (You've brought happiness to my heart)
Dayne tseyndelech, vayse perelech (Your teeth like white pearls)
Mit dayne sheyne oygn (Your beautiful eyes,)
Dayne kleydelech, dayne herelech (Your dresses, your hair,)
Host mir tsugetsoygn (Have drawn me to you.)
Sheyn vi di l'vone (Beautiful like the moon)
Lichtik vi di shtern (Shining like the stars)
Fun himl a matone (A gift from heaven)
Bistu mir tsugeschikt. (You were sent to me.)

(Some Yiddish words or the pronunciation of some of the Yiddish words - or how they are written - may differ from country to country, but in general this is the way Connie sings these two songs and you can read their meaning in the English translation).

*****

CONNIE IN GERMANY 1963
By Jan de Gee, president of a Connie Francis Fan Club in Holland.From: Connie Francis Fan Club, 39 Dalebrook Road, Bloomfield, N.J., president Amy C. Parrillo (1963) (Amy almost lived next to Connie and was a penfriend of mine for years - I have pictures of Connie & Amy together - Jan Willem de Gee)

" In 1963 Connie Francis won a popularity poll in Germany of the music magazine "Bravo". 1. Connie Francis: 76,267 votes; 2. Caterina Valente: 70,300 votes; 3. Conny Froboess: 40,041 votes; 4. Heidi Bruehl: 33,147 votes; 5. Mina: 25,082 votes; 6. Nana Mouskouri: 20,145 votes. Other names were: at nr. 8. Helen Shapiro: 14,170 votes and at nr. 12. Brenda lee: 10,126 votes.

Connie Francis has won "Der goldener grosser Otto" (The Gold Grand Otto) award. She won this "Otto" also in 1962. This year she won with the songs "Paradiso" and "Wenn du gehst" (Both for a long period at the top of the hit parade in Germany and Holland).Last year she won with the song "Schoener fremder Mann", the German version of the American "Someone else's boy".

Connie has already a new big double hit in Germany, "Colombino/Barcarole in der Nacht". It's Connie's fifth record that reached number one in the German charts. She will stay at the top in this country."

********

Well, folks that's all for this weekend. Hope you enjoy it. Please take a look at my "CF items for sale" list also. May-be you find something of interest for your collection..

Next week there will be no memories (I am off to Turkey), but the week after that I'll be back with some more nostalgia. Goodbye for now,

Jan Willem de Gee
Netherlands
April 28, 2002

Subject: *~*Connie Francis*~* CF memories volume IX
Date: 10 Apr 2002

Hi all,

These are the memories (volume IX) already for week ending Sat. April 13, since my wife and I will be leaving for a short trip to Italy on Sunday, April 14. We'll be back Friday April 19. Hope you like sharing some more memories with me. Until next time (may-be not yet in the weekend op April 20/21, since I'll be very busy then, but I'll definitely be back with volume X!).

Album reviews.

ALL TIME INTERNATIONAL HITS (UK MGM C 1012/CS 6083) (USA MGM E/SE 4298)
RECORD MAIL (Richard Attenborough) (UK, early 1966).

Popular songstress Connie airs her tonsils upon several well-known international hits of the past few years. Countries she visits in her song trip around the world are France, England, Spain, Israel, America and Hawaii among others. With superb arrangmenets from Henri Rene, Joe Mazzu and Johnny Gregory, Connie takes the wheel as she guides us around the world in song. The best numbers? to my mind they are Spain's "Cuando caliente el sol", France's "Et maintenant" and England's - no the Beatles - "And I love him". So get on the magic carpet and let's take a musical ride with lovely Miss Francis.

BILLBOARD MUSIC WEEK
(Review Panel) (USA 1965)

"All time international hits" is by far one of the most exciting and salable packages in the career of the multi-talented Miss Francis. She performs in English as well as in Greek, French, Spanish, Italian, Portuguese, German and Hebrew. She sparkles on "Milord", "Mack the knife" and "The girl from Ipanema". Well produced by Danny davis. destined for the top of the album-charts.

***** ***** ****** *****

From the Daily Hampshire Gazette of Thursday, febr. 24, 1966 (USA):
PRESENTS TROPHY

Miss Barbara Arrighi of 62 Williston Avenue, Easthampton, who is employed at the White Castle Restaurant in Northampton, recently presented a trophy to miss Connie Francis, recording and entertainment star, on behalf of 20 Connie Francis Fan club presidents at the Latin Casino in Cherry Hill, N.J., where the star was appearing. Miss Arrighi, a long time Connie Francis fan, is head of the local Connie Francis Fan Club.

Miss Arrighi said that the award, entitled "Our Queen of Song", should have also read "Queen of hearts", for "it is true that our 'Italian sweetheart' has captured the hearts of every music lover the world over." She quoted Miss Francis as saying, "I will treasure this award as long as I live".

Miss Arrighi said she has known Miss Francis for five years and in those years has come to know her as a warm, kind, considerate woman who would do anything for a friend. She says that success has not changed Miss Francis. She knew her when she was fighing her way to the top. Now, after 50 million singles and eight gold records, she is still as wonderful and down to earth as she was then.

A couple of days after the presentation miss Arrighi was invented to the home of Miss Francis in Essex Fells, N.J. by her parents, and although she had been there before, her parents greeted Barbara with the charm and friendliness that is theirs.

To know Connie's parents is to understand why Connie is the "great all American girl" she is.

The ultimate thrill for Miss Arrighi was to walk into miss Francis' trophy room and find the award in the centre of a table.

(During the sixties Barbara Arrighi was a pen friend of mine; my name is on this trophy too - Jan)

(Does anybody of you know where Barbara is nowadays?)

*****

CONNIE IN SAN REMO
By Jan de Gee (Connie Francis Journal, Dutch CFFC, April 1966)

In January of 1965, after her hit appearance of four weeks at the fabulous "Sahara Hotel" in Las Vegas, Connie and her parents flew to Italy, where the dark-haired charmer was scheduled to perform at the San Remo Festival.

At that time the Connie Francis-Dick Kanellis divorce was The Big News in Europe. As a result of this Connie couldn't go anywhere without having troops of reporters and photographers around her. Moreover Connie was considered as THE STAR and the Highlight of the festival. Other well-known artists like Petula Clarck, Dusty Springfield and Gene Pitney appeared at the festival, too, and although they were much higher on the hit-single charts, they were not fit to hold a candle to Miss Francis' standard. This was another example of her majesty. Her song at the Festival was "Ho bisogno di vederti" and Connie received an ovation for her dramatic and powerful performance of this Italian song.

During the Festival Connie stayed at the Rocce del Capo Hotel and she was happy to learn that her song became such a potent seller with the Italians. Moreover the whole thing meant a good promotion for her, since music-magazines in Italy, France, Germany, and the Netherlands published interviews and pictures of Connie, taken at San remo.

The beautiful Americann artist could fly home, knowing that she had triumphed once again.

(The sleeve of the CD "Canzone Italiane con Amore" [Polygram South Africa / Conbud 2] shows a black and white picture of Connie singing "Ho bisogno di vederti" at the San Remo Festival; however this song is not included on this CD - Jan).

*****

WHERE THE BOYS ARE / MGM EP 756 (UK)
Because of you / Young at heart / Where the boys are / You made me love you
Liner notes on EP sleeve by Robert Weston (UK 1961)

The Connie Francis success story is history; many thousand words have been written about Connie and all that remains to be said is that her incredible list of hit records lengthens each time a new disc is released.

Connie was delighted when MGM pictures offered her a role in their comedy production "Where the boys are". She had previously ghosted the singing voice of leading actresses in the film "Rock, rock, rock" and "Disc jockey Jamboree", but there was the chance of a singing and acting role. The film reached London in the summer of 1961, and her charming performance must surely set Connie on the road to fame as a film-actress.

The title song of the film, and of this record, was composed by two of Connie's firmest friends, Neil Sedaka and Howard Greenfield, who were also responsible for the first rock 'n' roll song she recorded, "Stupid Cupid". Neil has now also achieved renown as a singer in his own right, while Howie goes from strenght to strenght, writing in collaboration with Neil, Jack Keller and other writers of the young American school.

Connie has made several best-selling LP's of ballads, and on this EP we find three previously un-issued tracks - her beautiful treatment of three well-known American ballads.

The relaxed, philosophiocal "Youg at heart", from the film of the same name, was written in 1954 by jazz bandleader and arranger Johnny Richards, and Carolyn Leigh, who lately has added hit Broadway musicals to her list of achievements.

The flowing and melodious "Because of you" by Arthur Hammerstein and Dudley Wilkinson, was first heard in the dark days of the Second World War, while "You made me love you" by Joe MacCarthy and James V. Monaco, who later penned many other catchy melodies which now fall into the category of evergreens.

Congratulation, Connie, on four more brilliant, sparkling tracks!

Robert Weston

*****

I'd like to thank the people on the list who have reacted on these memories. Please keep doing so! That's all for this week folks!

Until later,

Peace,

Jan Willem de Gee, Netherlands,
April 10, 2002

Subject: *~*Connie Francis*~* CF memories volume VIII
Date: Sun, 7 Apr 2002

Dear fellow Connie fans on the list:

Here are - as promised - some more memories of Connie. This time some memories of her private life. About Connie and the man she never married...

DAILY NEWS, Monday January 9, 1967. (USA)
DATE'S CAR IS STOLEN, SO IS CONNIE'S HEART
By William Travers and Daniel O'Malley.

The theft of a big black-and-grey Cadillac let Cupid out of the trunk for singing star Connie Francis yesterday.

The car, it turned out, is owned by Michael J. Capanegro, lawyer and former Queens assemblyman, who has been romacing the 28-year old Miss Francis since the week before Christmas. Until the theft Saturday night the romance was a private matter.

Last night, as Connie prepared for an appearance at the Nat (King) Cole Memorial Cancer Fund in Lincoln Center, the couple made it official - Connie even admitted that she has taken Mike home to meet her parents,"who don't exactly hate him."

The thief who took the car blew his chance at the big time when he took a $100 TV set from the car and missed $100.000 of Connie's jewelry and clothing in two suitcases in the trunk.

Democrat Capanegro, 36, a former wrestler and singer, who failed to win 1965 reelection to the Assembly, said he bumped into Connie just before Christmas when she was performing at the Eden Roc Hotel in Miami Beach.

Asked whether marriage is on the horizon, Capanegro said, "There is always the possibility of marriage when two people are young". Then he added: "We are definitely keeping company, but what will happen is yet to be seen".

They had met four years ago on a blind date, he said, but had not seen each other since.

Dating for 3 Weeks

Connie and Capanegro, both married and divorced since their first encounter, have been keeping steady company for three weeks, Capanegro said.

The odyssey of the Cadillac began early saturday night when Capangro drove tot Connie's home in Essex Fells, N.J., to pick her up.

At the wheel was Capanegro's chauffeur, John Mayarez of 1479 Bedford Ave., Brooklyn, who at the time was only hours away from becoming Capanegro's ex-chauffer.

Mayarez helped Connie put the two suitcases in the trunk of the telephone-and-televison-equipped car, then drove off in the direction of New York, where she was giving a surprise anniversary party at the Friars Club for two close friends.

When they got to the club, at Lexington Ave., and 49th St., Capanegro told Mayarez to park the car in front of the club and leave the key with the doorman. Connie and her escort went inside for the party.

Mayarez decide he would stop off at his home in Befdford-Stuyvesant, Brooklyn, for a while, according to police of Brooklyn's Grand Ave., station.

Just before midnight, Mayarez parked outside his house. When he came out, the big car was gone. He called the police, who located the auto at 3 A.M., in front of 768 Park Place, only 10 blocks from Mayarez' house. They took the car to the stationhouse. When they looked in the trunk they found the suitcases, packed with diamonds, watches, rings and furs.

Mayarez went to the Friars Club to report the incident to his boss, who immediatly became his ex-boss.

Capanegro, of 32-38 168th St., Flushing, Queens, picked up his car yesterday morning; Connie is expected to pick up her clothes and jewelry sometimes today; Mayarez is on his way back to his native Mexico.

The 5-foot-10 - and handsome - Capanegro is part owner of the Shelton Tower Hotel at 49th St. and Lexington Ave. and the owner of the Forrest Hills Country Club in Queens.

(with the article is a picture of Michael Capanegro back in the driver's seat of his car)

DAILY NEWS, Tuesday, January 10, 1967. (USA)
CONNIE : JUST GOING STEADY WITH MIKE
By Edward Kirkman.

Singer Connie Francis declared yesterday that stories about her whirlwind romance with Queens lawyer Michael capanegro have been whirling a bit too fast.

"I don't want to get married", the petite brunette told reporters at the Police Property Clerk's office at 400 Broome St. "He hasn't asked me yet, and I don't want to as yet."

Connie, wearing a pert blue dress and an upswept hairdo, showed up at the office to pick up $100.000 worth of her jewelry and clothing, which were stolen with Cpanegro's car while the couple were at a party in the Friars Club, 57 E 55th St., late saturday night.

It's All Insured

The jewelry and clothing - including a $1,500 fur jacket - are all insured, Connie said. The gems she was really glad to pick up were her little black book of phone numbers, listing hundreds of show business people and their unlisted numbers, and her act book, which contains the arrangements she uses in her night club acts. Most of the questions asked by reporters centered around reports of her romance with Mike, 36, a former college wrestler, singer, and Democratic Assemblyman.

Connie said, "We have been going steady" since she and Mike met just before Christmas in Miami Beach. "But after all this publicity I don't think he's too thrilled with me."

Didn't Think About Marriage

She said: "Although we're still going steady, we really didn't think about marriage until we read it in the paper."

Connie said she is leaving this week for a six-day engagement in Boston, which will be followed by another six-day appearance in Italy.

(with the article is a picture of Connie and Police Property Clerk Thomas Rosetti, returning Connie's stolen jewelry to her)

*****

DAILY NEWS, March 17, 1967 (USA)
CONNIE FRANCIS SPORTING HEADIN'-FOR-WEDDIN' GEM
(It doens't say who wrote this...)

Connie Francis, who has harvested enough money from her vocie to buy all the jewelry she want, was sporting a blazer of a ring yesterday that somebody else purchased for her.

The 12,5-carat diamond engagement ring was presented to her Wednesday night at a dinner party by the man who she has been steadily dating since Christmas - Michael Capanegro, 37, a former Queens Demoratic Assemblyman , an attorney and part owner of the Shelton Towers Hotel and the Forest Hills Country Club.

A Wedding in ' 67

Both Connie and Mike said that they would be married "before the year is out".

Capanegro said that since they started dating "we have been apart maybe six days."

"I met her in 1963, then we didn't see each other for about three years," he added.

Ever since they resumed the acquaintance last Christmas, he said, they hit it off so "fantastically" that it was "almost an established fact in a month that we would get married."

100G Gem Robbery

Connie, previously married to Las Vegas publicist Dick Kanellis, was revealed to be a close friend of Capanegro last Jan. 7 when his car was stolen with $100.000 worth of her jewelry locked in the trunk. The valuables were recovered.

Capanegro represented the 22d A.D. in Queens from 1959 tot 1965 at which time reapportionment moved his residence out of the district. He said yesterday he would reenter politics to run for the Assembly or a state-wide office.

(with the article is a picture of Connie and Michael; Connie looks very very good and happy - a beauty! - on this one).

*****

That's all for this weeks folks.

Until next time, best from the Netherlands,

Jan Willem de Gee
April 7th, 2002.

Subject: *~*Connie Francis*~* CF Among my souvenirs, volume VII
Date: 31 Mar 2002
Attachment : CONNIEFRANCISAMONGMYSOUVENIRS.doc (47k)

Dear Connie fans on the list,

This time I decided to send something that tells about me becoming a CF fan way back in 1960. Until next week for some more memories... hope you all can appreciate this personal story. Let me know eventually; thank you!

Best from the Netherlands,

Jan Willem de Gee
March 31, 2002.

CONNIE FRANCIS AMONG MY SOUVENIRS

I have many memories of the past and one of the fondest is how I got in touch with the music of a young female rock 'n roll singer from the United States: Connie Francis. My name is Jan Willem de Gee, an (almost) 55 years old male who lives in the Netherlands with his wife and children. My two eldest boys (22 and 19 years) are are working and still living with their parents, and our daughter Thamar (15)and son Jonathan (14) are going to highschool and are of course also still living with their parents.

Now some of you may have read my story in the fanclub magazine of September 1999, when Arlene still ran the club. But Eda asked me to try and write a story for one of the fan magazines she was compiling in 2000. Well, here this article is. In March 2002 I made some alterations.

I thought way back in 1959 Connie Francis was a rarity in the scene, since I actually only knew male rock and roll singers. I liked Elvis, Fabian, the Everly Brothers, Frankie Avalon and Connie Francis. As a youngster ( I was only about 12 years then) I sure went for modern music. But this I had all learned from a cousin of mine, who loved all the above mentioned stars. My parents, especially my father - who did Al Jolson songs on stage in his younger years - were more orientated on the European market at that time and my dad was a fan of Caterina Valente. I also liked Caterina (I still have some of her records), but thought her voice somewhat metallic. Connie's warm voice and choice of songs appealed to me more. Moreover teenagers, like myself, were more attracked to the American market at that time. So when I bought my first record player in 1960 my cousin advised me to choose a special idol. To me it seemed appropriate for a boy to go for a woman. So I have chosen Connie as my idol. I have never had any regrets about this. The first Connie record I bought was "Everybody's somebody's fool", that was in the top 10 in the Netherlands at that time.

From then on I started collecting records of Connie, pictures of her and so on. I also started to contact with people all over the world who were Connie Francis fans. My pen pals were people like Amy Parrillo, Mike Motta, Barbara Arrighi, Charlotte Rife, MaryAnn Baily, Mary Brockman (UK)and Ron Roberts (UK) among others. I am sure I forget to mention a few names. I also contacted with many friends and fans in continantal Europe, mainly in the German speaking countries. Patrick Niglio, one of my friends from the US, visited me in the year 1968 and stayed with me for some days. Here in the Netherlands I had a very good friend by the name of Hein Verleun. We ran a fanclub for Connie and visited each other regularly and then played and discussed about Connie's music and records. Hein went to see Connie in the States in 1970 (he attended the Ed Sullivan Show where she did the Garland medley) and met her at her home in Essex Fells. I am very sorry to have to say that Hein passed away in 1973, due to a deadly disease. I still am in contact with his younger brother and in 1999 I attended his mother's funeral.

These days I still contact Lucas Tuinstra now and then to chat with him about Connie's career. We kept in contact over the last few decades.

I remeber the years of the Connie Francis show on Radio Luxemburg. I used to listen to it every Friday night, when I was already in bed (remeber; I was only 12 or 13 at that time and the show was broadcasted at about 21.30 hrs, and my parents wanted me in bed by that time, so I listened illegally more or less). This was a show presented by Connie herself who had pre-taped several versions in a way that the producer of the show could put in different tracks from Connie's singles, EP's or LP's every week. There was also a Christmas special. Whenever there was a track played from her album "Spanish and Latin American favourites" I remember Connie always saying: "Geoffrey, the downbeat please", referring to her conductor on that album Geoff Love.

Because of Connie, I became more and more interested in music. I already was because my father was an amateur singer and comedian and my grandfather was a amateur musician. Connie's voice appealed to me from the first time I heard it and from what I read about her and from the many, many pictures of her that I saw in the European fan magazines she seems a nice person to me. I think that's important. To me she is a working class heroine. In the Netherlands anyway it was the working class that was attracked to her music. She has been tremendously popular here during the first half of the sixties. "Tenessee Waltz" (being the B-side of "Robot Man" here) has never been in the singles charts here, but got so much airplay, especially on "Labour Vitamines", a radio show for labourers (they requested for the song!), that Polydor decided to include it on her 1979 Dutch TV album "20 All Time Greatest Hits",. I think this idea came from Lucas. This album made the top 20 in the album charts in the Netherlands that year. I helped Pydor to promote this album by giving them information about Connie from the earlier years.

I developed quite a general taste in music. Music that goes to the heart is what I like most. And then is doesn't matter if it is rock, pop or classic. I enjoy opera arias as much as rock and roll songs, as long as they are quality. Connie's music goes to the heart. But did you hear about Bryn Terfel, for instance? He is a young Welshman and a classical singer, a bass-baritone, what a voice! But he sings from the heart, as Connie does. You should try his CD "If ever I would leave you" with musical hit-songs of Alan Jay Lerner. And what about the CD "American Dreamer - songs of Stephen Foster" by US baritone Thomas Hampson!?!

Through Connie I learned to appreciate foreign music. Especially the Italian music. May-be that's why I leanerd to love Opera at last! In general I am a lover of the Italian music. I admire Andrea Bocelli. Although I am not really sure, I pretend that Connie's Italian music is my favourite music.

Through Connie's Jewish album I really learned to understand the Yiddish language and bought me several Jewish albums by other singers and musicians. (Connie should do a second Jewish album!). Because of Connie I wanted to sing myself and now I am a singer in a choir and we sing several Jewish songs and I can help the other members in the choir to pronounce the Yiddish words correctly (we also do Hebrew songs, but that's a quite different and difficult language). In my childhood we had a Jewish neigbour, would actually thought Connie was Jewish, because of her Jewish album.

And also through Connie's Latin records I got interested in the Spanish language, that I can understand quite good now. I speak fluently German, so Connie's German career never had any secrets for me...

Somehow, when it comes to songs that are sung by many entertainers, Connie's version always seems to be the best or the most attractive. Ast least, that's my opinion.

I have always been a loyal Connie fan and when CD's were introduced I began collecting her CD's. I always have been very sorry that she hasn't been recording for such a long time. So you can imagine how glad I was with her CD's of Buddy Holly songs and the Live Concert at Trump's Castle a few years ago. I have never been so lucky as to meet her, but who knows...someday?

Through Connie I gained many friends and interests. She is also the cause of my two trips to the United States( 1973 when I attended two concerts of Elvis in Las Vegas, and 1997 when I could buy Connie's CD "Where the Boys are" with her music from all of her movies in a shop in San Fransisco), where I learned many things about your amazing continent. So you see Connie really affected my life. Hurrahh for Connie! May God bless and keep her.

Jan Willem de Gee, the Netherlands.
February 2000.
March 2002.

Subject: *~*Connie Francis*~* CF Memories volume VI
Date: March 25, 2002

Hello to you all,

As a treasure-seeker I have found so many memories of Connie Francis among my souvenirs, that I'll probably be able to entertain you all with them this whole year. Here we go again:

**********

(Interview)

This is an article that was published in 1960 in a British rock and roll-weekly. It is one of the oldest things I found.

New Musical Express (UK), Friday, May 13, 1960.
CONNIE FRANCIS SAYS POP IS HEALTHY!
by Derek Johnson

"Encouraging, healthy and gratifying!" That's the Connie Francis verdict on today's pop music scene - the picture she paints of current trends in Tin Pan Alley. For she believes that many of the present hit records simply wouldn't have sold a couple of years ago, but since then, there's been a distinct broadening of tastes in pop music appreciation.

"People are for ever claiming that rock is dead" she told me as we took tea in her London hotel. "But something far more pleasing and significant has happened. Rock is no longer a novelty - it's been completely accepted. And in years to come, future generations will regard it as the pop music of our day."

Connie maintains that this infiltration of rock into pops has given the public a much wider scope of enjoyment. She believes for instance that songs such as "Mack the knife" and "Green fields" would never have sold in quantity two years ago - because the teenage fans were not then prepared to accept anything other than basic beat.

"I could certainly never have recorded a song like "Mama" in those days, she assured me. "Quite apart from it being a ballad, it happens also to be over four minutes long - and such a thing was unheard of a year or two back"

It's to Connie's credit and advantage that she is always prepared to adapt her output to meet the demand of the times.

"I shall always sing whatever is popular at the moment" she declared. "For the simple reason that I want to do my utmost to please the people who buy the discs." After giving me the assurance that she would never neglect the youngsters, Connie advanced this intriguing theory: Most recording artists make the mistake of securing a few hit records and then abandoning the teenagers. This has happened to every major American disc star in the last ten years."

I tackled Connie on the subject of why she cuts many of her albums in this country, as opposed to in the American studios. "Let me put in this way" she explained." The States excel in rock backings. - over here they just don't seem to have the feel or the drive. But you have to go out of America to achieve the best and most effective string sound. I can listen to twelve albums with only one British recording amongst them - and I can pick out the solitary British disc purely by means of its string sounds. It's a particular sort of quality you get here, which is nothing to do with the amount of musicians used."

So Connie has crossed the Atlantic once more, this time to record three albums (of Spanish, Jewish and Italian songs), with two further LP's up her sleeve. In the meantime she's basking in the reflected glory of her "Italian Favourites" album,which was wxed in Britain last summer, and is now high in the American charts.

"I've recorded several albums in the States", she laughed. "But I had to come to this country to make my first seller. And, of course, it was from this LP that we took my "Mama" single hit.

Connie expressed the opinion that the Italian LP has done her probably more good in America than any other single factor - because it is reaching a far wider public than her usual hit parade discs. In other words, adults are buying it as well as teenagers.

I asked Connie about the sudden last-minute change which dropped "Teddy" as her coupling with "Mama", and substituted "Robot Man". The disc is released today (Friday) and viewers heard Connie perform both numbers on last Sunday"s Palladium TV show. "Well, "Teddy" is a number similar to "Frankie" - and you'll remember that, although "Frankie" was a hit in the States, it didn't mean much here. We felt we'd rather give Britain a number in the "Stupid Cupid" idiom - and just at that opportune moment, along came "Robot Man".We're very excited about this song. In fact I can tell you that it wouild have been on the reverse side of "mama" in America, if we'd known about it in time."

But it seemed to me that Connie was even more enthusiastic about her follow-up disc, which has just been released in the States and which will ultimately find its outlet here. Titled "Everybody's somebody's fool", it's selling like wildfire there, and promises to be one of her biggest successes.

As Connie is so completely in touch with the present-day American scene, I asked her to tip one or two up-and-coming names which she considered were determined for wider recognition. "So far as the boys are concerned, watch for Bobby Rydell, Jackie Wilson and Neil Sedaka. The disc fans are already very familiar with them, but I think their reputation is bound to expand beyond the limitations of the hit parade. As for the girls, the same things goes for young Brenda Lee."

Connie herself is widening her scope at the moment, as she negotiates for a major film role in Joe Pasternak's "Where the boys are". All that remains is for a couple of script alterations to be settled, and the green light will be given. It will provide Connie with a strong dramatic role - plus the opportunity to showcase a couple of songs.

Marriage?

"What's the position with you personally, Connie?" I asked her. "Any sign of marriage yet?" - and the young singer put down her teacup and burst into laughter!

"Oh, my goodness, no." she chuckled. "But don't worry - I still have a few years before I finish up on the shelf".

Connie became more serious. "Actually I wish I had more time to date" she said wistfully. "But I feel that my career is at the stage where I must devote one hundred percent of my time to it. I don't mind to much because I love my work."

It seems that her legion of fans also love her work - judging by the amount of letters she receives. These average about 5000 letters per week, and it appeared to me that a fair proportion of this amount was stacked in her hotel room!

Indeed, they very nearly resulted in disaster. For Connie and her fan club secretary were so busy trying to reply to them that they failed to notice the televison set go up in smoke during the Royal Wedding. Fortunately they spotted it just as it was about to burst into flames!

(END)

**********

New Record Mirror, single review (1962) UK
'EITHER HALF IS A SELLER FOR CONNIE FRANCIS'
Connie Francis : "Don't break the heart that loves you" / "Ain't it better baby?" (MGM 1157)

CONNIE FRANCIS duets with herself for the slow rocking ballad "Don't break the heart that loves you" and makes a commercial success of the sentimental lyric. Narrative break may hold back some sales ont his side of the Atlantic, but for the most part it's another carefully tailored production. Don Costa directs the orchestra, using plenty of weeping strings and cling-cling piano. Stan Applebaum picks up the baton for the beefier other side. "Ain't that better baby" is a polished twister that should be right in the current mood. Connie pipes it out neatly. A seller either half up.

**********

Single review

"Strip" - Belgium, March 27, 1965.
CONNIE FRANCIS; HO BISOGNO DI VEDERTI / UNA COSA CHE NON SAI (MGM 61.106)

Acoording to us the most commercial hit of the whole San Remo series. "Ho bisgno di vederti" in a masterly Italian way interpreted by Connie Francis. From weeping changing over to elated and beseeching. An art Connie Francis is very familiar with. She performs this clever song brilliantly in every nuance.

**********

That's all for this week folks, till next week.

Best wishes from the Netherlands,

Jan Willem de Gee
March 25, 2002

Subject: *~*Connie Francis*~* CF memories vol. V
Date: 17 Mar 2002

Hello all (I hope this reaches you).
Here are some more memories of the past:

(1965)
UK: Richard Attenborough listens to the latest LP's EMI's Record Mail, UK, may 1965.

GREAT COUNTRY FAVOURITES, CONNIE FRANCIS & HANK WILLIAMS JR. MGM C/CS 1003

"On this album MGM has teamed up its two biggest selling artists, Connie Francis and Hand Williams jr. Hank, of course, has earned a great deal of fame in relatively short time, since he has apparantly inherited all the talent that his father possessed, and is a noted country & western singer. Connie has gained applause in every facet of music to which she has applied herself, and in the country field she has excelled herself.

The tunes on this LP have all been favourites with country fans for some time - some of them have even reached the pop charts, such as "Walk on by", the Leroy Van Dyke hit, "Singing the blues", a smash for Guy Mitchell, "Wolverton Mountain" which established Claude King and "Please help me I'm falling", the Hank Locklin hit. Hank Locklin also wrote "Send me the pillow that you dream on", another track that Hank and Connie handle brilliantly. Their voices combine with tremendous effect, far better than one would expect in the case of two prominent solo artists, and their harmonies are good enough to sound reminiscent of Geroge Jones and Melba Montgomery, which is no small praise.

The backing on these tracks is outstanding, and obviously features some of the top sessioneers of the country and western field. It consists of the usual finger-style guitar and banjo, in addition to some good fiddle work from somebody".

*****

(1963)
UK: Richard Attenborough listens to the latest LP's.
EMI's Record Mail (UK 1963)
'FOLLOW THE BOYS' CONNIE FRANCIS / MGM C/CS

"Leroy Holmes has arranged this set and he also supplies the orchestral backing. He has created a wonderful atmosphere for Connie to work in - the whole album suggests all the exoticism of the sun-drenched Riviera, which is where the film was shot.

The title song, which is rapidily heading for a Gold disc in the States, is undoubtedly the most commercial number on the album, but I think that Connie is at her best on some of the less commercial stuff - "Italian Lullaby" for example, is an enchanting little number with loads of appeal.

However, if it's the bouncy, zestful, vivacious Connie Francis that you prefer, then listen to "In your arms" and what I thought was one of the highlights of the film, "Tonight's my night". "

*****

(1963)
UK: Richard Attenborough listens to the latest LP's.
EMI's Record Mail (UK, early 1963)
CONNIE FRANCIS SINGS MODERN ITALIAN HITS (MGM C/CS 930)

"Albums such as this one usually have limited appeal, for the vast majority of record buyers in this country (UK) are not familiar with the Italian language. The question this set poses is: does Connie Francis have the "feel" which is neccessary to conquer any language barrier in her approach to the songs on this LP? I think the answer can be termed in the affirmative with reservations - the reservations being that on many of the tracks she resorts to the use of her own language in order to get full meaning out of the songs. However, this is no criticism as it adds to, rather than detracts from, the appeal of the songs in question.

At one time or another, all these songs have been very popular - one could almost call them "Italian standards". "Al di la" is one of those heartfelt songs Connie does so well, and "Quando, quando..." is a releaxed ballad sung with strings and piano accompaniment. "Nessuno al mondo" is a plaintive number reminiscent of "Where the boys are", and of course Connie includes those two famous Italian hits "Romantica" and "Come prima". "Arriverdeci" begins with a short monlogue in English before she launches into another emotional ballad.

Sweeping strings and the occasional use of mandolins add to the Venetian effect of the album".

*****

(1963)
UK, EMI's Record Mail.
Single review. (1963)
CONNIE FRANCIS: Follow the boys / Tonight's my night (MGM 1193)

"Both these tunes come from Connie's new film, named in the first mentioned. It's a rather slow, soulful performance, telling of a girl in search of love - which she knows she'll find if she follows the boys long enough. A fine, full backing supports the Francis voice. She's in great form on this one.

The beat is Latin and the voicing is doubled up with Connie singing with herself on the happy item on the other side."

*****

That's all for this week folks,

Best from the Netherlands,

Jan Willem de Gee
March 17, 2002

Subject: *~*Connie Francis*~* CF Memories volume VI
Date: 25 Mar 2002

Hello to you all,

As a treasure-seeker I have found so many memories of Connie Francis among my souvenirs, that I'll probably be able to entertain you all with them this whole year. Here we go again:

*****

(Interview)

This is an article that was published in 1960 in a British rock and roll-weekly. It is one of the oldest things I found.

New Musical Express (UK), Friday, May 13, 1960.
CONNIE FRANCIS SAYS POP IS HEALTHY! by Derek Johnson.

"Encouraging, healthy and gratifying!"

That's the Connie Francis verdict on today's pop music scene - the picture she paints of current trends in Tin Pan Alley. For she believes that many of the present hit records simply wouldn't have sold a couple of years ago, but since then, there's been a distinct broadening of tastes in pop music appreciation.

It's to Connie's credit and advantage that she is always prepared to adapt her output to meet the demand of the times.

"I've recorded several albums in the States", she laughed. "But I had to come to this country to make my first seller. And, of course, it was from this LP that we took my "Mama" single hit.

"Well, "Teddy" is a number similar to "Frankie" - and you'll remember that, although "Frankie" was a hit in the States, it didn't mean much here. We felt we'd rather give Britain a number in the "Stupid Cupid" idiom - and just at that opportune moment, along came "Robot Man".We're very excited about this song. In fact I can tell you that it wouild have been on the reverse side of "mama" in America, if we'd known about it in time."

As Connie is so completely in touch with the present-day American scene, I asked her to tip one or two up-and-coming names which she considered were determined for wider recognition.

"So far as the boys are concerned, watch for Bobby Rydell, Jackie Wilson and Neil Sedaka. The disc fans are already very familiar with them, but I think their reputation is bound to expand beyond the limitations of the hit parade. As for the girls, the same things goes for young Brenda Lee."

Marriage?

"What's the position with you personally, Connie?" I asked her. "Any sign of marriage yet?" - and the young singer put down her teacup and burst into laughter!

"Oh, my goodness, no." she chuckled. "But don't worry - I still have a few years before I finish up on the shelf".

(END)*****

New Record Mirror, single review (1962) UK
'EITHER HALF IS A SELLER FOR CONNIE FRANCIS'
Connie Francis : "Don't break the heart that loves you" / "Ain't it better baby?" (MGM 1157)

*****

Single review
"Strip" - Belgium, March 27, 1965.
CONNIE FRANCIS; HO BISOGNO DI VEDERTI / UNA COSA CHE NON SAI (MGM 61.106)

According to us the most commercial hit of the whole San Remo series. "Ho bisgno di vederti" in a masterly Italian way interpreted by Connie Francis. From weeping changing over to elated and beseeching. An art Connie Francis is very familiar with. She performs this clever song brilliantly in every nuance.

*****

That's all for this week folks, till next week.

Best wishes from the Netherlands,

Jan Willem de Gee
March 25, 2002.

Subject: *~*Connie Francis*~* Memories, vol. IV
Date: 10 Mar 2002

Hi folks, here we go again:

(1963)
UK review 1963 (further data unknown to me)
CONNIE FRANCIS ; If my pillow could talk / Lollipop lips (MGM 1202)

"Piano and clapping hands introduce the latest from Connie and this should take her right back into the Top Ten. Tune and arrangement are breezy enough, but the lyric is sad and wistful. If Connie's pillow could talk it would tell her boyfriend about all the sleepless nights she's had. Organ comes in half-way through and Connie sings with herself in a style reminiscent of some of her earlier hits."

****

(1962)
UK review december 1962 from DISC
Connie Francis: I'm gonna be warm this winter / Pretty little baby (MGM 1185)

"Connie keeps to the up-tempo and you'll go twisting with her to keep warm this winter, all right. Double tracking on voice and orchestra lays down and infectious beat. A first-rate disc for parties around this time of the year - and early next year too. Miss Francis is in happy romantic voice as she hands this one out. Some good instrumental moments, too, will pleas the dancers. "Pretty little baby" on the other side has a quieter but no less happier rythm. Connie goes into the Latin field for this pleasant ballad, and there will be many individual sales for this half. In fact, with these contrasting dance rythms the disc may become a double header."

*****

(1966)
USA album review BILLBOARD REVIEW PANEL (1963)
"Live at the Sahara in Las Vegas" (MGM E/SE 4411)

"The excitement and creativity behind the exceptional SRO Francis nightclub act is captured on this disk recorded live during her performance in Las Vegas. Her patter, her moods, and delivery are captivating. Her firey version of "La Bamba" is among the best. On the ballad side her moving standby "Mama" is nothing short of sensational. "Sunrise, sunset" is another hit. "

*****

(August 27th, 1966)
Billboard review.
SO NICE (Summer Samba) CONNIE FRANCIS / MGM 13578; Johnny Mathis MERCURY 72610.

"THE INSTRUMENTAL CHART CLIMBER BY WALTER WANDERLY IS GIVEN TWO STRONG VOCAL TEATMENTS BY TWO TOP STARS. THE FRANCIS VERSION HAS A LITTLE OF THE FLAVOUR OF SINATRA'S "STRANGERS IN THE NIGHT", WHILE THE MATHIS VERSION IS A WARM, LUSH TREATMENT. BOTH SHOULD PROVE CHART CONTENDERS".

*****

(1965)
UK album review NEW RECORD MIRROR
Connie Francis ALL TIME INTERNATIONAL FAVOURITES (MGM C 1012)

"This is a good album from Connie. She specialises in singing tunes from other lands, but this album somewhat of a mixture, is very effective. Her voice is clear and not at all whiny and her version of "And I love him" is beautiful. Other goodies on here include a dramatic but not overpowering "What now my love" and a crisp "Milord". Plenty of other English and European favourites here." (Four Stars).

*****

(196?)
UK EP review from RECORD MAIL
CONNIE'S AMERICAN HITS / MGM EP 769 Hollywood / No One / When the boy in your arms / Dreamboat

"This quartet of Connie's American top-sellers has never been released in this country. They will be welcomed by her many fans, however, for they are typically top-class material. it was particularly interesting to hear "When the boy in your arms" , for this is her version of the song which was such a resounding success here for Cliff Richard. John D. Loudermilk gets composer credits for the lusty, rocking "Hollywood" and the moody beater "Dreamboat". "No one" is a fine showcase for Connie's plaintive ballad style."

*****

(1966) USA
Billboard review (Oct 15, 1966)
CONNIE FRANCIS - SPANISH NIGHTS AND YOU - MGM 13610

"Intriguing rhythmic ballad has the ingredients of the Martino winner "Spanish eyes". Top Francis performance."

*****

That's all for this weeks, folks, until next time.

Best from the Netherlands,

Jan Willem de Gee
March 10, 2002.

Subject: *~*Connie Francis*~* Some more memories
Date: 3 Mar 2002

Hi all,

Here's for some more CF memories! Please let me know if you appreciate this

REVIEWS

(1966)
(Source: Variety)
Congo Room, Hotel Sahara, Las Vegas,
November 8-December 11, 1966.

" Stunning Connie Francis, yummy as a wedding cake icing in glitter-studded white lace evening pajamas, makes it a perfect evening at the Sahara.

In an entirely new program, with the exception of her heart-wrenching "Mama", the top ranking femme singing star enchants with medleys of rock and roll ditties, a wow batch of bossa-novas, a tuneful salute tot George Gerschwin compositions and a trio of sock show tunes. Intersperesed are Connie's pilse-hopping version of "What the world needs now", "Witchcraft" and her thrilling "The impossible dream" closer.

A witty gal, with a cute way with a comedy line, ahe tosses in topical comments plus a funny bit on the strange names of musical groups, and even stranger titles of their hit tunes, in Variety's current best-selling charts.

There is no faulting Connie Francis and her spine-tingling way with a song -...Joe Mazzu is her musical conductor."

*****

(1967)
NITERY REVIEWS - (Daily) Variety, Fri. April 21, 1967.
Sahara, Las Vegas.

"Las vegas - April 20.- In her current stand, Connie Francis joyfully tells of her forthcoming marriage, and it's possible that romace has given her more animation and more flair for comedy than she's ever had.

She jumps on the "Cabaret" and "Winchester Cathedral" bandwagons for her two first numbers, and pleasantly sells a songalog with includes "You don't have to say you love me" , "Mas que nada" and her trademark "Mama".

She also does an amusing novelty, "Would you believe it?", in which she explains why the entire world is jewish. She salutes Broadway's "Mame" and "Dolly", bowing off with a fine "Born free". Joe Mazzu conducts the Louis Basil orchestra (21) for Miss Francis."

*****

(1961)
Album Review
NEW MUSICAL EXPRESS (UK)
Connie Francis sings "Never on sunday" and other title songs from m.p. (MGM)

"And a great job she makes of them, too! Connie gives a dramatic intensity and a clipped precision to 12 famous theme songs from films, and thorughout there's a country-and-western sound about her singing and the accompaniment by the Jordanaires (enlarged into mixed-choir size) and Cliff Parman's beaty ochestra. Connie injects life into the chirpy, cheeky "Never on sunday" and uses her considerable vocal range well in "Three coins in the fountain", High noon" and "Moulin rouge". She is more tender in "Tammy" and very carefree in the Latin-American "Anna". Another hit l.p. for Miss Francis."

*****

(1962)
Single review
UK - December 1962
Richard Attenborough RECORD MAIL (E.M.I.)
Connie Francis: I'm gonna be warm this winter / Pretty little baby (MGM 1185)

"Connie has found the right way to beat the cold on these long winter days and nights...she's got herself a boy-friend.Rhytmically, it's a twist, with a nice, uncluttered accompaniment with Connie in top vocal form. Number starts slow, but it is not long before we're really moving through one of her finest sides.

Rather a cute one on the flip too, concerned with puppy love. It's slower than the topper. Very nice."

*****

(1966)
POP SPOTLIGHT (A BILLBOARD REVIEW) usa
Album review

"Movie greats of the 60's" - Connie Francis (MGM E/SE 4382) "In a well flavoured program of motion picture hit tunes of the 60's, Miss Francis has a winner in these exceptional interpretations. Her swing treatment freshens "Call me irresponsible" and her sensitive feel for "I will wait for you" is well done. "Forget domani" with a bright arrangment by Don Costa is a stand-out."

*****

(1966)
Album review
NEW RECORD MIRROR - UK (NOV. 12TH, 1966)
(Norman Jopling / Peter Jones) "MOVIE GREATS OF THE 60'S" - Connie Francis

"Connie's latching on these tunes many of which are some of the best written today, was a shrewd idea. She sings delicately, or when required quite powerful, through tunes like "Strangers in the night" and "Somewhere my love". All of the songs are familiar. Despite this being about her millionth l.p., she still churns them out good."

*****

That's all for now folks!

Jan Willem de Gee
The Netherlands
March 3rd, 2002.

Subject: *~*Connie Francis*~* Memories are made of this (or: "of hits"...)
Date: 24 Feb 2002

Hello everybody!

Here for some other memories again:

(1967)
BILLBOARD REVIEW PANEL

"Happiness / Connie Francis on Broadway today" (MGM E/SE 4472) "Connie Francis has gone to the musical theater for her repertoire here, and the songs, which are all of recent vintage are as substantial as the singer. "Happiness" is the key, and sets the note for the bright songs that follow". **

(1965)
BILLBOARD REVIEW PANEL

"Connie Francis sings For Mama" (MGM E/SE 4294) "Based on her recent single successes "For Mama" and "Whose heart are you breaking tonight" This package contains an additional 10 tunes performed in the familiar Francis style. "No one ever sends me roses" has single hit possibilities. Other original material contained is well performed and arranged. Another winning LP." **

(1962)
BILLBOARD REVIEW PANEL
"Do the Twist" - Connie Francis (MGM E/SE 4022)
(A Billboard Pick)

"Connie Francis latches on to the Twist with a mighty potent album that contains a flock of strong tracks. All but one of the bands is done in either an up or medium Twist tempo with Connie calling out the lyrics in robust terms. The ork is a well rehearsed and stomping crew, while the lass is backed on many of the tunes by vocal chorus. Among the best bands are "Teach me how to twist", "Johny darling", "Mommy your daughter is falling in love", "Kiss 'n Twist" (a tarantella) and "Hey ring-a-ding.". **

(1967)
Concert Review (exact source unknown to me, a paper clipping from some US journal, sent to me by a fellow US Connie fan)
COCOANUT GROVE, L.A., Hollywood, Sept. 21, 1967.
Connie Francis , Dick Stabile Orch.

"Hard to believe, but apparantly true, that in a decade or so of p.a. and wax prominence, Connie Francis had not played a local in-person run. Oversight has been corrected by David Schine, Ambassador topper, and Miss Francis bids fair to do good seasonal bizz over the next two weeks.

Gowned in a smart-looking white, which makes a neat contrast with her long, dark italian tresses, Miss Francis charmed a big preem crowd with nearly an hour of versitale vocalizing. Her distinctive vocal trademarks - nicely controlled belting, well-reined vibrato, clear diction an certain pitch - enlivered a mix songalog which included pops and standards.

The outstanding arrangments by pianist-conductor Joe Mazzu, executed in top flight fashion by Dick Stabile's house band (augmented with six strings) wre in proper balance, neither failing nor overpowering Miss Francis. Drummer Bobby Grasso is the keystone to band's solid sound.

Chirper's patter, emphasizing her Italian ancestry and her four Metro programmers, is easy to take. She moves about the stage with ease, adding physical grace to her singing poise and strong dramatic intentions. Beside tributing conductor and drummer, Miss Francis noted her longtime manager, George Scheck, who has guided her career since the days of "Who's sorry now", her first wax sensation and "the song that got me out of Newark".

Use of "Cabaret" as opener was showmanly, ditto the order of tunes, through the snazzy "Exodus" and "More" encore wrapup. Gerschwin and Italo medleys broke up singles, of which "Born free" and "Free again" drew hottest mitts.

Room was very uncomfortable at first, and Miss Francis took therap for it, saying she looses her voice when airconditioners run. But with consideration for the crowd, she told management to turn on the blowers.

Terp sets were up to usual high standars and Stabile's overture was a good uptempo "Love for sale". Next starting Oct.2: Eddy Arnold. Murf. **

(1967)
New Musical Express (UK) review
Connie Francis: "Time alone will tell" (Non pensare a me) / "Born free" (MGM 1336)

"This year's San Remo winner with new English lyrics, also recorded by Malcolm Roberts. It's a beautiful ballad with typical Continental intensity and drama. Ideally suited to Connie Francis, who emotes with warmth and expression, backed by a lush orchestral and choir. Cosy, caressing.

Flip: Matt Monroe's speciality and an Academy award winner, this also gets a wonderfully expressive treatment. Two great songs make this disc real value for money.

*****

(Next time more reviews, among them one from 1966 of a Congo Room concert, Las Vegas.)

Is anybody aware of the following(?):

There is a Billboard publication, a book, published in 1989 (first printing). ISBN-0-8230-7608-3. (Simultaneaously published in the UK by Guinness books). The book is called ROCK MOVERS AND SHAKERS, Edited by Barry Lazell (with Dafydd Ress & Luke Crampton), "An A to Z of the People Who Made Rock Happen". "Fact-filled career chronologies of all the major artists, bands, singers, players, movers and shakers who made music rock". On the cover of the book are 12 (front page) and 14 (back page) cartoon drawings.

One of the 12 on the front cover is an illustration of CONNIE (By the way: a very nice one!).She is there together with Frankie Avalon, Chuck Berry, Bob Dylan, Marvin Gaye, Whitney Houston, Frank Zappa, Cindy Lauper, Michael Jackson, Madonna, Everly Brothers, Bruce Springsteen, Tina Turner, Roy Orbison and others. Connie Francis is on the pages 193-194 and the boigraphy runs from 1955 tot 1984 (publishing of her book "Who's sorry now").

May this is overlooked by the R&RHall of Fame?

Bye for now,

Jan Willem de Gee
The Netherlands,
Febr. 24, 2002.

Subject: Re: *~*Connie Francis*~* Connie Country

To all Connie friends & fans on the list,

As promised here comes some old stuff about Connie. I am a fan of Connie since 1960, have been a member of numerous fanclubs over the years and ran one myself during the first half of the sixties. When I looked into my (huge) Connie box this saturday many fond meories came to me.A smile, a tear, years (too fast) gone by. I started as a Connie fan when I was 12 years old. I am 54 now. My major disappointment is that I have never been able to see her perform live. I intend to send some memories to you all, every weekend. Hope you like them.; please let me know!

All the best from the Netherlands (Holland)

Jan Willem de Gee
Febr. 16, 2002.

Here were go: (some record reviews & chart information).

1960. California Jewish Press (Calif. USA)
"Hollywood Column" by Barney Glazier.
"Connie Francis sings Jewish Favorites" (MGM).

This Italian gal from Bloomfield, NJ, sings "My yiddishe Momme", "Yossel, Yossel" and others with an impeccable Yiddism."

* 1961
Limelight (Hollywood, Calif. USA)
"Limelight's Platter Previews" by Len Simpson.

"Never on sunday".
Connie Francis (MGM)

Connie gives forth with her best (most of the are) album to date in a fine collection of film tunes. Album title number is augmented with such as "High Noon", "Young at heart", "Around the world", "April love", "Three coins in the fountain", "Tammy" "Picnic" and all the rest. This well could be Connie's biggest seller. "

* 1963
Richard Attenborough, "Record Mail", London (UK)

"Follow the boys", the album. "Leroy Holmes has arranged this set, and he aslo supplies the orchestral backing. He has created a wonderful atmosphere for Connie to work in - the whole album suggests all the exoticism of the sun-drenched Riviera, which was where the film was shot".

********

1962
New record Mirror, UK.
"I'm gonna be warm this winter/Pretty little baby" MGM 1185
(single).

"Slow intro for the multi-tracked ditty by Connie. It moves along at a fast pace, and was given the thumbs up by Juke Box Jury. It's a rock number with plenty of heavy backing work from the group. A femme chorus helps things along, and Connie's singing is good. This one will go down well for the Juke's as well as putting her back on the right track. Organ starts off the flip as Connie sings the medium tempo beat number aided again by a femme chorus. Not as heavy as side one, and very pleasant and tuneful. A good flip. Four bells. Top twenty tip.

*********

1966
Philippines, chart positions.
"Wishing it was you" - Connie Francis.
1966, January 1: nr. 1;
1966, January 8: nr. 1;
1966, January 15: nr. 1.
(source: Billboard, USA)

**********

1967, Billboard (USA).
Regional (Milwaukee) breakout: My heart cries for you, Connie Francis MGM
13733. August 26, 1967.

**********

1965, Billboard (USA)
Boston charts:
week ending Sep. 25, 1965:
nr. 30 : Roundabout, Connie Francis, MGM 13389

*********

1960
The Netherlands. Top 80 of 1960 (source: TROS Kompas, a Radio/TV Guide).
(Just a selection:)
at number 1: Milord, Edith Piaf;
at number 3: Oh Carol, Neil Sedaka;
at number 10: Till I kissed you, Everly Brothers;
at number 15: It's now or never, Elvis Presley
at number 19: Everybody's somebody's fool, CONNIE FRANCIS;
at number 22: Be my guest, Fats Domino;
at number 51: I'm sorry, Brenda Lee.
at number 74: Among my souvenirs, CONNIE FRANCIS.

*********

(1967)
Billboard Pop Special Merit, USA (1967)
GRANDES EXITOS DEL CINE DE LOS ANOS 60 -

Connie Francis. "This fascinating entertaining Connie Francis album presents the songstress in ten of the top movie songs of the 60's. But, while the orchestrations are pop and Miss Francis' style is its appealing self, the tunes are sung in Spanish. And the Spanish is good, giving this LP appeal in Latin as well as regular pop markets. Spanish versions of "Strangers in the night" and "Somewhere my love" among others could make for interesting programming."

**********

(1967)
New record Mirror, UK (1967).
LOVE ITALIAN STYLE -

Connie Francis. Connie has made about 50 albums for MGM - this is the first one under the new independant label. It's in typical Fancis' style - good singing, lush backings, and always something different about the choice of material. Although this may well sell in Soho (regional breakout, Greek Street!), it'll sell well everywhere OK. Come back to "Stupid Cupid" though...".

**********

Disc, UK, (1961)
'FOLK SET IS ONE OF CONNIE'S BEST'.
Connie Francis sings folk song favorites" (MGM)

"This set of American folk favourites is one of the best albums Connie's done for some time. She has selected a useful proportion of comparatively unknown songs to sprinkle through familiar items like "Oh Suzanna" and "Clementine". Their interest is heightened by the fact that several came from England originally. Connie puts the songs across with sympathy and insight into the meaning of their lyrics, wheter sad or gay. Cliff Parman's arrangments and orchestrations and The Jordanaires vocal team provide ideal setting for the LP."

Subject: *~*Connie Francis*~* Memories are made of this (or: "of hits"...)
Date: 24 Feb 2002

Hello everybody!

Here for some other memories again:

(1967) BILLBOARD REVIEW PANEL
"Happiness / Connie Francis on Broadway today" (MGM E/SE 4472)

"Connie Francis has gone to the musical theater for her repertoire here, and the songs, which are all of recent vintage are as substantial as the singer. "Happiness" is the key, and sets the note for the bright songs that follow".

***********

(1965)
BILLBOARD REVIEW PANEL
"Connie Francis sings For Mama" (MGM E/SE 4294)

"Based on her recent single successes "For Mama" and "Whose heart are you breaking tonight" This package contains an additional 10 tunes performed in the familiar Francis style. "No one ever sends me roses" has single hit possibilities. Other original material contained is well performed and arranged. Another winning LP."

***********

(1962)
BILLBOARD REVIEW PANEL
"Do the Twist" - Connie Francis (MGM E/SE 4022)
(A Billboard Pick)

***********

Terp sets were up to usual high standars and Stabile's overture was a good uptempo "Love for sale". Next starting Oct.2: Eddy Arnold. Murf.

***********

(1967)
New Musical Express (UK) review
Connie Francis: "Time alone will tell" (Non pensare a me) / "Born free" (MGM 1336)

Flip: Matt Monroe's speciality and an Academy award winner, this also gets a wonderfully expressive treatment. Two great songs make this disc real value for money.

***********

(Next time more reviews, among them one from 1966 of a Congo Room concert, Las Vegas.)

***********

Is anybody aware of the following(?):

There is a Billboard publication, a book, published in 1989 (first printing). ISBN-0-8230-7608-3. (Simultaneaously published in the UK by Guinness books).

The book is called ROCK MOVERS AND SHAKERS, Edited by Barry Lazell (with Dafydd Ress & Luke Crampton),

"An A to Z of the People Who Made Rock Happen". "Fact-filled career chronologies of all the major artists, bands, singers, players, movers and shakers who made music rock". On the cover of the book are 12 (front page) and 14 (back page) cartoon drawings.

May this is overlooked by the R&RHall of Fame?

Bye for now,

Jan Willem de Gee
The Netherlands,
Febr. 24, 2002.

----------end of text messages----------

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