Born Concetta Rosa Maria Franconero in Newark's Italian Down Neck or Ironbound section of Newark, New Jersey neighbourhood, she is considered the most prolific and popular female rock 'n' roll hit-maker of the early rock era -- the late 1950s to the early 1960s. After an appearance on Startime, Francis was advised to change her name from Franconero to something more easily pronounceable, as well as to quit the accordion and focus on singing.
Francis' first single "Freddy" (1955) met with little success. Her next nine singles were also failures, and she began considering a career in medicine; however, "Who's Sorry Now" (a cover version of a 1923 song) launched her into super-stardom worldwide. Francis recorded the song at what was to have been her final recording session for MGM, as the label was about to drop her since her previous singles had generated little activity. She has said (paraphrased from The Billboard Book of Number One Singles by Fred Bronson) that she recorded it at the suggestion of her father, who convinced her it stood a chance of becoming a hit because it was a song adults already knew and that teenagers would dance to if it were released with a more contemporary arrangement.
The gamble paid off. In April 1958, "Who's Sorry Now" reached No. 1 on the UK Singles Chart (number four in the USA); in 2000, it was named one of the Songs of the Century. On January 1, 1958, she debuted it on Dick Clark's American Bandstand television show; by mid-year over a million copies were sold. This was followed by many other hits over the next decade, as Connie Francis became one of the most popular vocalists in the world.
Francis specialized in downbeat ballads delivered in her trademark "sobbing" style -- such as "My Happiness," "I'm Sorry I Made You Cry," "Among My Souvenirs," "Together," "Breakin' In a Brand New Broken Heart," and the Italian song "Mama," many of which were remakes of old standards. However, she also had success with a handful of more upbeat, rock-and-roll-oriented compositions, such as "Stupid Cupid," "Lipstick On Your Collar," and "Vacation." Among her other notable performances were "In the Summer of His Years" (a tribute to slain U.S. President John F. Kennedy) and Bert Kaempfert's "Strangers In The Night" (although the latter song is more identified with Frank Sinatra). Both "Everybody's Somebody's Fool" and "My Heart Has a Mind of Its Own" went to No.1 on the Billboard music charts in 1960. In 1962 she had another No.1 hit with "Don't Break the Heart That Loves You."
Francis recorded in nine languages during her career, including English, Italian, French, Spanish, German, and even Japanese, and remade many of her hits in foreign languages, including "Everybody's Somebody's Fool" and her signature song, "Where the Boys Are." In fact, her biggest hit album in the U.S. was 1960's Italian Favorites, and she followed it with several more albums of Italian songs over the years, as well as collections of Spanish-language and Jewish songs, among others.
"Where The Boys Are," one of many Neil Sedaka/Howard Greenfield compositions Francis recorded during her career (others included "Stupid Cupid" and "Everybody's Somebody's Fool"), gained wide exposure through its inclusion in the 1960 motion picture with the same title. Francis had a role in the film and sang the title song. During the first half of the 1960s she starred in three additional films -- Follow the Boys (1963) (the title song of which became a No. 17 Billboard single for Francis), Looking for Love (1964) and When the Boys Meet the Girls (1965).
In 1960 Francis became the youngest headliner to sing in Las Vegas, where she played 28 days a year for nine years. In 1961 she was successful in starring in her own television special on ABC television sponsored by Brylcreem titled Kicking Sound Around, singing and acting along-side Tab Hunter, Eddie Foy Jr. and Art Carney. She appeared on the Ed Sullivan Show on July 1, 1962 with French singing star Johnny Hallyday in a show that was taped at the famous Moulin Rouge nightclub in Paris, France. On July 3, 1963 she played a Command performance before Queen Elizabeth II at the Alhambra Theatre in Glasgow, Scotland. By 1967, she had 35 U.S. Top 40 hits, and three number ones.
Connie Francis has always been a great fan of country music and recorded several albums of country standards during her pop career. In 1969 she had a modest country hit with "The Wedding Cake" and made the country charts again in 1982 with "There's Still a Few Good Love Songs Left in Me." Several country singers found chart success remaking Francis' pop hits for the country market, including Marie Osmond ("Who's Sorry Now" in 1975), Susan Raye ("My Heart Has a Mind of Its Own" in 1972), Margo Smith ("Don't Break The Heart That Loves You" in 1978), and Debby Boone.
During the height of the Vietnam War in 1967, Connie Francis performed for U.S. troops.
Francis ended her recording career in 1969. She returned in 1973 with "The Answer," a song written just for her, and soon began performing again. Her son Joey was born in 1974. Tragedies followed soon after. In 1974 she was sexually assaulted in a hotel following a performance in Westbury, New York. Nasal surgery to correct a sensitivity to air conditioning deprived her of her ability to sing professionally for four years. Her brother was murdered in 1981.
Francis' autobiography, Who's Sorry Now? was published in 1984. Francis was diagnosed with bipolar disorder, a mental disease which includes severe depressions and manic highs. She uses the drug Lithium to balance out the emotional highs and lows caused by the disease. Connie Francis resumed her career in 1989 after discovering the drug and has continued singing and recording since then. Francis still holds a world-wide appeal shown through continued music sales and sold-out appearances.
Her latest CD The American Tour contains performances from recent shows. In late December 2004, Francis headlined in Las Vegas for the first time since 1989.
In March of 2007, Francis performed to a sold-out crowd -- composed of gay urbanites and conservative suburbanites -- in San Francisco. The "little diva" belted out versions of her "woebegone ballads . . . in full force," according to the San Franciso Chronicle's music critic.
Connie's fan club: www.conniefrancis.com
Brother Can You Spare a Dime?
Connie Francis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And so I followed the mob
When their was earth to plow or guns to bear
I was always their right on the job
They used to tell me I was building a dream
With peace and glory ahead
Why should I be standing in line
Once I built a railroad, I made it run
Made it race against time
Once I built a railroad, now it's done
Brother, can you spare a dime?
Once I built a tower up to the sun
Brick and rivet and lime
Once I built a tower, now it's done
Brother, can you spare a dime?
Once in khaki suits, gee we looked swell
Full of that Yankee-Doodly-dum
Half a million boots went sloggin' through Hell
And I was the kid with the drum
Say, don't you remember, they called me "Al"
It was "Al" all the time
Why don't you remember, I'm your pal
Say buddy, can you spare a dime?
Once in khaki suits, ah gee we looked swell
Full of that Yankee-Doodly-dum
Half a million boots went sloggin' through Hell
And I was the kid with the drum
Oh, say, don't you remember, they called me "Al"
It was "Al" all the time
Say, don't you remember, I'm your pal
Buddy, can you spare a dime?
Connie Francis's song "Brother Can You Spare a Dime" is a poignant commentary on the economic hardships suffered by many in the Great Depression. Francis sings of the disillusionment that comes with the realization that dreams of peace and glory are often elusive and unattainable, especially when basic needs such as food and shelter are lacking. She laments the loss of dignity that comes with standing in line, waiting for bread, and feeling helpless in the face of poverty.
In the second stanza, Francis invokes the imagery of a railroad and a tower, symbols of progress and prosperity, to show the heights that many had reached before the depression hit. However, these dreams were never realized, and now the singer is left asking for a dime, a plea for assistance in difficult times.
The final two stanzas speak of the singer's past as a soldier in World War I, marching alongside half a million other soldiers. Even in those times of war and camaraderie, the singer was still reduced to being just "the kid with the drum." The repetition of the line "Say, don't you remember, I'm your pal" highlights the desperation and loneliness that many people faced during this time of economic and social turmoil.
Line by Line Meaning
They used to tell me I was building a dream
People used to tell me that I was working towards a better future
And so I followed the mob
I went along with the crowd because I thought everyone was working together towards a common goal
When their was earth to plow or guns to bear
Whenever there was work to be done, whether it was manual labor or fighting for the country, I was always ready to do my part
I was always their right on the job
I was always available to help and ready to work hard
With peace and glory ahead
I was promised a bright future filled with happiness and success
Why should I be standing in line
Why should I have to wait in line for basic necessities when I was promised a better life?
Just waiting for bread?
Is this all that's left for me? Waiting in line for food?
Once I built a railroad, I made it run
I accomplished great things, like building a railroad and making it run on time
Made it race against time
I worked hard to make it faster and more efficient
Once I built a railroad, now it's done
But now that it's finished, what's left for me to do? I'm struggling to find work and make ends meet
Brother, can you spare a dime?
Can you help me out? Even just a little bit would go a long way
Once I built a tower up to the sun
I was once capable of great things, like building a tall tower
Brick and rivet and lime
I worked hard and put in a lot of effort to make it happen
Once I built a tower, now it's done
But now that it's finished, I'm struggling to make ends meet and put food on the table
Once in khaki suits, gee we looked swell
I used to look and feel great in my military uniform
Full of that Yankee-Doodly-dum
We were full of energy and pride
Half a million boots went sloggin' through Hell
We went through a lot of hardship and difficult times
And I was the kid with the drum
I was just a young, naive kid trying to play my role
Say, don't you remember, they called me "Al"
I was known by a different name back then
It was "Al" all the time
Everyone called me Al, no matter what my real name was
Why don't you remember, I'm your pal
Don't forget about me, I'm your friend and I need your help
Say buddy, can you spare a dime?
Can you help me out with even just a little bit of money?
Lyrics © Sony/ATV Music Publishing LLC
Written by: E. Y. Harburg, Jay Gorney
Lyrics Licensed & Provided by LyricFind
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