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
Never On Sunday
Connie Francis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A Monday, a Monday is very, very good
Or you can kiss me on a Tuesday
A Tuesday, a Tuesday, in fact I wish you would
Or you can kiss me on a Wednesday
A Thursday, a Friday and Saturday is best
But never, never on a Sunday
A Sunday, a Sunday, 'cause that's my day of rest
Most any day you can be my guest
Any day you say, but my day of rest
Just name the day that you like the best
Only stay away on my day of rest
Oh, you can kiss me on a cool day, a hot day
A wet day, which everyone you choose
Or try to kiss me on a gray day, a May day
A pay day, and see if I refuse
And if you make it on a bleak day
A freak day, a week day, why you can be my guest
But never, never on a Sunday
Connie Francis's song Never On Sunday is a playful and flirtatious tune about a woman who has her own set of rules when it comes to receiving kisses. The song starts with her telling her lover that she would be happy to receive his kisses on any day of the week except for Sunday because it is her day of rest. She suggests that Monday is very good for kissing, as is Tuesday, Wednesday, Thursday, Friday and Saturday, but never on a Sunday. Her insistence on keeping Sunday as her day of rest shows her commitment to her values and beliefs.
The chorus of the song reinforces her boundary, as she sings that her lover can be her guest on any other day besides Sunday. She jokes that he can try to kiss her on a cool day, a hot day, a wet day, a gray day, a May day, a payday, or even a bleak day, but never, never on a Sunday. Through her light-hearted lyrics, Connie Francis portrays a woman who knows what she wants and is not afraid to set boundaries to protect her own well-being.
In conclusion, Never On Sunday is a fun and witty song that, beyond the playful tone, showcases a woman who values rest and has clear boundaries for protecting her time. It encourages listeners to recognize the importance of rest and self-care, while also reminding them not to take themselves too seriously.
Line by Line Meaning
Oh, you can kiss me on a Monday
I am open to affection on a weekday
A Monday, a Monday is very, very good
Navigating start-of-week blues is easier with love
Or you can kiss me on a Tuesday
A tender moment would make an average day special
A Tuesday, a Tuesday, in fact I wish you would
Expressing love would uplift my spirits
Or you can kiss me on a Wednesday
Middle of the week fatigue can dissolve in moments of passion
A Thursday, a Friday and Saturday is best
The weekend beckons with promise of more intimate time together
But never, never on a Sunday
Please respect my spirituality and observance of rest on the Sabbath day
A Sunday, a Sunday, 'cause that's my day of rest
A pause from routine and busyness is vital to my well-being
Most any day you can be my guest
I welcome your company most days
Any day you say, but my day of rest
Except for Sunday, when I prioritize self-care and worship
Just name the day that you like the best
Tell me when you want to see me
Only stay away on my day of rest
Kindly avoid scheduling activities or visits on Sundays
Oh, you can kiss me on a cool day, a hot day
Temperature should not impede our displays of affection
A wet day, which everyone you choose
Rain is not a deterrent to our love
Or try to kiss me on a gray day, a May day
Seasons or weather patterns cannot affect our bond
A pay day, and see if I refuse
Money comes and goes, but love endures
And if you make it on a bleak day
Even when everything seems grim, I find solace in our love
A freak day, a week day, why you can be my guest
Unexpected or uneventful days can still house moments of romance
But never, never on a Sunday
Only exception to my invitation to be close at any given day is Sundays
Lyrics © Sony/ATV Music Publishing LLC
Written by: Manos Hadjidakis, Billy Towne
Lyrics Licensed & Provided by LyricFind
James G
Lyrics Greek + English
Όσο κι αν ψάξω
Oso kai an psaxo
δεν βρίσκω άλλο λιμάνι
den vrisko alo limani
τρελή να με ΄χει κάνει
treli na me (x)hei kanei
όσο τον Πειραιά
oso ton Pirea
(no matter how much I search
I can’t find another port
that has made me crazy
as much as Pirea)
Oh, you can kiss me on a Monday a Monday a Monday
is very very good
Or you can kiss me on a Tuesday a Tuesday a Tuesday
in fact I wish you would
Or you can kiss me on a Wednesday a Thursday a Friday
a Saturday is best
But never never on a Sunday a Sunday a Sunday
’cause that's my day of rest
Come any day and you’ll be my guest
Any day you say but my day of rest
Just name a day that you like the best
Only stay away on my day of rest
Emmanuel Ravalo
I adore Connie Francis for her beautiful face and beautiful voice! That's a real song sang by a real singer! Unlike the crappy recordings of today when they do not sing anymore. They just say it. How the hell did they get to no. 1 in the Billboard chart?
maurice houghton
Hear hear
George Vreeland Hill
WOW! Connie Francis had one of the best voices in music history.
Tapan Kumar Banerjee
This is real
Nicole Skibba
Thank you Connie 🥰.
This song reminds me of my beloved parents who are both in heaven now.
I sang your songs to my Dad in the nursinghome so many times and then we always had joy 😊.
Greetings from Germany! ⛵️🎶💕🌸
Brenda Allen
I remember my parents listening to this when I was a kid, it's one of those songs that sticks in your head
Marie-Michelle
When my children were babies, I used to sing this song and chase them around the house to get a kiss and a hug! They would run around with squeals of laughter! One day my youngest son said that I couldn't kiss him because it was Sunday and I told him that rule didn't apply to mums! He loved that. My children are all grown up now, but they still have fond memories of those times and of this song.
Paul Michel
That's a totally sweet memory!
Marie-Michelle
@Paul Michel Thank you 💖
Michael Genove
Aww thats so cute