SALE
Zurück
Vor
Back to general view
  • Money-back guarantee
    Customer call centre
  • Shipping within EU: 6,99 €
    100 days right of return
  • More than 60,000 different items available ex-warehouse.

Connie Francis Conny & Clyde - Hit Songs Of The Thirties (CD)

Conny & Clyde - Hit Songs Of The Thirties (CD)
 
 
Please inform me as soon as the product is available again.
 
 

catalog number: CD5316870

weight in Kg 0,100

$58.94 *
 
 

Connie Francis: Conny & Clyde - Hit Songs Of The Thirties (CD)

(1968)

Bonnie & Clyde premiered on August 13, 1967, in New York City and became not only a surprise hit but one of the most successful motion pictures of the 1960s. Directed by Arthur Penn, it starred Faye Dunaway and Warren Beatty as the 1930s gangster couple Bonnie Parker and Clyde Barrow who steal cars, rob stores and banks, hurt and kill people, and are - just as they intend to start a life away from crime - shot to death by a special police force.

The film was scored with period style music by Charles Strouse and featured a number of popular songs from that age as source music. Its huge success (the film won two Academy Awards( trig-gered renewed public interest in the music of the "Roaring '30s.- Quite a few artists picked up that trend and recorded '30s themed albums, some of them even more than hinted at their inspiration, like Mel Torme with A Day In The Life Of Bonnie And Clyde (Liberty, 1968) and Brigitte Bardot and Serge Gainsbourg with Bonnie And Clyde (Fontana, 1968).

The success of the film obviously also came up during a meeting of the executives at MGM Records with their most important artist, Connie Francis, in March 1968. The singer, whose career was launched in 1958 with the revival of a song from 1923, "Who's Sorry Now?,- had, in a breathtakingly short period, become the most successful female singer the world over. She was the first vocalist that had decided, against fierce resistance of her label and management early on, to record her songs not only in Eng-lish but other leading languages. It was the start of a successful trend, although none of the artists that followed her idea were able to have the same success in worldwide markets that Con-nie gained with her German, French, Italian, Spanish and even Japanese-language recordings. This and her deliberate versatil-ity of style had made her an exceptional artist with a scope rang-ing from pop, rock 'n' roll, standards, jazz, country & western, songs from films and musicals to Christmas and even children's repertoire. With 300 million records sold, Connie Francis is still one of the most successful vocalists of all time.

With albums like Songs To A Swinging Band (1961), A New Kind Of Connie (1964) and Happiness - Connie Francis On Broadway To-day (1967), Connie had already demonstrated her appreciation of and talent for swinging tunes and the Great American Songbook. Either this or the irresistible wordplay of Bonnie/Connie may
have led to Francis deciding to record an album of songs from the 1930s. In those days, Connie was referred to as the "queen of MGM" and her contract, most unusual at the time, allowed her to decide for herself what she would record, with whom and what would end up on record.

Directly after the meeting, Connie enthusiastically started put-ting the project together. Creative and repertoire ideas came from, among others, her parents, George and Ida Franconero, her personal assistant Patrick Niglio, and MGM Marketing/Sales executive Lennie Scheer. To arrange it all, Connie chose the fan-tastically talented Don Costa (1925-83), who had worked with artists like Frank Sinatra, Dean Martin and Steve Lawrence & Eydie Gorme, and with whom she had already cooperated on sev-eral earlier projects. Her long-time musical director, Joe Mazzu, would also be part of the team.

Everyone must have dived headfirst into the project, because the recording sessions were scheduled only a few months out for May 1968. In a short time span unthinkable in today's music world, on May 6, 7 and 11, the whole album was recorded and issued not much later at the end of May 1968. The sessions were done live with orchestra - no playback or overdubs - and even today Connie still fondly remembers those creative days, the enthusiasm of everyone involved and the feeling to have created something truly special.
Connie commissioned the music & lyrics for the album's opener CONNIE AND CLYDE from Bob Arthur, musical director of The Ed Sullivan Show. The lyrics are an amusing melange of 1930s names, topics and language.

YOU OUGHTA BE IN PICTURES was originally written for the revue Ziegfeld Follies Of 1934 and recorded the same year by, among others, Rudy Vallee, the Boswell Sisters and Little Jack Little & his Orchestra. Don Costa gives the first 32 bars a fake nostalgic gramophone sound before jumping into broad, modern stereo, while the lyrics update the list of historic male hotties.
Connie obviously had fun with ACE IN THE HOLE, a song about the kind of fellow that can be found at any place and age: the con man boasting about his own importance and achievements.
WITH PLENTY OF MONEY AND YOU / WE'RE IN THE MONEY are songs from the pen of Harry Warren & Al Dubin and get straight to the main point of interest during the dark age of depression: money! The first one, carrying the sub-title "The Gold Diggers' Lullaby," was originally heard in the film Gold Diggers Of 1937, sung by Dick Powell over the opening credits, the second one is from Gold Diggers Of 1933 and was originally performed by Ginger Rogers.

The 1928 German-language original of JUST A GIGOLO was about the social decline of an ex-hussar of the Austrian-Hun-garian army who had to make a living as a gigolo after World War !. Most of those historic connotations were left off in the English version released a year later. Connie Francis' version simply tells the story of a male taxi-dancer sentimentally re-flecting on his better days. Her usual vocal perfection is pep-pered with a dash of appropriate irony.
The charming BUTTON UP YOUR OVERCOAT, basically a list of health recommendations for a loved one, was originally written for the 1928 Broadway show Follow Thru and recorded by Ruth Etting the same year. A year later, Helen Kane had even greater success with the song. The writers, Buddy DeSylva, Lew Brown & Ray Henderson, were also responsible for the 1928 song "Together," Connie's 1961 million-seller.

BROTHER, CAN YOU SPARE A DIME, written for the 1932 revue New Americana, became the unofficial hymn of the Great Depression. It questions why those men who built the railroads and skyscrapers and were sent to the battlefields now had to beg for their bread when the work was done. A lot of the many recordings of the song were quiet and resigned. Connie opens her interpretation the same way, but then gradually spi-rals to a grand finale, emotionally belting out "Brother, can't you spare just one dime?" This is no begging anymore but a pow-erful cry for justice, projected with extraordinary vocal power.
MAYBE, first published in 1935, became a hit for the Ink Spots, Dinah Shore and Bobby Byrne. Like in Francis' first million-seller, "Who's Sorry Now?," the protagonist wonders if her "ex" mightstill be thinking of her and what he will do when his new flame turns her back on him. Might he come back ... maybe?
AM I BLUE?, originally written for the film On With The Show! (1929) and performed by Ethel Waters, is another vocal tour de force by Miss Francis, who questions whether she should really be blue now that her lover is gone and if she was ever happy with him to begin with. The brilliance of her performance not only shines during the strong-voiced sections but also the re-strained, intimate moments.

Gene Austin had a huge hit with PLEASE DON'T TALK ABOUT ME WHEN I'M GONE in 1931. Connie had already performed the song live and on TV shows before singing it here to a fabu-lous blown-up Dixieland arrangement courtesy of Don Costa.
AIN'T MISBEHAVIN' is another Dixieland-flavored classic that 'Fats' Waller wrote for the 1929 revue Connie's Hot Choco-lates. Here, the other Connie can be experienced as a wall-flow-er that won't leave the house, won't look at any other man, only hoping "he" won't misbehave and will come home soon. Her tongue-in-cheek performance makes it obvious that she sym-pathizes with the song rather than with its message.

SOMEBODY ELSE IS TAKING MY PLACE was success-fully recorded by co-author Russ Morgan in 1937 and again by Benny Goodman with Peggy Lee in 1942. Connie's version was issued as single (MGM K 13948) and has the most pop-flavored arrangement of the album. It tells the story of a poor woman whose ex-lover has not only forgotten her but all the promises he made.
Although the versatile Miss Francis performs this and other tear-jerkers from the album, touching as ever, from the per-spective of a passive female victim, Connie & Clyde once more proved that in real life she was very much in-command and on an artistic peak. In the three short recording days, an album of the highest artistic degree was created at Columbia Recording Studios New York: a work that once more proved the exceptional position Francis held in the American entertainment business. Connie & Clyde is much more than just Connie's own favorite al-bum. It is a pop music milestone, unjustly overshadowed by her more popular chart hits, ripe for rediscovery today!
Wilfried Weiler, July 2011


 

Songs

Connie Francis - Conny & Clyde - Hit Songs Of The Thirties (CD) Medium 1
1: Connie & Clyde
2: You Oughta Be In Pictures
3: Ace In The Hole
4: Gold Digger's Medley: With Plenty Of Money An
5: Just A Gigolo
6: Button Up Your Overcoat
7: Brother, Can You Spare A Dime?
8: Maybe
9: Am I Blue?
10: Please Don't Talk About Me When I'm Gone
11: Ain't Misbehavin'
12: Somebody Else Is Taking My Place
13: Bonus Tracks:
14: Will You Still Be Mine
15: The Sweetest Sounds
16: Ma (He's Making Eyes At Me)
17: My Kind Of Guy
18: Hallelujah Baby
19: Walking Happy
20: If My Friends Could See Me Now/I'm A Brass Ba
21: Sherry!  

 

Artikeleigenschaften von Connie Francis: Conny & Clyde - Hit Songs Of The Thirties (CD)

  • Interpret: Connie Francis

  • Albumtitel: Conny & Clyde - Hit Songs Of The Thirties (CD)

  • Format CD
  • Genre Pop

  • Music Genre Pop
  • Music Style Pop Vocal
  • Music Sub-Genre 281 Pop Vocal
  • Title Conny & Clyde - Hit Songs Of The Thirties (CD)
  • Release date 2011
  • Label POLYDOR

  • SubGenre Pop - Vocal Pop

  • EAN: 0600753168707

  • weight in Kg 0.100
 
 

Artist description "Francis, Connie"

Connie Francis

Born on 12 December 1937 as Concetta Rosa Maria Franconero in Newark, New Jersey.

Connie Francis the female pop icon

Connie Francies was discovered at the age of eleven during a talent show, six years later she received a contract from MGM. Their first single ('Freddy') was released in 1955, which, like some others, initially went unnoticed.

It wasn't until 1958 that 'Who's Sorry Now' (built in 1923) became her first chart hit in the USA, followed by 54 more until 1969. In England the most successful singer of the 50s and 60s brought 24 tracks to the hit lists (1958 - 66), of her 35 German-language original singles, 23 placed between 1960 and 1970.

No other interpreter in the world used the time span after the heyday of rock'n'roll and the beginning of the beat era so cleverly. When Connie Francis' golden years were over, she stood up for UNICEF and went to Vietnam as a singing troop adviser.

Since 1960 she has also appeared in various US films, such as "Where The Boys Are' ('These Include Two', 1960), "Follow The Boys' ('Mein Schiff fährt zu dir', 1962), "Looking For Love' ('Ich wär' so gern verliebt', 1963) and 'When Boy Meets Girl' ('Boy of My Dreams', 1965).

In 1974, after a performance at the Westbury Theatre outside New York, she was attacked and raped - a crime from which she did not recover psychologically for many years. She made guest appearances again in the early 80s, but towards the end of the decade her unstable health again took its toll. After language problems during a show in London's Palladium, there were similar signs during a TV conversation on American television.

In 1991 Connie Francis collapsed during a concert in New Jersey. In 1992, several Francis titles in Germany experienced a renaissance: The Medleys "Jive Connie' and '(10, Connie, Go' shot to the top of the hit lists.

In 1993 she recorded the duets'Que Sera' and'So nah' in Munich with Peter Kraus for Sony's Herzklang label - in England a song from a TV series became a surprise hit:'Lipstick On Your Collar' from 1959.

From the Bear Family book - 1000 pinpricks by Bernd Matheja - BFB10025 -

 

Connie Francis

Connie Rocks

The rock 'n' roll era was a boys club. Most of the top-selling artists were male: just a few female artists could go head-to-head with them. Of the women from that era, Connie Francis was by far the top-seller. Rock 'n' roll was testosterone-rich music, and Connie realized early in her career that she couldn't cut loose with a banshee rockabilly wail, but she could make very believable rock 'n' roll music that was true to her background and her unique talent.

Connie was born Concetta Maria Franconero on December 12, 1938 in Newark, New Jersey. Her parents had been born in the United States to Italian immigrant families. Connie's paternal grandfather arrived in 1905, carrying a battered concertina and little else. Connie sat on the stoop of their house, learning the folk songs from the old country. It soon became clear that she had talent, and began appearing at entry-level talent contests in and around New Jersey, singing and playing the accordion. Connie's father, George Franconero, took an interest in her budding career and took her to New York, trying to get her on a childrens' television show, 'Startime.' "We flagged down the producer of the show, George Scheck, who was hailing a taxi," Connie said later. "My father said, 'Would you listen to my daughter sing?' He said, 'I'm up to here in singers. I can't use singers.' That's when "the accordion saved my life." Scheck said that he would give her an audition if she played the accordion, and she was on 'Startime' for four years. Eventually, Scheck became her manager.

In 1950, Connie appeared coast-to-coast on 'Arthur Godfrey's Talent Scouts,' and was often on television over the next few years. It was Godfrey, incidentally, who suggested that she change her name to Connie Francis. By age fourteen, Connie was crossing the river to New York, singing demonstration discs for music publishers. In 1955, Lou Levy at Leeds Music financed a session with George Scheck, and they jointly took the masters around to the record labels. The only taker was MGM Records' A&R man, Harry Meyerson. One of the songs on the demo tape was one titled Freddy, and Connie was later told that Meyerson only signed her because his son's name was Freddy and he thought the record would make a good birthday present.

The early singles did little business, and Connie was handed to Jim Vienneau, who was related to MGM Records' founding president, Frank Walker. Vienneau was given the responsibility of bringing MGM into the rock 'n' roll era, and he found a song for Connie called Eighteen. It signalled a new direction and the initial response was promising, but it too failed to chart. After nine consecutive flops, Connie was told that she would get one last shot on MGM before being dropped. Two people guided Connie's career, George Scheck and her father, George Franconero. At her father's insistence, Connie recorded an old jazz age pop tune, Who's Sorry Now, with a double-tracked vocal similar to Patti Page. "My father," said Connie, "had an ear for what people would like from me that was uncanny. On that last session, he said, 'Here's a song I've been trying to shove down your throat for the last year-and-a-half.' I said, 'Don't tell me it's that 1923 song again. Did people actually write their names in 1923? I'm not doing it.' He said, 'Go ahead, have another bomb, and you end your career. I'm surprised they stuck with you this long. Tell you what. Do me a big favor. Pretend I'm gonna die tomorrow and this is my last wish. You pick out your usual three duds and throw this one in for me.'"

George Franconero was right, of course. Released in November 1957, Who's Sorry Now? got a little airplay around the country, but didn't take off until MGM's Philadelphia distributor, Ed Barsky, took a copy to Dick Clark. "Dick heard a sound in me that was totally different," Connie said later. "The reaction was just phenomenal. He played it every day for three months." Connie freely admits that she owes her success to Dick Clark and the repeated plays on 'American Bandstand.' If not for him, she would have been dropped when her contract was up. Who's Sorry Now? reached #3 in 'Cash Box,' #4 in 'Billboard,' and #1 in England.

Another revamped oldie was released as a follow-up, but did nowhere near as well. It was then that music publisher Donnie Kirshner suggested that she listen to two young songwriters he'd just signed, Neil Sedaka and Howie Greenfield. After Sedaka and Greenfield had played all their ballads, Connie said she wanted to hear something peppier. Neil decided to play Stupid Cupid (which, according to Howard Greenfield, was written for Sal Mineo, then promised to the Shepherd Sisters). Connie loved it, and Neil came along to Connie's June 18, 1958 session to play piano. Within a month Stupid Cupid was in the Top 20. The B-side was an older song that dated back to 1929, Carolina Moon. The combination became a double-sided smash, so it was hardly surprising that Connie turned to Sedaka and Greenfield for her next single, Fallin', but it stalled just outside the Top 30, prompting a return to the oldies. My Happiness, a Depression era song that had been a big hit in 1948, capped an incredible year when it became Connie's biggest hit to that point. 1958 was the year Connie Francis arrived, and she wouldn't be out of the charts for another ten years.

1959 opened with Connie considering songs for her next single. She liked one that veteran music publisher, Leonard Joy, sent over, Lipstick On Your Collar. Now she needed a B-side. "Howie Greenfield was my favorite lyricist," she told William Ruhlmann. "Any time a session came up I would sit in my office for days, morning 'til night, and listen to every publisher, every songwriter, but Neil and Howie never failed to come up with a hit for me. It was a great marriage. We thought the same way. Neil and Howie and I planned the song 'Frankie.' Neil would say, 'Okay, what you got on your mind, Concetta?' I said, 'Look at this. I made a list. All of these songs in the last three years, one third of them are names of people or places. One side of my new single, "Lipstick," will be uptempo so I'd like a real dreamy, slow dance ballad for the other side.' Neil said, 'Okay.' Within the next day, 'Frankie' was there." Who was Frankie? The story was put around that the song was a valentine to Frankie Avalon, who'd starred in 'Jamboree,' the movie for which Connie provided the ghosted singing voice of the female lead. Not everyone liked it, though. On April 15, 1959, Connie recorded it with arranger Ray Ellis. "The music starts, and just impromptu, I say, 'Frankie, wherever you are, I love you.' Ray Ellis said, 'This is too much for me. I can't handle this. This is such shit.' I said, 'It's on the record. The kids like that stuff. Just relax, I'm doing it.' He said, 'You ain't gonna have a hit.' I said, 'Let my mother worry about that.'" But a hit it was: a double-sided Top 10 smash. The same session also produced the follow-up, Eddie Curtis' You're Gonna Miss Me (Curtis would later write songs for Connie's 'Do The Twist' LP). The flip-side of You're Gonna Miss Me was Plenty Good Lovin', the first time Connie had placed one of her own songs on a single.

Just in time for Christmas 1959, MGM took the unprecedented step of releasing five Connie Francis albums at once. There was a Christmas album, a country album, an Italian album, a greatest hits album, and a collection of rock 'n' roll million-sellers. Truly something for everyone. From the rock 'n' roll album, we've taken Tweedle Dee, I Hear You Knockin', and the breakthrough hit for MGM labelmate Conway Twitty, It's Only Make Believe. And 1959, like 1958, closed with another Connie Francis song ascending the charts, this time a revival of a 1927 British song, Among My Souvenirs, which she'd found in a publication called 'The Musicians Handbook.' It reached #7 as the year closed. On December 12, 1959, Connie Francis turned twenty-one years old, and shortly before Christmas she reached one of the pinnacles of success in the popular music business when she sold out Carnegie Hall. In contractual discussions with MGM, she'd achieved an unprecedented level of artistic control over her recordings. She was twenty-one and she was in control of her life and career. The following April she received an award for Best Selling Female Vocalist from a record industry trade group, NARM (National Association of Record Merchandisers).

 

 

 
Presseartikel über Connie Francis - Conny & Clyde - Hit Songs Of The Thirties (CD)
Customer evaluation "Conny & Clyde - Hit Songs Of The Thirties (CD)"
 
Evaluations will be activated after verification
Schreiben Sie eine Bewertung für den Artikel "Connie Francis: Conny & Clyde - Hit Songs Of The Thirties (CD)"
 
 
 
 
 
 

The fields marked with * are required.

 
 
Allman, Gregg: Live In San...

Content: 1.0000

$25.90 *

Rush, Otis: Live At...

Content: 1.0000

$7.97 * Instead of: $21.18 *

McDowell, Ronnie: A Tribute To...

Content: 1.0000

$23.54 *

Robins: Rockin' With...

Content: 1.0000

$18.82 *

Presley, Elvis: From...

Content: 1.0000

$23.54 *

Davis Jr., Sammy: Yes I Can !...

Content: 1.0000

$94.28 *

Copas, Lloyd...: Complete...

Content: 1.0000

$21.18 *

Clovers, The: The Feelin'...

Content: 1.0000

$20.00 *

Honeybus: She Flies...

Content: 1.0000

$58.94 *

Day, Doris: Show Time -...

Content: 1.0000

$29.44 *

Ritter, Tex: Lady...

Content: 1.0000

$35.34 *

Mack, Warner: Baby Squeeze...

Content: 1.0000

$14.11 * Instead of: $18.82 *

Torriani, Vico: Biedermann...

Content: 1.0000

$16.46 * Instead of: $18.82 *

Francis, Connie: Christmas In...

Content: 1.0000

$29.44 * Instead of: $35.34 *

Francis, Connie: Portrait Of...

Content: 1.0000

$17.64 *

Sledge, Percy: The Best Of...

Content: 1.0000

$11.74 * Instead of: $17.64 *

Bland, Bobby 'Blue': Dreamer (LP,...

Content: 1.0000

$21.18 * Instead of: $23.54 *

Brooks, Garth: Ultimate...

Content: 1.0000

$94.34 *

Haley, Bill & His...: Bill Haley's...

Content: 1.0000

$28.27 * Instead of: $35.34 *

Muddy Waters: After The...

Content: 1.0000

$29.44 *

Steele, Tommy: Tommy Steele...

Content: 1.0000

$18.01 * Instead of: $20.00 *

Shakin' Stevens: Echoes Of...

Content: 1.0000

$25.03 * Instead of: $29.44 *

Ventures, The: The...

Content: 1.0000

$21.18 * Instead of: $23.54 *

King, Evelyn: The Complete...

Content: 1.0000

$23.54 *

Cadillac Three, The: Bury Me In...

Content: 1.0000

$17.64 *

Shindo, Tak: MGANGA! (CD)

Content: 1.0000

$20.00 *

Four Seasons, The: 20 Greatest...

Content: 1.0000

$17.64 *

Cruncher, The: The Cruncher...

Content: 1.0000

$16.00 * Instead of: $18.82 *

Presley, Elvis: Elvis -...

Content: 1.0000

$35.34 *

Various: Kinked!...

Content: 1.0000

$15.43 * Instead of: $18.82 *

Ross, Diana & The...: Merry...

Content: 1.0000

$18.82 *

Mountain Of Power: Volume Three...

Content: 1.0000

$22.36 *

Hutto, J.B.: Hawk Squat

Content: 1.0000

$19.77 *

Lynn, Loretta: Full Circle

Content: 1.0000

$20.00 *

Presley, Elvis: The Ed...

Content: 1.0000

$11.77 * Instead of: $23.54 *

Presley, Elvis: Golden...

Content: 1.0000

$35.34 *

Love, Darlene: Introducing...

Content: 1.0000

$23.54 * Instead of: $29.44 *

Lovin' Spoonful, The: Do You...

Content: 1.0000

$31.80 *

Jan & Dean: Command...

Content: 1.0000

$32.98 *

Various - They...: Vol.3, The...

Content: 1.0000

$14.11 * Instead of: $18.82 *

 
 
Viewed