Full text of "Connie's Greatest Hits"

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MGM RECORDS presents 


— CONNIE’S 
(GREATEST HITS 


\) 3 NS \ * ; 


“I’m going back to school,” Connie told her dad that 
summer night when she was seventeen. They were sit- 
ting on the porch steps of their white frame house in 
Bellefield, New Jersey. “I’ve had it. Let’s admit it. ’'m 
a failure. None of my records will ever take off.” Her 
voice was edgy, close to tears, and her father didn't say 
anything. “Dad,” she pleaded, “I want to have some 
kind of future. I want to do something, maybe be a 
doctor and get married.” 

Her father cleared his throat before he spoke softly. 
“Connie,” he said, “you still have one more recording 
session. You don’t want to quit before that, do you?” 

“Why not?” Connie replied. “I might as well. I’m 
just wasting my time when I could be studying to be 
something.” 

“But you have a wonderful voice,” Connie’s father 
protested. 

“You say that because you're my dad,” she laughed. 

There was a pause in the conversation. Connie 
looked up to the full moon in the dark summer sky. 
“Daddy,” she said, “if you had one wish to make, what 
would it be? Let’s both wish on the moon!” 

Connie wished for a boyfriend. Her dad wished for 
the right song for Connie. “Will you do me one favor?” 
her father then asked. 

‘Sure,’ Connie agreed. 

‘You still have one more session. I’ve just wished 
for the right song for you. Maybe the title of one'll 
come to me. Anyhow, do me the favor of recording one 
of my favorite songs, huh?” 

‘Which one?” 

“TI don’t know—yet! Let me sleep on it.” 

That next morning, soon as the sun had risen, her 
dad was knocking on her bedroom door. 

“Connie, Connie,” he was shouting excitedly. “I’ve 
_.. I’ve found the right song! And it’s one of my 
favorites.” 

“Oh, daddy,” Connie said. “Let me get some sleep, 
will you?” 

But daddy was too excited to be put off. In fifteen 
minutes he was back, knocking again on Connie’s door. 


“Connie,” he begged, “will you please get up! I’ve found 


This M-G-M High-Fidelity recording has been produced with techniques which insure 
the finest possible reproduction on high-fidelity reproducing equipment as well as 
reproducing equipment of standard quality. At each step of processing from the 
actual recording in the concert hall or studio on to the final pressing every attempt 
has been made to achieve and maintain proper balance and clarity throughout the 
range of dynamics which can be captured through modern recording techniques. 


WHO’S SORRY NOW 
FALLIN’ 

HAPPY DAYS AND LONELY NIGHTS 
STUPID CUPID 
CAROLINA MOON 
PLENTY GOOD LOVIN’ 


FRANKIE 
YOU'RE GONNA’ MISS ME 
LIPSTICK ON YOUR COLLAR 
IF | DIDN'T CARE 
MY HAPPINESS 
I'M SORRY | MADE YOU CRY 


the song that’s going to make you a star!” 
Sleepy Connie sat up in bed. “What are you talking 
about, daddy?” she answered fuzzily. 


“The song is Who’s Sorry Now!” 


“Are you kidding?” she retorted, aghast at his sug- 


gestion. 

“No, I’m not,” he said through the bedroom door. 

“Daddy,” she moaned, “that song is such an oldie, 
it’s square.” 

“Connie,” her father coaxed, “please come down to 
breakfast and let me explain.” 

Connie arose and faced her dad over a cup of hot 
coffee in the sunlit Franconero kitchen. “It'll sound 
wonderful with a rock ’n roll beat,” her father was say- 
ing. “The older people will like it because they'll re- 
member it, and the teenagers will love it because they 
can dance to the beat!” | 

“You're fooling.” Connie insisted. 

“Connie,” her pop said, drawing a breath, “you 
promised. You agreed to record one of my favorite 
songs.” 


Connie waited a moment. “Okay,” she said. “I'll 


E3793 


A HIGH FIDELITY RECORDING 


record it. But I think it’s the squarest suggestion I've 
ever heard.” 

“Why?” 

“Well, I'd never buy it and I don’t think the teen- 
agers of America would either.” 

As it was, the recording company frowned upon 
it, too. But Connie insisted on recording it since she 
promised her pop the favor. The record was on the 
market for two months. and a dejected Connie was 
about to tell her pop “I told you so” when suddenly it 
started to pick up speed on the sales charts and in a 
matter of weeks it became a golden hit, selling over one 
million discs. 

Connie’s record made history—not only in terms of 
her own sensational career, but also because her rendi- 
tion of Who’s Sorry Now started a tremendous trend 
for revivals: Smoke Gets In Your Eyes, My Happiness, 
I Only Have Eyes For You, Till There Was You, What 
A Difference A Day Makes. 

Since that time Connie has had plenty of wonderful 
hits and opportunities to shine with her thrilling musical 
talent. But it’s strange to think that if Mr. Franconero 
hadn’t persisted we’d have missed out on one’ of the 
most exciting singing personalities in our generation. 

Connie, since her first hit, has been voted the most 
popular female vocalist not only here but abroad. She's 
had many golden records (over one million each in 
sales). She’s been chosen Catholic Entertainer of the 
Year. Juke box operators, disc jockeys, fans have all 
acclaimed her the most programmed female vocalist 
of our day. It’s a known statistic, by the way, that Con- 
nie sells more records than any other gal singer in the 
business! : 

This album of Connie’s Greatest Hits is a treasure 
chest for music lovers who not only want to keep up 
with the best in music but also like to have the best for 
their lifetime music library. Connie’s Greatest Hits, | 
maintain, will be enjoyed by millions of listeners not 
only today but in the far-off days to come. It’s so 
groovy it’s great! | 

Notes by GEORGE CHRISTY 


Mayor, Teen Town 


This M-G-M Long-Playing Microgroove Record is 
designed for reproduction on. turntables: revolving at 
-33:3::revolutionis: per-minufé. “The device of a lion's ~ 
head. and’ the letters..M-G-M are. registered: in- the 
United States Patent Office as a trade-mark of Loew's 
Incorporated. Printed in U.S.A. 


1. WHO'S SORRY NOW 
(Snyder-Kalmar Ruby) 
2. FALLIN’ (Sedaka-Greenfield) 
3. HAPPY DAYS AND LONELY NIGHTS 
(Fisher-Rose) 


= 4. STUPID CUPID (Sedaka-Greenfield) a 
L 5. CAROLINA MOON (Davis-Burke) o 
Ro 6. PLENTY GOOD LOVIN' y 
fa (Francis) iy 
Be CONNIE-FRANCIS a 
, SL Witt estral Ac iment © 7 

nN, R ww 
Son we” 


OF METRO-GoLDWY” 


“CONNIE’S GREATEST HITS” 


E3793 Side 2 


1. FRANKIE 
(Sedaka-Greenfield) 
2. YOU'RE GONNA MISS ME (Curtis) 
3. LIPSTICK ON YOUR COLLAR 


~ (Lewis-Goehring) 
‘S 4. IF | DIDN'T CARE (Lawrence) £ 
L i> MY HAPPINESS (Peterson Berganting} v 
6.4'M SORRY | MADE YOU <x Sh 
5 (Clesi} : 
Ws : < 
“O, CONNIE FRANCIS g0F 
Os With Orchestral Accompaniment of 
4 — 


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'SIOK, Or iets Peo ued