FOLK SONG FAVOURITES / SING ALONG WITH CONNIE FRANCIS
In a case of history repeating itself, Connie Francis Sings Folk Song Favorites, the first of three complete albums to be recorded with Cliff Parman and his Orchestra and the Jordanaires in Nashville in August 1961, provides a follow-up release to the successful Connie Francis Sings “Never on Sunday” & Other Title Songs from Motion Pictures, which, by two days, had preceded it in recording schedules. The duplication of historical fact - for that was the order in which the albums were originally released - was neither planned nor intentional, but prompted by the immediate favourable reception given to Sepia Records’ reissue (SEPIA 1184) of the movie themes collection.
Whether the 12 songs gathered under the Folk umbrella genuinely fall within that genre is an argument for the purists. They do, however, have American heritage as a shared theme and in my view it is an element which, though mentioned in the original liner notes, did not receive appropriate marketing emphasis. This is regrettable since it inevitably narrowed the appeal of an album containing several stunningly good performances.
The central "folk" aspect apart, the collection remains, probably, the most diverse set of vocals on any Connie Francis themed album. It has deliberately been coupled with Sing Along With Connie Francis on this compilation because, not only was that the third album cut at the Owen Bradley Film & Recording Studio in Nashville that August, but the Folk items undeniably also qualify for that invitational concept. The bouncy Oh Susannah!, the first track to be recorded at Connie's August 8th session also provides the opening selection. Written by Stephen Foster and first published in 1848, its combination of white and African American elements saw it become a firm Minstrel favourite. Comfortably straddling both Folk and Sing-Along style, this selection perfectly reinforces the choice of album pairing.
That same recording session was also responsible for the rousing treatment of On Top of Old Smokey, a song of unknown pedigree, but thought to emanate from the Central Appalachians, with its origins in the Scottish and Irish settlers of that region. Connie and the Jordanaires present a version that is eminently more satisfying than the 1951 Stateside #1 hit by The Weavers.
Ev'ry Night (When The Sun Goes In), the third title to be cut that August 8 evening is, arguably, one of two show-stoppers on this compilation, each qualifying for best-ever Connie Francis recording. The production consists of a minimalistic yet impeccable blend of Connie's intimate, blues-tinged vocal, complete with despairing sigh, wry laugh and total understanding of the lyric. Aided by the ethereal soprano of session singer Millie Kirkham, guitar artistry of Harold Bradley and Bobby Moore bass, she masterfully portrays the desolation and suicidal despair of her character. Proof indeed that less is more!
Although, perhaps, a near impossible act to follow, Connie rounded off her August 8 session with a jaunty, comedic interpretation of the century old Boll Weevil Song, popularised by blues and folk musician, Huddie Leadbetter, better known as Lead Belly, and a 1960 million-selling hit for Brook Benton. With its combination of pseudo Southern accent, chuckling narrations, and touches of humour throughout, Connie scores another resounding bull's-eye.
On August 9 she undertook evening and night-time sessions where the eight recordings were evenly divided, assigning the more up-tempo batch to the earlier slot. First of these was the familiar Clementine, and its story of the drowned daughter of an 1849 California Gold Rush miner. Vocally one of the less-inspiring folk selections, it could just as easily have qualified for inclusion in the Sing Along package, as could that evening's second item, She'll Be Comin' Round The Mountain, which employs similar banjo strum-along accompaniment. Inexplicably, four years later this title was selected to provide the "B" side to Connie's classy 1965 U.S hit single For Mama.
Better by far is Come On Jerry (Timber!). With an opening akin to Peggy Lee's Fever, the subsequent insidious rhythm, gradually building vocal emphasis and sparse, but effective, musical accompaniment combine to create an underrated gem which deservedly reached a wider audience when forming the flipside to the 1964 hit title Whose Heart Are You Breaking Tonight?. The lyrics to this version of Jerry the Mule are considerably more listener friendly than the Josh White original.
The early session ended with Careless Love, another track with Josh White associations. Connie, with banjo, harmonica and Jordanaires accompaniment holds back on her own renowned tear-tinged vocal or the bluesy approach she employed on Ev'ry Night, and, though vocally sound, her artistry on the afore-mentioned title causes the effect of this one to be less than convincing.
The August 9 night session produced four quality recordings. True Love, True Love, known as both In the Pines and Where Did You Sleep Last Night?, is perhaps most associated with Lead Belly, who recorded several versions of it in the Forties. It was also a 1964 UK Top 20 hit for British group the Four Pennies under the title Black Girl. Connie opens her interpretation in assured and gentle microphone-caressing fashion, beautifully conveying the vulnerability of her character. By song's end, she has succeeded in adding fragile and tragic to the description, and an awareness by the listener of the extraordinary vocal performance delivered. This track also provides one of the Jordanaires' finest contributions.
Aura Lee, thought to be of English origin but believed to have been first introduced in the U.S. by Hooley & Campbell's Minstrels, became a favourite among Confederate soldiers during the American Civil War. Almost 100 years later the tune was assured of immortal status when resurrected by Elvis Presley as Love Me Tender. Connie's near-acapella, pitch perfect opening sets the tone for this gentle interpretation which allegedly became a favorite with President John F Kennedy.
The penultimate Folk recording Red River Valley, a traditional folk and cowboy song, and yet another that is believed to hail from England, lays claim to having been first published in America in western Iowa c1879-1885, but there is also evidence suggesting it may date back to an expedition to the Red River Valley in Manitoba, Canada in 1870! Whatever its pedigree, its Country element provides Connie with a fine showcase for her "million dollar cry" delivery.
The August 9 sessions concluded with Beautiful Brown Eyes, a song credited to Fiddlin' Arthur Smith, who had a major hit with it in 1937. Connie's version has more in keeping with the 1950 Rosemary Clooney half-million seller and is another title with credentials for inclusion in either folk or sing along categories.
The 10 Sing Along tracks are believed to have been completed on August 7, 1961 but, unlike the Never On Sunday and Folk Song collections, were recorded for release on Mati-Mor Records by special arrangement with Connie's own label, MGM. Brylcreem Presents Sing Along With Connie Francis, to give the set its official title, was licensed to Mati-Mor to tie in with Connie's September 13, 1961 ABC-TV special being sponsored by the men's hair-styling product.
Although it shares matching credentials to the other two albums cut at the Bradley studio that week, no stereo master appears to exist for Sing Along. Despite this apparent drawback, the collection is thought by many to have been the biggest-selling album in the U.S that autumn thanks to its reduced price and commercials for the recording during the TV special broadcast. Unfortunately for Connie, the album did not qualify for inclusion in chart statistics and was thereby deprived of a potential #1 placing.
Grouped under that Sing Along banner are familiar tunes which, in their time, and depending on the lifestyle of the participant, would have been known as parlour songs, or beer cellar, tavern and pub favourites. In some respects, the album could even be regarded as the forerunner to a Connie Francis karaoke compilation, in that the possible intention is for the audience to sing along with the selections and not to critically listen to them.
Its opener, Sing Along, is probably the least known of the bunch and, while the melody may possibly outdate its lyrics, these contain a reference to Caruso, suggesting the early 1900s. Tuneful and catchy, vocal spotlight is shared with the Jordanaires throughout.
Home On The Range started out as an early 1870s poem by Dr. Brewster M. Higley called "My Western Home" that was first published in a December 1873 issue of the Kansas Smith County Pioneer under the title "Oh, Give Me a Home Where the Buffalo Roam". The music was composed by a friend of Higley's named Daniel E. Kelley. Sung by settlers, cowboys, and others, it was officially adopted as the state song of Kansas on June 30, 1947. Connie's vocal and style of presentation qualify this track as an equal contender for both Folk and Sing Along.
Written by American-Irish tenor Chancellor Olcott for his 1899 production A Romance of Athlone, My Wild Irish Rose also lent itself to the title of a 1947 biopic devoted to the singer. Pleasing though her performance is, Connie recorded a new, superior waltz tempo version five months later in January 1962, at sessions for her Irish Favourites album, which also included Olcott's When Irish Eyes Are Smiling.
Connie and 3/4 time has provided an impressive array of quality performances and, quite, possibly, I Love You Truly, may have provided the inspiration for her 1963 album Greatest American Waltzes. Her version of the heartstring-tugging Carrie Jacobs-Bond parlour song is worthy of inclusion in any respectable Connie Francis romantic collection. The song, incidentally, was the first one written by a woman to sell one million copies of sheet music. The remarkable Ms Bond also wrote the mammoth-selling A Perfect Day and Just A-Wearyin' For You which, years later, was the source of one of the finest performances committed to disc by Jane Morgan.
The waltzing rhythm has also been employed on And The Band Played On, In The Good Old Summertime, You Tell Me Your Dream, and Down In The Valley, the latter a traditional American folk song also known as Birmingham Jail. Of this quartet, only You Tell Me Your Dream elevates itself to performance status, thanks to a generous portion of a solo Connie vocal. Nevertheless, she is in fine voice on Down In The Valley and provides jesting reference to Jordanaires' bass man Ray Walker and soprano Millie on And The Band Played On.
Although claimed to be an American popular song dating back to 1883, some sources attribute the origins of (There Is A) Tavern In The Town to a traditional tin miners’ song from Cornwall, England. Connie and the Jordanaires present their version in no-frills fashion. The Sing Along closure, Auld Lang Syne, which requires no introduction, is also sung effortlessly. Although the track appears to have been given greater production value than others on this set, and also benefits from being the only one to audibly include Millie Kirkham, it is less than satisfying.
The haste with which the Sing Along album was put together and marketed would be considered totally amateurish by today's standards. There was much worldwide interest and demand for local releases and, instead of negotiating a practical solution that would have satisfied Mati-Mor, MGM and Connie, the album was subjected to a domestic production only licence.
In Japan, where record buyers were clamouring for new Connie Francis titles, the local MGM distributor pressed and marketed the album with a fresh, non-product promotional picture sleeve. Under threat of legal action, this was hastily withdrawn and existing unsold copies destroyed. Meanwhile, in Canada, all Brylcreem references were removed and the album issued as Silvikrin Presents Sing Along With Connie Francis.
Adding a special touch to this folk/sing along compilation are three bonus selections, the first of which, (There'll Be) Peace In The Valley (For Me), was written by Thomas A Foley for Mahalia Jackson. The song has since become equally respected in both the Spiritual and Country music genres. Although it may not qualify as folk, the quality and feel of Connie's performance on this 11 July 1959 recording culled from her album Country & Western Golden Hits, compare favourably with the Folk set's higher rated selections.
Now Is The Hour is a bona fide folk song - albeit of Australian origin, the melody of which was composed by Clement Scott in 1913. It was popularised in New Zealand as a farewell song to Maori soldiers after words in their language had been added in 1915. The first English verse with the opening line "This is the Hour" was added by Maewa Kaihan in 1920. The song achieved worldwide prominence in 1948 thanks to English singer Gracie Fields recording the song after its opening line had been changed to "Now is the Hour", and another verse added, by her manager, Dorothy Stewart. Connie, who was headlining at the Palace Theatre in London at the time, recorded her self-harmonising track at EMI's Abbey Road Studios on March 6, 1959.
Italy-born composer James Vincent Monaco was responsible for You Made Me Love You which, following its introduction in the 1913 Broadway revue The Hollywood Express, was recorded by Al Jolson that same year for Columbia Records, and subsequently for his own biopic The Jolson Story in 1946. Sandwiched between these performances was the memorable Judy Garland interpretation, in which the original James McCarthy lyrics were supplemented by additional lines from Roger Edens in the form of a sung fan letter to Clark Gable in the movie Broadway Melody of 1938. An instant 1913 hit, it became a huge sing-along favourite, albeit in up-tempo fashion. Recorded by Connie in London on 21 August 1959, this was to have been her tribute to Jolson on the album One For The Boys which, although completed, remained unreleased in its entirety until 1996.
The final selection is a “live” show-stopping closer recorded at New York’s Copacobana on 7 December 1960. Renowned for her skill at selecting songs to fashion into medleys, Connie combines the gospel-influenced When The Saints Go Marchin’ In with the jazz-rooted Bill Bailey, Won’t You Please Come Home to produce a hand-clapping, feel good finale. Saints, which has taken on near Folk status, originated as a Christian hymn and is, perhaps, most associated with New Orleans where it is traditionally used at funerals. Connie’s treatment respectfully incorporates both the slow intro frequently played by an accompanying band on the way to the burial, and the up-tempo treatment heard upon its return. The Dixieland influence links well to the more raucous Bill Bailey, written by composer-lyricist Hughie Cannon when he was just 16 years old. Cannon, who had a definite ‘feel’ for songs to sing along with, also composed the classic Frankie and Johnny before alcohol and drugs caused his premature death at the age of 35.
Whether all of these titles qualify as Sing Along or Folk may be debatable. However, there can be no denying that they all contribute to Connie’s own rich musical heritage.
Ron Roberts