There may be more widely revered singers, but the statistics don’t lie – worldwide, the Italian-American Connie Francis was the best-selling female vocalist of the 50s and 60s.
Her breakthrough hit, 1958’s Who’s Sorry Now, was written as far back as 1923 and had been a hit for Johnnie Ray just a couple of years earlier, with a swinging, uptempo arrangement. But what made the 19-year-old Francis’s version click was the way in which she took pleasure in her ex’s misery, coolly and coyly cooing over the slow-rocking backing while picking his failed love life apart; for a finale, she ended the song with impressive, high-kicking spite. In contrast, her second UK No 1 was the daffy Stupid Cupid, written by Neil Sedaka and Howard Greenfield, and loaded with ear-catching gimmicks: the bow-and-arrow guitar effect on the chorus; Francis jumping an octave when she sings “Cu-pid!”; and instruments that drop out – the musical equivalent of a wink – to allow her voice to sound as seductive as possible.
Her career would follow this pattern through the late 50s and early 60s, alternating lightly updated pre-rock ballads with teenage material redolent of soda shops and drive-ins, the kind of American 50s scenario later lit in neon by Happy Days and Grease. Of the ballads, My Happiness and Mama were especially heartfelt performances, and both reached the top 10 in Britain and America, while the desperation of the country-leaning My Heart Has a Mind of Its Own gave her the second of three US No 1s. The finger-snapping Fallin’ and It’s Gonna Take Some Time were cool and sassy, while Lipstick on Your Collar (its title later used by Dennis Potter as a late 50s signifier) and Vacation were so camp, they were almost gleeful self-parodies.
In 1960, Francis made her big-screen debut in Where the Boys Are, and the Sedaka/Greenfield theme song became another transatlantic top five single. 1960 was also the year Brenda Lee broke through – up to this point, Francis had been a lone trailblazer for women in rock’n’roll; the likes of Wanda Jackson and Jo Ann Campbell made great records but never came close to a top 10 hit, while the girl group era which gave us the Ronettes, the Chiffons and the Shangri-Las didn’t begin in earnest until 1962.
Francis struggled to adapt to the rise of the teenage girl group, though when she recorded material as strong as 1965’s soulful No Better Off it was clear the fault didn’t lie with the singer. She would be edged further into easy listening territory, scoring her last two hits in the UK with the darkly intense My Child in 1965 (she would never have children of her own) and the accusatory Jealous Heart in 1966. The latter could have been directed at her father, also her manager, who had broken up her relationship with the singer Bobby Darin by waving a gun at him; Francis would later describe Darin as “the most interesting human being I’ve ever met in my life”.
The following decades were less than kind to Connie Francis, who seemed to be dogged by tragedy. She was raped at knifepoint and almost killed in her motel room in 1974, after performing at a fair in New York state. She went public with the story, and Howard Johnson Motor Lodges were ordered to pay her $2.5m in compensation (later reduced to $1.475m in a settlement); this would then become a test case, leading to major upgrades in American hotel and motel security. The attacker was never found. Francis’s bravery in going public couldn’t help her overcome the mental health repercussions, and she didn’t sing in public for several years afterward. Then in 1981, her brother was shot dead, apparently by a professional hitman; the trauma would lead to Francis being misdiagnosed with manic-depressive disorder. She was involuntarily hospitalized by her controlling father, and spent much of the 1980s in and out of psychiatric institutions. Again, Francis was brave enough to speak out as a survivor, and became a spokesperson for Mental Health America to help others “suffering from the deleterious effects of depression and trauma of all kinds”.
Though the hits had dried up in the mid-60s Connie Francis kept a devoted following. In 1977, 20 All Time Greats made her – rather shockingly – the first female solo artist to have a No 1 album in Britain. She had also been the first female singer of the modern pop era to score three US No 1 singles, while 1962’s Pretty Little Baby – only an album track at the time – would become a TikTok hit, gaining millions of streams in 2025 thanks to its use by Kylie Jenner and Kim Kardashian. Connie Francis was a trailblazer, both as a pop star and an advocate of mental health support, and – like most trailblazers – she had to face the highs and the lows on her own.
