Connie Francis Rocks Out

Connie Francis, who has just died, was a powerful hitmaker in the 1950s and 60s - versatile, technically secure and possessed of a strong sense of rhythm.

All of those qualities shine through on this, her rock 'n' roll album from 1959, which literally has as its centerpiece her hit recording of "Lipstick on Your Collar."

It's easy to dismiss the single as a kiddie record. After all, it starts out with a girls chorus singing a "nyah-nyah-nyah-nyah-nyah" refrain. But that's the worst part of the record - perhaps producer-arranger Ray Ellis' weakest moment on the record.

The best parts are the performances of Francis and guitarist George Barnes, whose career dated back to the NBC Orchestra in 1938, when he was 17.

Connie is a compelling narrator of this tale of teenage betrayal. She never plays the victim; instead she is outraged by her boyfriend's infidelity, proclaiming, "Bet your bottom dollar / you are I are through / 'cause lipstick on your collar / told a tale on you!" She is in command of the situation.

George Barnes, guitar idol

Commanding is also the word for guitarist Barnes, who rips off what is in my estimation one of the greatest pop guitar solos ever. He breaks in just as Francis is finishing her chorus with a rip-snorting run that is technically secure, rhythmically compelling, and that seems to amplify the tale that Connie has been telling.

The rest of the album is good, too, but of course it's a set of covers, so it has to suffer comparisons with the iconic originals. Here are the songs and the artists who are covered:

• "Heartbreak Hotel" and "Don't Be Cruel" - Elvis Presley. It's a shame that Barnes didn't get a chance to outgun Scotty Moore on the first song. Moore's solo plays the same role on the Elvis record as Barnes' does on "Lipstick on Your Collar." Francis pushes the beat on the second song; she's much better on "Heartbreak Hotel."

Ray Ellis

• "Tweedlee Dee" - La Vern Baker. This was Baker's breakout hit, and is driven by her confident, emphatic singing, but is otherwise a novelty. The cover was by George Gibbs. This has a good Ellis arrangement and Connie is very adept.

• "I Almost Lost My Mind" - A blues by Ivory Joe Hunter that has a sing-song quality. The cover version was by Pat Boone. Francis and Ellis take it very slowly - it works nicely.

• "I Hear You Knockin'," "Ain't That a Shame" and "I'm Walkin'" - The former was by Smiley Lewis, the latter two by Fats Domino; Dave Bartholomew was the driving force behind the New Orleans sound. The covers were by Gale Storm, Pat Boone and Ricky Nelson. Connie handles these remarkably well, but the band doesn't quite have the New Orleans sound down.

Connie Francis

• "Just a Dream" - Jimmy Clanton's first hit, and another one from the Louisiana scene. Francis does it ably, but there isn't much to work with.

• "Sincerely" - This was a hit for the Moonglows first, but Connie's version is based on the McGuire Sisters' cover, with Francis triple-tracked at points.

• "Silhouettes" - The Rays' big hit, which actually did better than the cover version by the Diamonds. Francis does a professional job, but the interplay among the Rays is better than between Connie and her backing group. Also her head note at the end isn't her best idea.

• "It's Only Make Believe" - Connie's version rivals Conway Twitty's original in intensity. I like Glen Campbell's later cover the best.

The record is a fine tribute to a talented and multifaceted singer.

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