The Connies traveled to Memphis to record at Ardent Studios, where the Replacements and Big Star made great records, and their mix of Seventies Stones (but dirtier), the New York Dolls (but tighter) and Jerry Lee Lewis (but Westerberg-ier) comes with an extra sense of bare-knuckled grit and sonic thwump to fight against the darkness. "Revolution Rock & Roll" is a slamming gospel-tinged get-woke anthem, while the strikingly spare piano ballad "Montreal" evokes Big Star's "Thirteen" and Dylan's "It's All Over Now, Baby Blue," and turns on the lines "I gave conjunctivitis to a girl in a bar/I gave conjunctivitis like a star."
Connie Evingson isn't the first person to provide a vocal jazz tribute to the Beatles; over the years, everyone from Sarah Vaughan to Czech singer Peter Lipa has interpreted the John Lennon/Paul McCartney songbook. But Let It Be Jazz, the Minneapolis resident's fifth album, is among the more creatively successful..
A popular singer of tearful ballads and jaunty up-tempo numbers; one of the most successful artists of the 1950s and '60s. Connie Francis is the prototype for the female pop singer of today. At the height of her chart popularity in the late '50s and early '60s, Francis was unique as a female recording artist, amassing record sales equal to or surpassing those of many of her male contemporaries. Ultimately, she branched into other styles of music – big band, country, ethnic, and more. She still challenges Madonna as the biggest-selling female recording artist of all time.
Connie Smith is perhaps the only female singer in the history of country music who can truly claim to be the heiress to Patsy Cline's throne. It's not that there aren't many amazing vocalists in the field, and plenty of legends among them. But in terms of the pure gift of interpretation of taking virtually any song and making it a country song of class and distinction, Smith is it.
Telling stories that matter - Body Matters, a series of programmes on BBC One Wales looking at our relationships with our bodies. Connie Fisher won't go out without make-up. For her and many women in Wales, putting on her face is part of her daily routine. The average woman spends two years of her life putting on an estimated £12,000 worth of cosmetics. Connie asks why she and countless other women do it - and who they are doing it for. Is it to find a mate, is it insecurity or is it pressure from society? While Connie investigates women's commitment to make-up, a group of football boys find out how hard it is to put on the perfect mascara.