Interview part14 bannerThe ongoing interview by
Jerry Osborne
Jerry Osborns
from DISCoveries Magazine September 1991

Hope you enjoy this Part 14 of Connie's Interview

Connie:  (Asked if she liked the recording "Where The Boys Are") - Yes and No.  The producer said that every top writer in Hollywood, including James Van Heusen, Sammy Cahn, and all of them were writing title music suggestions for the film Where The Boys Are, though it was not known yet what the title song would be like.  But I told MGM that if I was going to record the song, I wanted it to be written by Neil Sedaka and Howie Greenfield because they had already written several million-sellers for me.
sedaka greenfieldI told them Neil and Howie were from Brooklyn, not Hollywood.  Even though Neil had already had a few hits, they still didn't know him well on the west coast, but they were always the last to know what was going on in pop music anyway.  I mean, Tin Pan Alley was in New York.  So I called Neil and Howie and said very excitedly, "Look, in one week they're going to decide on the title song for my first movie.  You got to write it right away."  Howie asked what the title of the film was.  When I told him Where The Boys Are he replied, "It's impossible, Connie, we can't write a song titled Where The Boys Are.  That's the silliest title for a song I ever heard.  We can't write a song around that kind of sentence fragment.  Maybe "Where Are The Boys". But not Where The Boys Are."  I said, "Just write the song and get it on a plane to me right away."

DISC:  Wasn't the film based on a book of the same title?

Connie:  Yes, it was a Top 10 book.  So we were stuck with that title as far as trying to come up with a song.  Anyway, they threw a song together and gave it to a stewardess to carry on the plane to me in Hollywood.  As soon as I received their song, a bunch of us met at MGM and they presented tons of different songs titled
Where the Boys Are Where The Boys Are.  When I opened the package from Neil and Howie, I found they had written two completely different versions.  One of them I loved--it was so great.  The other one I didn't like at all.  When MGM heard them they said, "You're right, Connie.  These Brooklyn boys have written a hit song."  But the one they liked was the one I didn't.  So I called Neil and Howie right away and said, "I've got good news and I've got bad news.  The good news is that you guys have got the title song from my first motion picture.  The bad news is that it's not going to be the great version.

DISC:  What happened to the version you loved?

Connie:  Nothing ever happened with it.

Disc:  How did the versions differ?

Connie:  I thought the first version said a lot more in the lyrics.  It was a totally different song, lyrically and musically.

DISC: Wouldn't it have been interesting to have released that version of the song?

Connie:  No because that would have split the air play.

DISC:  Not in 1961, but later--perhaps on an LP as an alternate take.  I'm sure the fans would love to hear it, especially after reading about it here.

Connie:  Oh you mean like RCA has done with digging up alternate Presley tracks.  That would be fine, except I never recorded the first version.

DISC:  On the next single you returned to the Nashville sound.  That was Breakin' In A Brand New Broken Heart.

Breakin in a Brand New Broken Heart

In PART 15, Connie talks about that next single, so watch for another update!

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