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Connie Francis - The Lord's Prayer (1959)

The Lord's Prayer, also called the Our Father, Pater Noster, and the Model Prayer is a venerated Christian prayer originally recorded in Koine Greek that, according to the New Testament, was taught by Jesus to his disciples. Two forms of it are recorded in the New Testament: a longer form in the Gospel of Matthew as part of the Sermon on the Mount, and a shorter form in the Gospel of Luke as a response by Jesus to a request by "one of his disciples" to teach them "to pray as John taught his disciples."
In the fourth petition, the original text of the prayer (in Greek) uniquely contains the word epiousios, which does not appear in any other extant classical or Koine Greek literature, and is also the only adjective in the prayer. The prayer concludes with "deliver us from evil" in Matthew, and with "lead us not into temptation" in Luke. The first three of the seven petitions in Matthew address God; the other four are related to human needs and concerns. The liturgical form is the Matthean. Some Christians, particularly Protestants, conclude the prayer with a doxology, a later addendum appearing in some manuscripts of Matthew.
In biblical criticism, the prayer's absence in the Gospel of Mark together with its occurrence in Matthew and Luke has caused scholars who accept the two-source hypothesis (against other document hypotheses) to conclude that it is probably a logion original to Q.
Underscoring the scope and foundational importance of the Lord's Prayer, initial words on the topic from the Catechism of the Catholic Church teach that it "is truly the summary of the whole gospel." On Easter Sunday 2007, it was estimated that many of the two billion Roman Catholic, Anglican, Protestant and Eastern Orthodox Christians who were sharing in the celebration of Easter would read, recite, or sing the short prayer in hundreds of languages. Although theological differences and various modes of worship divide Christians, according to Fuller Seminary professor Clayton Schmit, "there is a sense of solidarity in knowing that Christians around the globe are praying together..., and these words always unite us."
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Connie Francis (born Concetta Rosa Maria Franconero, December 12, 1938) is an American pop singer and the top-charting female vocalist of the late 1950s and early 1960s. Although her chart success waned in the second half of the 1960s, Francis remained a top concert draw. Despite several severe interruptions in her career, she is still active as a recording and performing artist.
Francis was born in the Italian Down Neck, or Ironbound, neighborhood of Newark, New Jersey, the first child of George Franconero, Sr., and Ida Franconero (née Ferrari-di Vito), spending her first years in a Brooklyn neighborhood on Utica Avenue/St. Marks Avenue before the family moved to New Jersey.
In 1955, Startime Kids went off the air. In May that same year, George Franconero Sr. and Francis' manager George Scheck raised money for a recording session of four songs which they hoped to sell to a major record company under Francis' own name. The story goes that every record label they tried turned her down, mainly because, as a demo singer, Francis could copy other popular singers of the day like Kitty Kallen or Kay Starr, but had not yet developed a distinctive sound of her own.
However, her minor chart success came too late – Francis' recording contract consisted of ten solo singles and one duet single. Though success had finally seemed to come with "The Majesty of Love", Francis was informed by MGM Records that her contract would be discontinued without renewal after her last solo single.
Francis considered a career in medicine and was about to accept a four-year scholarship offered at New York University. At what was to have been her final recording session for MGM on October 2, 1957, she recorded a cover version of the 1923 song "Who's Sorry Now?", written by Bert Kalmar and Harry Ruby. Francis has said that she recorded it at the insistence of her father, who was convinced it stood a chance of becoming a hit because it was a song adults already knew and that teenagers would dance to if it had a contemporary arrangement.
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