A Sad “AUF Wiedersehen” to Wwii Sweetheart Vera Lynn

She was perhaps the most recognizable female vocalist of the Second World War. Her million-selling record “We’ll Meet Again” became an anthem of hope for soldiers and civilians alike across both theaters of war. And her performances on radio gave reassurance to Londoners during the darkest days of the Blitz. Dame Vera Lynn has died at the age of 103.

Vera Lynn was born in London in 1917, the daughter of a plumber and dressmaker. She began performing before the public at the age of seven and took her grandmother’s maiden name as her stage name by eleven, when she made her first radio appearance on the BBC, performing with the famous Joe Loss Orchestra. By 1936 Lynn had secured a solo recording contract with Crown (later Decca) Records. In 1937, Lynn produced her first hit recording, “Red Sails in the Sunset”, and later joined the Bert Ambrose Orchestra as female vocalist. When not performing publically, she worked as the administrative assistant to the vice-president of a London-based shipping company.

While gaining some popularity during the mid to late 1930s, it wasn’t until the outbreak of World War Two that Lynn’s career really took off. Her wartime contribution included singing to people who were using London’s subways as air raid shelters, and she gave outdoor concerts for the troops in Egypt, India and Burma. She is best known for the popular song “We’ll Meet Again”, (recorded with Arthur Young on the Hammond Novachord) in 1939 at the outbreak of the war. Other hit recordings of Lynn’s from the period include “The White Cliffs of Dover”, “A Nightingale Sang in Berkeley Square” and “There’ll Always Be an England”. 

After the war, Vera’s popularity remained constant, and she continued to perform and record albums, devoting her spare time and energy to charity work connected with servicemen and disabled children. She was held in great esteem especially by World War II veterans, and in 2000 was named the Briton who best exemplified the spirit of the “Greatest Generation”. In 1952, Lynn’s recording of “Auf Wiedersehen, Sweetheart” became the first record by a British performer to top the charts in the United States, paving the way for The Beatles who would follow her success over a decade later.

In the late 1960s and early 1970s, Lynn hosted her own variety series on BBC1, and in 1976 she hosted the BBC’s “A Jubilee of Music”, celebrating the pop music hits of the period from 1952 to 1976 to commemorate Queen Elizabeth II’s Silver Jubilee year.

Vera Lynn sang at Buckingham Palace in a ceremony that marked the golden jubilee of VE Day (Victory in Europe) in 1995. A decade later, she made a surprise appearance at the VE Day ceremonies and gave a concert in Trafalgar Square, London. This would be Lynn’s final vocal performance at a VE Day anniversary event.

In 2009, at the age of 92, she became the oldest living artist to top the United Kingdom record charts with the compilation album “We’ll Meet Again: The Very Best of Vera Lynn”, outselling both the Arctic Monkeys and The Beatles. In 2017 she released “Vera Lynn: 100”, a compilation album of hits marking her 100th birthday. The album became an instant hit, making her the first centenarian performer in history to have a Top 10 album in the charts. Lynn is also notable for being the only artist to have a chart span on the British single and album charts reaching from the chart’s inception to the 21st century.

Vera Lynn received two nominations at the 2018 Classic Brit Awards for Female Artist of the Year and Album of the Year and was also the recipient of the 2018 Lifetime Achievement Award. In early 2020, a portrait of Lynn was unveiled at the Royal Albert Hall in connection with the 75th anniversary of the end of World War II. Lynn performed at Royal Albert Hall 52 times from 1937 to 2006.

In 1992 Lynn was awarded the honorary degree of Master of Music by the University of London, and in 2000 she received a “Spirit of the 20th Century” Award.

Lynn died on 18 June 2020 at her home in East Sussex (South Eastern England) at the age of 103. She is survived by her only daughter, Virginia Penelope Lewis-Jones.

The music of Vern Lynn is regularly featured on Swing Street Radio.

Gene Krupa – The First Soloist Drummer of the Swing Era

Do you often identify the swing era with the saxophones and trumpets? After all, who can ever get over Louis Armstrong and his extraordinary trumpet playing skill? Further, Coleman Hawkins on saxophone could sweep people off their feet in no time. It goes without a saying that such exceptionally talented artists and instrumentalists immortalized swing and big band music in the USA. However, at a time when the whole world was swinging to the rhythm of wind instruments, it was Gene Krupa who brought drums to the forefront of the swing era.

Without this good-looking, charming, and talented young man, who could have considered drums to be an integral part of swing music? We may swoon over drummers today but they did not enjoy the same popularity back in those days. Krupa, with his fantastic stage presence, captivating personality, and amazing playing skills, soon became a heartthrob of millions of Americans. In this blog, let us discuss his life and journey to success.

Finding expression through drum playing

Krupa was born to religious parents who had wanted him to become a priest. However, he showed no such religious inclinations and became increasingly fascinated with music, especially playing the drums. While he was still in school, Krupa joined a few bands as drummers. His biggest success came in the year 1927 when Krupa became the first-ever musician to have played a drum set while recording with McKenzie-Condon Chicagoans. Soon after this feat, Krupa became a popular name in the Chicago jazz scene through the 1920s.

Collaboration with Benny Goodman 

After moving to New York, Gene Krupa collaborated with several commercial bands but his association with Benny Goodman would prove to be a turning point in his career. A sensational hit by the Benny Goodman Orchestra, ‘Sing, Sing, Sing’ featured a lengthy drum section by Gene Krupa. Released in 1937, the song further popularized the idea of incorporating drums in the swing and big band music in the USA. However, the increasing popularity of Gene Krupa made Benny Goodman uncomfortable and was conceived as a challenge to the latter’s prominence in the band. In 1938, Krupa mesmerized the audience and stole the limelight at the Carnegie Hall Concert. This was the last straw that would substantiate the fallout between these two musical artists.

Forming his band 

After breaking up with Benny Goodman Orchestra, Gene Krupa formed his band quite quickly. His new band featured prominent players such as Milt Raskin, Sam Donahue, Vido Musso, Floyd O’Brien, and Irene Daye. In 1941, they created ‘Drum Boogie’, a score that is now part of an unforgettable collection of big band and swing music. But, the band shot to fame when Roy Eldridge and Anita O’Day joined and enriched the music group. From ‘Rockin Chair’ and ‘Let Me Off Uptown’ to ‘Thanks for the Boogie Ride’, the band gave back to back hits in 1941 and 1942. However, a drug charge on Krupa affected the band’s popularity, which eventually led to its disintegration.

The final phase in his career 

After working with Tommy Dorsey for a short time and having a reunion with Goodman in 1943, Gene Krupa once again tried establishing a band of his own. Unfortunately, it was short-lived and broke up quickly without garnering much popularity. Despite being a drummer of the swing era, Krupa welcomed and incorporated bebop elements into his musical arrangements. Through the 1950s, Krupa collaborated with trio and quartet bands thereby enriching their drum sections with his passionate and soul-stirring playing.

Conclusion – Initially, drums were considered to be one of the side instruments that caught little to no interest of major artists. However, with Gene Krupa’s arrival, drums no longer remained a rarity in the swing era. With his amazing drum playing skills, Krupa could own the stage and captivate the audience. Further, he set an example before the aspiring artists and showed them how drums could be used as an outlet of expressions. Want to enjoy swing tracks by Krupa and other eminent artists? Then tune into Swing Street Radio today. With an expansive collection of big band and swing music, the radio can take you on a journey.