Some Sunny Day

HarperCollinsPublishers

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London SE1 9GF

www.harpercollins.co.uk

FIRST EDITION

First published by HarperCollinsPublishers 2009

Copyright © 2009 by Margaret Lynn Ltd

Sections of this book were previously published under the title Vocal Refrain in 1975.

Front cover photographs © 2005 Topfoto/Topfoto.co.uk (Vera Lynn in wartime uniform); Bettmann/Corbis (aeroplanes); US Army/Handout/CNP/Corbis (background)

The author asserts the moral right to be identified as the author of this work

A catalogue record of this book is available from the British Library

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Source ISBN: 9780007318919

Ebook Edition © June 2020 ISBN: 9780007343362

Version 2020-06-22

This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.

To my wonderful Harry, with whom I was so fortunate

to share my life for all those years.

And to ‘The Boys’, to whom we all owe so much—

your spirit and humour live with me to this day.

Never forgotten.

Table of Contents

Cover Page

Title Page

Copyright

Dedication

Acknowledgements

Introduction

Chapter One: Overture & Beginnings

Chapter Two: One-&-six for an Encore

Chapter Three: Vocal Chorus

Chapter Four: A Taste of Ambrosia

Chapter Five: Wild About Harry

Chapter Six: A Country at War

Chapter Seven: Sincerely Yours

Chapter Eight: Off to see the Burma Boys

Chapter Nine: A Journey with a Legacy

Chapter Ten: A House is a Home

Chapter Eleven: After the Interval

Chapter Twelve: Not My Style

Chapter Thirteen: Round & About

Chapter Fourteen: Everybody’s Talking

Chapter Fifteen: Never Quite Retired

Index

About the Publisher

Acknowledgements

Imust thank all my family, of course, for their constant support and love.

And there are too many others whom I have met and worked with over the years to thank here, so I will mention just three: my dear friend Wally Ridley, for his help in those Denmark Street days; Joe Loss, for selecting me for my first broadcast; and Norman Newell, who produced all my early records. These three men were instrumental in making my life the extraordinary event that it has been.

Introduction

Iwill always remember the moment war was declared at the beginning of September 1939. I was sitting in the garden of the new house I had bought in Barking with Mum and Dad. Life was going well for me: I was singing with Bert Ambrose’s band, fulfilling what was really the only ambition I had ever had: to be the best singer with the best band in the land. Before the announcement came, anyone would have told you that times were not easy, but my life was certainly not bad.

On that day I remember we were all drinking tea in the garden, my dad sitting in his deckchair as he loved to do. He was always brown from sitting in the sun. Naturally we had the radio on all the time because everyone was interested in what was going on. For weeks everyone had been on tenterhooks, not knowing what was going to come. And that’s when I heard the news. The first thought that came into my head was a selfish one: Oh dear. There goes my singing career. Everything I have dreamed of, I thought to myself, is over. The men—including all the musicians I knew in the band—would all be going away to fight. And I would be headed straight for the munitions factory. I was only twenty-two. It seemed like the end of my world.

At that point no one thought that entertainment would become essential during the war. And I certainly never thought I would have the chance to continue singing. I was already very familiar with the words to ‘We’ll Meet Again’ by then, but I had no idea that that particular song would become the tune people most associated with the war era. Or that my voice would become the one that most reminded people of the hope for the future we needed to have at that time.

Seven decades later I remember that day as clearly as if it were yesterday. So it makes me especially proud and honoured to know that all these years later people still want to mark the anniversary. This year, 2009, marks seventy years since the outbreak of the war as well as the sixty-fifth anniversary of D-Day, the biggest wartime operation ever. It’s difficult for me to believe that it was that many years ago, because in my mind there are times when it feels so recent. It thrills me to know that people still remember and still care. It’s so important.

This year also marks exactly seventy years since I first sang that well-known song, the one that made my name, on tour with Ambrose’s band in the autumn of 1939. Ironically, precisely a year before that, I was on stage while history was being made. On 29 September 1938 I was performing at the Hammersmith Palais in London. Meanwhile the British Prime Minister, Neville Chamberlain, was in Munich for a meeting with Hitler. This was the meeting where Chamberlain believed he had received the reassurance that there would be ‘peace for our time’. Which, as we know now, unravelled within the space of the next twelve months.

In many ways I feel honoured and privileged to have become a symbol of that era. It’s very humbling. But there have been times in my life when I have felt uncomfortable about it too: it is something to live up to when people call you a national treasure, and that is certainly not an expression I would use myself. I just see myself as someone who found herself in the right place at the right time—or perhaps we should call it the wrong time—and I just happened to have a voice which suited the era and, somehow or other, has stood the test of time.

I’m told that schoolchildren today still learn the words to ‘We’ll Meet Again’. That thrills me. It seems that the songs I am remembered for from the war have passed from generation to generation, so that young people today know about them. I still feel a part of things. I have kept myself busy in my semiretirement: I have a garden I look after (with help) and I still drive—but only locally. I feel fortunate that I’m in a position where for the past thirty years I have been able to spend time on the charities I support, such as Breast Cancer Research and my trust, which helps children with cerebral palsy. And, of course, I still like to help organizations such as the Royal British Legion, which supports ex-servicemen.

Almost forty years ago I published an earlier version of my memoirs. This was at a time when I was still appearing regularly in my own television show and—astonishingly to me—my career was still going strong some thirty years after the war. Towards the end of that decade—the 1970s—I began the slow process towards retirement, although I have never really wanted to step completely out of the spotlight. Now that I am ninety-two, barely a week goes by without someone asking me to cut a ribbon at some event or other, and I am more than happy to oblige.

At my ripe old age, though, I felt it was time to revisit that era properly and get everything down on paper in a final account. I have also found that as the years pass I remember some things with a clarity that I didn’t have before. My trip to Burma, for example, looms large in my memories as one of the pivotal moments of my life. I didn’t really understand that when I was in my fifties. In this book, for the first time I have been able to recall that trip in a lot more detail—and I even found the red leather Collins diary I carried with me throughout. I’m particularly fond of that little diary, because I wasn’t supposed to keep it: we were not allowed to take any notes in case they fell into enemy hands. I wrote in it in tiny spidery handwriting that I thought the enemy would never be able to read.

Perhaps unsurprisingly, a lot of the events I am involved with today revolve around wartime. I still attend many charity events and veterans’ anniversaries, and often the ones that I find most moving are to do with Burma. Five years ago I attended a grand reunion for Burma veterans at London’s Imperial War Museum. It was the sixtieth anniversary of a number of decisive battles fought by the ‘Forgotten’ Fourteenth Army in the vicious Burma jungle campaign. More than a hundred veterans attended, many in their eighties and nineties. To my astonishment, there was one man there I recognized, although I wouldn’t have known his name—Neville Hogan. It turns out I met him on my tour of Burma in 1944. I sang a concert for the Second Battalion Burma Rifles. He was sick in hospital at the time and I visited him there. When I asked him what I could do for him, he said, ‘A kiss.’ I held his hand and kissed him on the forehead.

At the reunion he was now eighty and I was eighty-seven. I kissed him again on the forehead. He remembered my visit to his camp vividly and told a reporter about it afterwards: ‘Dame Vera came into the room and visited every soldier individually. She stood at the side of the bed and asked each one if she could have anything sent over for them. She was fantastic. She used to come and play off the side of a truck and boost everyone’s morale.’ I’m very proud of that. To think that I entertained audiences from 2,000 to 6,000 in that blazing heat. The boys would just come out of the jungle and sit there for hours waiting until we arrived and then slip back in once we’d left. What I enjoyed most, though—and still do now—was chatting to the troops. What they needed was a contact from home rather than a concert. I knew it was my place to provide that. It was the least I could do. When I talked to the men and women who served at war about their thoughts and how they felt about going into action, many of them would just shrug, saying, ‘It’s what we are trained to do.’ Their humility was matched only by their courage, honour and duty.

That was their vocation; singing was mine. People have always been amazed to learn that I can’t read music. I told a newspaper in 1943, ‘I learn a tune pretty easily although I can’t read music. I get the words into my head and then run them over and over again until I don’t have to bother any more because they just come out naturally. Then I can think about the singing.’ They called me ‘a natural born singer, who sings like a thrush, sweetly and spontaneously’. And they added: ‘There are plenty of people who can read music who could not sing like Vera in a thousand years. And there are not many who would not give their ability to read music for a voice like hers.’

It makes me laugh to read what else I told them for that article: that I wanted to retire before long (seventy years later and I haven’t really retired at all), that I wanted to get the garden going properly (that took another fifty years) and that I wanted ‘a couple of kids, maybe, when I get time’ (I had one daughter, Virginia, born in 1946; work got in the way of having the bigger family I had once dreamed of). My music publisher, Walter Ridley, added his thoughts at the time: ‘The secret of the kid’s success is that she’s genuinely sincere and sounds it.’

I like to think that he was right and that is why my voice and my songs are remembered now. If, in any small way, that can go towards encouraging people to commemorate the sacrifice of those who fought in the Second World War, then I am glad. We should always carry on remembering what happened seventy years ago. Even now I am constantly inspired by the work and bravery of our servicemen and women. Simon Weston, for example, the hero who was badly burned during the sinking of the Sir Galahad during the Falklands conflict, has become a good friend of the family. Earlier this year (June 2009) I was with him at the opening of a new burns research laboratory at the Blond McIndoe Research Foundation. It is based at the Queen Victoria Hospital in East Grinstead, where Sir Archibald McIndoe treated hundreds of burned air crew during the Second World War. There were a lot of burns victims during the Second World War—I remember visiting so many of them myself—and centres like this continue to be invaluable even today. Many of them—like this one—are funded solely on charitable donations. I feel it’s important for me to keep going if I can help in any way at all.

As I look back on my life, I am grateful to have survived that time and to be a symbol of an era which must never be forgotten. If that is my legacy, then I am proud of it. We still have servicemen and women serving abroad now and who knows when they will be called upon to fight for their country in the future? It’s for the ones who are fighting now that we must always make sure that the ones who fought in the past are not forgotten.

As for me, although my last official public performance was in 1995 at the VE Day Golden Jubilee concert outside Buckingham Palace, people still seem to hold me in mind. I feel privileged to have done three Royal Variety shows across three decades—in 1960, 1975 and 1986—and to have performed with some of the favourites of the last century: Bing Crosby, Morecambe and Wise, Cliff Richard. All in all it has been quite a journey for a plumber’s daughter from East Ham who almost didn’t make it to her third birthday.

CHAPTER ONE Overture & Beginnings

The funny thing is, I don’t remember singing as a tiny child. It’s only from my press cuttings that I know that apparently I could sing five songs right through by the time I was two. And I’m sure that when I was two and a half my uncle George taught me two old favourites—‘K-K-K-Katy’ and ‘I’m Sorry I Made You Cry’—because I’ve been told this many times. But I believe that a person’s life only really begins with what they can remember for themselves. So my story has got to start, strangely enough, with the time I nearly died. I was not quite three years old.

I have a recollection of being all on my own in some kind of a tent, surrounded by steaming kettles. I can’t shake off the impression that the tent was out of doors. Wherever it was, it was certainly in East Ham Hospital, and I was in isolation there with a dangerous illness called diphtheric croup. The steam was part of the treatment, I suppose.

I found out when I was older that at one stage they didn’t think I was going to live, and it’s peculiar to look back now and realize that there very nearly wasn’t anything to tell. I don’t know how long they kept me in the tent, but I was in hospital for three months altogether, and came out in time for my third birthday in 1920.

By that time I’d missed Christmas, so I had my Christmas and birthday all in one, in March. Mum even got me a Christmas tree from somewhere. I was Vera Welch then, and we lived in Thackeray Road, East Ham. All my life most people have thought, Oh, Vera Lynn, she grew up in the East End. But it’s not really the East End at all. East Ham is in fact classified as Essex. That ground-floor flat in Thackeray Road is my other earliest memory. I can see the little kitchen and wash-house now—especially the wash-house, where I went through a right terrible scrubbing from an aunt who’d come in to look after me. My mother had had to go off somewhere for the day—to make a visit to a hospital, I think—and this aunt was taking care of me, and when the time came for her to wash me she scrubbed and rubbed me dry so hard that I can feel the rough towelling even now, all these years later. In the kitchen was a high dresser along one wall, and that sticks in my memory because my brother knocked an egg-cup off it and broke it and got a clip round the ear for it.

These trivial incidents must have made a tremendous impression on me, for they remain vivid in my mind’s eye after ninety years. I know for certain that they took place before I was four, because when I was four we moved to another of those straight, flat East Ham streets, Ladysmith Avenue, to share a house with my grandma. And there we would stay until 1938, when at the age of twenty-one I’d made enough progress as a singer to be able to buy a house for my mum and dad and myself not far away in Barking.

In many ways we were just another typical working-class family. We were a small family: just me, my brother Roger, who was three years older than me, my parents, and my grandma, of course. I have very few recollections of my parents’ parents, although I have some beautiful old-fashioned pictures of them all. I vaguely remember my mother’s father, who died when I was four years old. From the photographs you’d think that we were well off, because everyone was always dressed in their Sunday best if they were having their photograph taken or if they were going out somewhere special. There’s a favourite shot I have of one of my aunts wearing a tweed suit, a fur tippet and a hat on the beach. I even have a photograph of my father on holiday in the countryside wearing what looks like a bowler hat. It was not because people were wealthy that they dressed like that: they just wore their best clothes to go out.

My mother, Annie, was a dressmaker and my father, Bertram, did all sorts of jobs. To this day I haven’t the faintest idea how my parents met—I never asked them. They were just ordinary people to me. My mother was a bit smart, though, because of her dressmaking. She made all her own clothes. Before she was married, she worked for a London dressmaker who took on royal commissions. She was the one who taught me how to sew and make things properly. My father worked as a plumber and he’d been on the docks. In those days, you took any job you could get. That’s how it was when I was a child. Despite this, my father was an easy-going man who liked to laugh—and he was a very good dancer.

That’s what was unusual about my childhood in a way. Thinking back on it all now, I realize that the things which helped to determine that I would go on to have a career as a singer were part of my life very early on, even though they may not have stayed in my mind in the same way as the kettles and the wash-house and the rough towel and the broken eggcup. We had quite a social life. There was Uncle George, my Dad’s brother, who had taught me those songs and would even wake me up to sing them for him. He used to appear in the working men’s clubs doing a George Robey impression, with a little round hat and the arched eyebrows; he had an act with his sister as well, and they wrote some of their own songs. Dad himself was very active in the East Ham Working Men’s Club, and was master of ceremonies at the dances there on a Saturday night: I used to see him in his white gloves and patent pumps, calling out the names of the dances, and feel so proud of him. During the long period of the club-going days—almost the first two decades of my life—he worked not only in the docks, but also as a plumber’s mate, as a glass blower, at the Co-op and, during the Depression, sometimes not at all; but whatever he was doing, I think it was his club activities he really lived for—his darts, his billiards and above all his dancing. In fact the whole family was very socially minded, and I was taken to the club as a matter of course from my very earliest childhood. Now I come to think of it, it was at a concert in the East Ham club that I was first taken ill that time.

Even after we moved to Ladysmith Avenue and lived with my grandma, Margaret Martin, my mother’s mother, there was never any question of leaving me at home. For a start, Grandma always came with us anyway, until she got too old, but that had nothing to do with it—it was simply the accepted thing that we should all go as a family. So, what with my dad being master of ceremonies at the dances, and one of his sisters being on the music-hall stage in a small way, and Uncle George singing his songs and doing his George Robey act, and Mum occasionally seeing to some of the club bar work and the catering (‘There’s money in cups of tea,’ she used to say in her practical way), I got accustomed very early to the idea of helping to provide entertainment.

Besides, we were a great family for singing: there were good voices on both sides, and no reluctance to use them. Grandma had a lovely voice, untrained, but much more of a concert performer’s voice than the voices of the rest of us. She used to sing ballads like the popular ‘Thora’, by Stephen Adams, and ‘Until’, and she still sang at the party we gave for her eighty-fourth birthday. Dad had a good voice and his party piece was ‘Laugh and the world will be smiling, weep and you’re weeping alone’. There always seemed to be sing-song parties going on round at my other grandmother’s in Gillett Avenue—which was the next road—with my aunt at the piano and everybody doing something.

My father was a very easy-going man, very quiet. He never made demands, never asked for anything. My mother was the one with the push and the get-up-and-go. She was the one who got me into singing professionally. She had it in mind from before I was seven. She was considered one of the smart girls when she was young and she had carried on sewing professionally once she was married. In those days when you married you had to leave your job—you couldn’t carry on—so she just did her dressmaking at home for people. She cared about her appearance but wasn’t what you’d call glamorous nowadays. She didn’t use make-up, only powder, because it wasn’t done to wear make-up in those days, but she always used Pond’s Cold Cream, and I used to sit on the bed and watch her put it on at the mirror at her dressing table. People called her ‘nice-looking’: she was pale with dark, bobbed hair, which she set herself in waves. One of my favourite photographs of her shows her wearing a black dress cinched at the waist with a silver belt buckle and she’s wearing a beautiful lace collar. That’s just how I like to remember her.

As a child I wasn’t interested in dressing up and showing off myself. I suppose at those early house parties I was like most little girls—torn between a desire to show what I could do and shyness at the idea of standing up and singing in front of a roomful of people. Oddly enough, in time I really came to resent being asked to sing at parties and hated it when Mum would encourage her friends to call out those dreaded words ‘Come on, give us a song.’ And I have to confess I still hate that sort of thing; even today, if I’m at a party, I get very uncomfortable at the thought of having to get up and sing. That’s why, at the sing-songs round the piano which we occasionally have at home, no matter who’s there I’d never ask them to do a turn.

Besides the entertainment that the immediate family and the club could offer, there was that of the professional variety theatre. The old lady opposite my grandmother’s in Ladysmith Avenue had a girl living with her as some kind of companion and this girl would sometimes take me to the East Ham Palace, where it was threepence to go up in the gods. This was our local variety theatre, right next to East Ham Station. I’d gaze down from our seats practically in the roof and dream of being on a stage like that myself one day. They had all sorts of different acts on there: comics, singers, dancers, acrobats, magicians—they weren’t necessarily famous but they were professionals, all working the circuit. A comic called Wood sticks in my mind and I saw Florrie Forde there when I was about ten years old—I remember her on stage all dressed up and singing songs. She would probably have had top billing as she was a very popular Australian entertainer best known for singing, ‘It’s a Long Way to Tipperary’ and ‘Pack Up Your Troubles in Your Old Kit Bag’. She had entertained the troops during the First World War and she would perform until the day she died in 1940, straight after an engagement singing for the troops. She made a lasting impression on me.