CD: Vera Lynn - Vera Lynn 100

New versions of old tunes from the World War Two songbird as she reaches her century

share this article

She hasn’t sung a note in a year or too and her regular appearances at veteran reunions have come to an end. In 2015 Dame Vera Lynn wasn’t well enough to attend the 70th anniversary celebration of VE Day. But she is still among us and on 20 March she qualifies for a telegram from Her Majesty. To celebrate, her original label Decca have dusted off some of the old tunes from the war and subjected them to a spot of spit and polish.

The reboot is a kind of nuptial union of past and present, featuring something old (Vera Lynn’s vocals), something new (freshly recorded big band orchestrations and choral backing), something borrowed (guest duettists). As for something blue? Those well-known birds appear over the white cliffs in the company of Alexander Armstrong’s slightly boring baritone. Alfie Boe makes a more handsome duet partner in “We’ll Meet Again” and yes that’s Aled Jones supplying close harmonies on “As Time Goes By”, in which Lynn’s ineffably English take on an American classic can be heard in every clipped vowel. 

Not everything hails from the 1940s. In 1952 Lynn became the first British artist to top the US charts with “Auf Wiederseh’n, Sweetheart”. West Ham United fans should head directly to her version of “I’m Forever Blowing Bubbles”, first sung in America in 1918, to hear a proper rendition. Most of the songs have a drowsy romantic languor, but there’s a dainty pep to “A Nightingale Sang in Berkeley Square” and “Wish Me Luck As You Wave Me Goodbye” breaks into a brisk trot. Digital technology has spruced up Lynn’s vocals a treat, though some sound fittingly distant in retro mono. You can probably give her recently rediscovered version of “Sailing” a wide berth. If you like this sort of dreamy nostalgia, you know who you are and what to do.

rating

3

share this article

Support the future of arts journalism

Subscribe to theartsdesk.com

Thanks so much for choosing genuinely independent arts journalism theartsdesk’s mission has never been more important – in an age of relentless algorithmic recommendation, sponsored content and unreliable AI, the expertise and discernment of individual critics deeply embedded in their specialist areas is absolutely vital.

If you want more of that in your life, why not subscribe now?

If you do this before the 31st August, you’ll be able to keep at this “founders rate” for life: your subs will never increase! You can choose to subscribe annually for just £40 simply click here
or monthly for £5 per month simply click here.

Not ready to subscribe?

If you want to support with a little extra or aren’t ready to subscribe just yet, there’s also the option to give direct to our crowdfunder to support our imminent redesign and exciting expansion with new features and collaborations Simply contribute here: https://gofund.me/c3f6033d.

However you choose to be involved, you can proudly say that you are picking the right side in the battle for truth and humanity in the modern information landscape. And we will be very glad to have you on board!

more new music

Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed
The Lebanese-French musician's father was behind a unique musical innovation
The Philadelphia punk rockers continue to impress
A partial account of how Brit-punk absorbed an aspect of reggae
The Fez Festival Of World Sacred Music and the Fes Gathering bring the world together
Bristol band aren't happy but offer up the occasional sing-along
A new album is unveiled and old tunes are played for the last time