FORMBY, George: It's Turned Out Nice Again (1932-1946) (Formby, Vol. 2) (Beryl Formby/ David Lennick/ George Formby/ Jack Hylton/ Jack Hylton Orchestra/ John Firman/ Studio Orchestra) (Naxos: 8.120837)
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GEORGE FORMBY, Vol. 2
'It's Turned Out Nice Again' - Original 1932–1946 Recordings
The real secret of his success was personality. That wide grin of his seemed to spread across the screen. (Basil Dean)
George was a superb actor … He always played himself. (Emile Littler)
The charismatic fool with the ukulele, who brought music-hall slapstick to the picture-house and embodied Blackpool seaside levity during the Depression years and Wartime, George Hoy Booth was a top British Commonwealth box-office draw between 1935 and 1945. Born in a Wigan terrace house, on 26 May 1904, the eldest of a large family, George had the stage, or at least a strong native performing instinct, in his blood, for his father, George Formby Sr (alias James Lawler Booth, 1875-1921) was a celebrated Edwardian music-hall comedian who, after rising from dire poverty had acquired national fame through musical-hall and recordings, before dying prematurely, from tuberculosis. From the age of seven George Jr worked as a stable lad. He loved horses, but despite being an apprentice jockey from the age of fifteen, and notwithstanding his father's opposition to him entering show business ('one fool in the family is enough', he reportedly said) George was irresistibly drawn to the world of entertainment. George even succeeded in combining both worlds, when he played a child jockey in a silent entitled By The Shortest Of Heads, in 1915.
By 1921 George, already too heavy to ride racehorses professionally, had set his heart on a stage career and within two months of his father's death, coached and encouraged by his mother Eliza, was following in his footsteps, initially as George Hoy. After a first appearance, performing between reels in a silent cinema in Earlestown, George got a booking at the Argyll, Birkenhead, for the princely wage of £17.10s.0d (£17.50p) per week. There, he perpetuated (unconvincingly, many critics thought) his father's routines, which hinged around the vicissitudes, with songs tailored to suit, of John Willie, an idealised Lancashire halfwit created by George Sr. George struggled to make his mark in the halls of the North until around 1925, when he added the ukulele (in fact a 'banjulele', a banjo/ukulele hybrid) to the more permanent trademark of the toothy grin. The rest was history and thereafter he never needed to change the formula.
In 1924, George married comic actress and champion clogdancer Beryl Ingham – and his whole world changed. Assessments of Beryl's character vary; generally regarded as domineering ('shrew' and 'harpy' were among the kinder names applied to her), her unflagging devotion and strong showbiz instinct nonetheless galvanised George's own will to succeed. Under her management George polished his act and progressed by leaps and bounds. In 1924 he made a test record and two years later his first records, for the Edison Bell Company, were released. Much in the manner of those left by his late father, these are, however, in style and delivery, a far cry from the later George Formby records with which he is still associated. Prior to 1930, he toured with Beryl in revues (including Formby's Road Show and Formby Seeing Life) and reached a wider audience, via radio. In 1932 he added pantomime to his curriculum vitae (a new trade, painstakingly acquired, with coercion from Beryl and financial backing by hard-driving Northern theatrical impresario Bert Loman).
Throughout the 1930s and mainly for promoter Bert Feldman on variety theatre circuits, George projected a comic image of the perfect fool. However, this was but a mask, for in reality George was an extremely canny Lancashire lad. Via the silver screen, despite the self-acknowledged limitations of his range as a performer, George was able to communicate with a much wider 'audience'. Even before 1933, when he made the first of two shorts (Boots! Boots! and Off The Dole), for J. E. Blakely's Mancunian Films), he was already a well-established top-liner on the Northern variety theatre circuit, and on the strength of these films secured lucrative contracts. In total, he went on to make a further eighteen, the first eleven for Associated Talking, Ealing, Pictures (beginning with No Limit, a TT racing extravaganza set on the Isle of Man, in 1935) and, from 1942 onwards, for Columbia, commencing with South American George (this included the numbers "Swing, Mama", "I Played On My Spanish Guitar" and The Barmaid At The Rose And Crown). His screen 'discoverer' and Ealing producer, former actor Basil Dean (1888-1978) made this assessment of George's dramatic talent: 'Fortunately, he had a very shrewd idea of his own capabilities, and was always determined never to step outside them … George never acted gormless, like some successful comedians. He was gormless, so far as the audience was concerned, and they took him to their hearts accordingly.'
Spurred by the enthusiastic reception of No Limit, George committed himself with vigour to an annual or twice-yearly production schedule of ATP situation comedy features which, combined with record sales and other revenues, secured him by the decade's end an annual income in excess of £100,000. In the first of the series, Keep Your Seats, Please (1936; co-starring Florence Desmond and featuring Alistair Sim), apart from the title-song, George memorably introduced his theme song "When I'm Cleaning Windows"). He followed this success with Keep Fit (1937), I See Ice and It's In The Air (both 1938; generally rated among his best screen efforts, the last-named finds accident-prone RAF recruit George singing the title-song and "They Can't Fool Me") and, in 1939, Trouble Brewing and Come On, George. From 1940 onwards the films were geared to providing a comic morale boost during wartime, with titles including Let George Do It (1940) and (his last for Ealing/ATP) Turned Out Nice Again (1941; in this George aired another perennial Formby favourite, "Auntie Maggie's Home-Made Remedy").
During WW2 George worked tirelessly for ENSA, endearing himself, uke in hand, to millions of British and Allied services around the world – in recognition of which achievement he was awarded the OBE, in 1946. Beginning in 1942 with South American George (with George posing as a South American opera divo, this provided one of his best vehicles) George sated the British hunger for tomfoolery with a succession of high jinx comedy morale-boosters, made for Columbia by his own company, Hillcrest. Much Too Shy appeared the same year (in which George the handyman airs They Laughed When I Started To Play and "Delivering The Morning Milk"), followed by Get Cracking and Bell-Bottom George (both 1943), He Snoops To Conquer (1944) and I Didn't Do It (1945). George's last screen appearance, George In Civvy Street (1946) was a comparative flop in which George the soldier home from war, redeems all only by songs, like The Mad March Hare and You Don't Need A License For That).
During the post-war years George made successful tours of Australia, Canada and South Africa, but having previously made only sporadic appearances in London (notably, topping t