Josef Locke was born in 1917 in Derry. A famous singer in Britain during the 1940’s, his songs include “Goodbye” from “The White Horse Inn” and “Here My Song, Violetta”. He appeared in a few movies including “What A Carry On” in 1939. He died in 1999.
Stephen Dixon’s obituary in “The Guardian”:
“Goodbye, goodbye – I wish you all a fond goodbye.” As he strutted the stage, his glorious tenor soaring to the back of the “gods” in the north of England’s variety theatres, Josef Locke’s tearful and adoring audiences sang along and waved their handkerchiefs in time to the music. Locke, who has died aged 82, was an Irish superstar, the Tom Jones of his day – earning £2,000 a week when £100 was a good wage for a music-hall artist.
His voice could have taken him to the world’s great opera stages, but he chose the more raffish life of a variety bill-topper, specialising in sentimental ballads such as Hear My Song, Count Your Blessings and I’ll Take You Home Again, Cathleen, invariably closing his act with stirring audience galvanisers like Blaze Away or Goodbye. He was handsome, immaculately tailored and flamboyantly rogueish, with a trim moustache and a twinkling eye for the ladies.
Locke based himself in Blackpool, also home to his good friend, the comedian Frank Randle. Together they caroused, brawled and drank through the night, got up to various romantic escapades and lost fortunes on the horses. It was, in fact, Locke’s offstage antics that created the legend around him – he happily squandered his vast earnings, and in 1958 fled back to Ireland with the Inland Revenue hot on his heels. The day a warrant for his arrest for unpaid taxes was issued in Blackpool, he was in Kildare, paying 790 guineas for two horses. He named one of them The Taxman.
The story was told, charmingly but fancifully, in Peter Chelsom’s 1992 film Hear My Song, in which Locke was played by Ned Beatty. For the premiere, the 75-year-old singer was persuaded to return to England, where he sang Danny Boy to Princess Diana. When Chelsom first mooted the project to Locke, he found the singer only too willing to add to his legend – at one point the director had to track him down to a bar in Spain after he disappeared without signing the contract for clearance rights.
Josef Locke was born Joseph McLaughlin in Derry, Northern Ireland, the son of a butcher and cattle dealer, one of 10 children. He sang at churches in the Bogside as a child, and after a rudimentary schooling joined the Irish Guards, later serving with the Palestine police before returning to Ireland in the late 1930s. He then became a policeman and, performing semi-professionally, was known as “the Singing Bobby”. He sought advice about an operatic career from the greatest Irish tenor of them all, John McCormack, who told him that his natural showmanship might serve him better on the popular stage. Again on the advice of McCormack, Locke went to London to see impresario and bandleader Jack Hylton, who, impressed, booked him into the Victoria Palace. It was Hylton who renamed him – Joseph McLaughlin was considered too long for variety bills.
After some success in London, where he made his first recordings in 1947, Locke signed with Lew and Leslie Grade, who realised that his over-the-top style and penchant for sentimentality might go down better on the northern variety circuit, and steered him to stardom. Locke delighted in the world of variety, revelling in his celebrity, wearing only the best clothes and driving the fastest sports cars, always accompanied by a glamorous companion.
He also appeared in films for John E Blakeley’s Manchester-based Mancunian company, starring with other music-hall stalwarts like Randle, Tessie O’Shea and Jewel and Warriss. Some critics were sniffy about what they saw as the misuse of a fine voice. “The Londonderry tenor did indeed possess a fine organ,” wrote one, “ruined by undisciplined bawling and a delivery drenched in sentimentality.”
However, Locke’s (mainly female) public thought otherwise, and there was no sign of a diminution in his popularity when he suddenly vanished back to Ireland. Twenty years later, a masked singer, sounding uncannily like Locke and billed as “Mr X”, made some appearances in British clubs, and it was thought that he had returned incognito. It turned out not to be the case, although on one occasion he was flown into Britain to appear on This Is Your Life – and then flown straight out again before the taxman could catch him.
The success of the film Hear My Song – Chelsom used the “Mr X” story as the basis for his heart-warming fantasy – brought Locke back into the limelight, and an album of his old recordings became a bestseller. The tax business now long-forgiven, he continued to sing, mostly in Ireland, until fairly recently, then retired. He lived the latter part of his life near Clane, Co Kildare, and is survived by his wife, Carmel, and a son.
• Josef Locke (Joseph McLaughlin), singer, born March 23 1917; died October 15 1999
The above “Guardian” obituary can also be accessed online here.
Dictionary of irish biography
Locke, Josef (1917–99), singer and entertainer, was born Joseph McLaughlin 23 March 1917 at 19 Creggan St., Derry city, one of ten children of Patrick McLaughlin, butcher and cattle dealer, and Annie McLaughlin (née Doherty). Educated by the Christian Brothers and awarded for his singing at local feiseanna, he performed at St Eugene’s cathedral. Family business difficulties forced him to leave school at 14 and take casual jobs till enlisting underage (16) in the Irish Guards. Serving in Egypt, McLaughlin was the regiment’s youngest sergeant at 18. He sang with the regimental band, whose BBC concerts were his earliest broadcasts. His vocal range was extraordinary and he continued singing throughout his short police career, initially in the Palestine police and latterly in the RUC, which he joined in 1938 on his return to Northern Ireland. ‘The singing bobby’ grew disillusioned with policing and availed himself of opportunities to advance his growing celebrity, including voice instruction in Italy.
As the second world war restricted foreign travel he successfully auditioned in Belfast about 1941 for the visiting Dublin entertainer and producer Jimmy O’Dea (qv). He played Gaylord in ‘Showboat’ at the Gaiety Theatre and sang at the Theatre Royal, both Dublin venues owned by Louis (qv) and Max Elliman (qv). The wartime absence of foreign artists placed Irish names in higher demand, but McLaughlin’s income remained less than he was prepared to accept. Similarly, O’Dea’s fit-up theatre circuit of rural Ireland in the early 1940s, alternating between performance and menial drudgery in unsatisfactory venues, frustrated his desire for stardom. McLaughlin’s critically acclaimed work for the Dublin Grand Opera Society, first as Pinkerton in Puccini’s ‘Madama Butterfly’ and as Enzo Grimaldi in Ponchielli’s ‘La Gioconda’ at the Gaiety, encouraged his ambition. Advised by tenor Count John McCormack (qv) who was little impressed with his outings in grand opera, McLaughlin moved to a war-weary London in 1945. Beginning at the Victoria Palace, he established himself in variety with the legendary Jack Hylton and his band, but deliberately extended his repertoire to include religious and popular operatic selections, rousing anthems for which his clear, piercing voice was suited. Further advised, reputedly by Hylton, to shorten his name for billboard display, Joseph McLaughlin became ‘Josef Locke’ from about this time.
For a new star he had phenomenal popular appeal, unquestionably the product of his powerful voice and passionate delivery but also of his magnetic stage presence and physical energy. His deep eyes and military bearing, complete with turned moustache, gave him the appearance of a large and likeable rogue, which remained with him for life. His Derry accent was audible in performance as he earned fame and fortune in England, particularly the north, in the late 1940s. Nor did he abandon his roots in other ways, including his ‘Irish’ repertoire, which typically featured ‘Galway Bay’ and ‘I’ll take you home again, Kathleen’.
Locke easily blended into his new surroundings. From 1946 he began a long annual engagement in Blackpool’s Opera House holiday shows, living locally as proprietor of a garage and public house on the proceeds of his lucrative career. In 1947 he started in pantomime in Liverpool and toured Australia with Blackpool co-star George Formby. He had recently begun recording his lifelong standards, notably ‘The holy city’ and ‘Hear my song, Violetta’, which became one of his signature numbers (anglicised by Harry S. Pepper from a German original), generally known as ‘Hear my song’ with a tango rhythm both attractive and infuriatingly difficult to dispel. Similarly, ‘Goodbye’ and his most dramatic standard, ‘Blaze away’, remained in the ears of audiences long after the singer had left the stage. Few artists outside grand opera could claim such an entrancing effect on listeners, and Josef Locke compensated for his merely ‘popular’ status with an income whose size both surprised and drew the hostile attention of the Inland Revenue. His agents Leslie and Lew Grade, who had conducted him through his British career, later assisted in regularising his chaotic tax situation.
Locke’s first broadcast since the Irish Guards’ BBC concerts was on radio in 1949 in ‘The Happydrome’. Other engagements included television, then in its infancy. He appeared on screen in ‘Rooftop rendezvous’, in ‘Top of the town’, and in the Frankie Howerd show. Within a decade Locke was a star of every medium. His brief film career at the turn of the 1950s (Holidays with pay, Somewhere in politics, and What a carry on) was inauspicious but for his opportunity to earn lasting fame for the songs he included. Allegedly for being excluded from a special Royal Variety Performance held in Blackpool in 1955 (he had already played the London Palladium), he sold up and relocated to the US. Unhappy in America, Locke returned to Blackpool. By 1958 the UK revenue inspectors clearly suspected tax evasion, complicated by the inexact science of gambling on horses. Locke worked undaunted till tax notices turned into an arrest warrant. Going to ground, he eventually reappeared in Ireland as a farmer, publican, and racehorse owner. From this safe distance he settled his British tax liabilities.
Settling in Clane, Co. Kildare, Locke sought to recreate an international career, taking in Dublin’s Olympia Theatre and other Irish venues. By 1970 he faced bankruptcy and was fined in the Dublin district court for removing company registration documents. Although his star faded, notwithstanding musical engagements and occasional record releases, a special 1984 RTÉtelevision tribute on Gay Byrne’s ‘Late late show’ restored some of its lustre. In 1992 the unexpected success of Peter Chelsom’s semi-biographical fantasy film Hear my song, starring Ned Beatty as Josef Locke, revived his career to include a place in Britain’s top ten pop listing. Attending the film’s London premiere, Locke famously received an ITV ‘This is your life’ tribute. Genuinely amazed at his renewed popularity, Josef Locke lived out his remaining seven years in Clane with his fourth wife, Carmel Dignam. By his previous marriages he had had six children. He died at a Clane nursing home 15 October 1999 and was cremated at Glasnevin cemetery. In 2005 a bronze memorial bust, designed by Terry Quigley and sculpted by Maurice Harron, was unveiled in Derry.
Philip B. Ryan, Jimmy O’Dea, the pride of the Coombe (1990), 94, 96, 186; Philip B. Ryan, Noel Purcell: a biography (1992); Colin Larkin (ed.), Guinness dictionary of popular music (2nd ed., 1995), vi, 2530–31; Gus Smith, Irish stars of the opera (1994); Kevin Rockett (ed.), The Irish filmography; fiction films 1896–1996 (1996); Ir. Times, Daily Telegraph, Independent (London), 16 Oct. 1999; Sunday Independent, 17 Oct. 1999; ODNB; information from Harbour Museum, Derry