Maurice Winnick

“Da-Dar-Da-Dar” (1933)

“Da-Dar-Da-Dar (Da-Dar-Da-Dee).” Words by Robert Hargreaves and Stanley J. Damerell, music by Tolchard Evans. Recorded on May 16, 1933 by Maurice Winnick and His Orchestra, with vocal refrain by Sam Browne (and with Elsie Carlisle in a speaking part). Panachord 25529 mx. GB5875-2.

Personnel: Maurice Winnick-vn dir. Charles Price-another-t / 2tb /Harry Hayes-Harry Turoff-as / Percy Winnick-cl-ts-o /Bert Whittam-p / Bill Herbert-g / Tiny Stock-sb / Stanley Marshall and possibly Max Bacon-d

Maurice Winnick and His Orchestra – “Da-Dar-Da-Dar” (1933)

“Da-Dar-Da-Dar” features Elsie Carlisle in only the tiniest speaking role (for eight seconds at 1:56, when she says, “Oh, d-d-d-darling!” and “Oh, d-d-d-dearest!”), but I include it in this collection for the sake of completeness and because it is a very good comic waltz with a vocal refrain by Elsie’s long-term singing partner Sam Browne. Elsie’s sole recording session with Maurice Winnick and His Orchestra yielded up a second comic waltz with Sam that was issued on Panachord 25527, “Seven Years with the Wrong Woman.” But whereas that song involves disgruntled married people, “Da-Dar-Da-Dar” involves the complications that young people face in arranging a tryst, what with the omnipresence of parents.  Indeed, its scenario includes a complication involving a younger brother whom Sam must pay off to get some time alone with his girlfriend (voiced by Elsie).1 The overall idea of the awkwardness of youthful rendezvous is comparable to that produced by the song “Sittin’ in the Dark,” of which Sam and Elsie had recorded three versions in March 1933. One might also be reminded of Elsie’s 1928 and 1930 versions of “Dada! Dada!” but the name of that song refers to the father who is listening in on his youthful daughter’s first encounter with the opposite sex — really a very different idea entirely, and much less wholesome, for the song title “Da-Dar-Da-Dar” is meant only to imitate the rhythm of a waltz, and Elsie’s father, we are grateful to hear from Sam, is not present.

“Da-Dar-Da-Dar” was also recorded in 1933 by Sydney Lipton’s New Grosvenor House Band (v. Sam Browne), the BBC Dance Orchestra (directed by Henry Hall, with vocal refrain by Les Allen, in a Ronnie Munro arrangement), and Syd Roy and His R.K. Olians (vocalists Bill Currie, Ivor Moreton, and chorus).


  1. It is not clear who impersonates the brother. Perhaps drummer and comedian Max Bacon, who did funny voices in “Seven Years with the Wrong Woman” at the same recording session, or even Sam Browne himself?

“Seven Years with the Wrong Woman” (1933)

“Seven Years with the Wrong Woman.”  Words and melody by Bob Miller (1932).  Recorded by Maurice Winnick and His Orchestra, with vocals by Sam Browne and Elsie Carlisle, on May 16, 1933.  Panachord 25527.

Personnel: Maurice Winnick-vn dir. Charles Price-another-t / 2tb / Harry Hayes-Harry Turoff-as / Percy Winnick-cl-ts-o / Bert Whittam -p / Bill Herbert-g / Tiny Stock-sb / Stanley Marshall-d / Max Bacon-sp (possibly -d also)

Seven Years With The Wrong Woman – Maurice Winnick & his Orchestra 1933

Transfer and video by Peter Wallace (YouTube)

“Seven Years with the Wrong Woman,” a comic hillbilly waltz by Memphis-born but New York-based Bob Miller, is the lament of an unhappily married man.  The henpecked husband and the shrewish wife are perennial stock sources of mirth, and Miller’s encapsulation of the sentiments of the former attracted the attention of such American artists as Cliff Carlisle, Parker & Dodd, Frank Luther, Mac & Bob, and Jess Hillard.  The success of the song  is attested to by Miller’s having released a second song, “Seven Years with the Wrong Man,” a year later, in which he presented the same situation from the point of view of the fairer sex.

Sam Browne and Elsie Carlisle’s duet in Maurice Winnick’s recording of “Seven Years with the Wrong Woman” is an early example of the sort of song of bickering and vituperation for which they became well known (consider also the 1934 songs “What’s Good for the Goose Is Good for the Gander” and “I’m Gonna Wash My Hands of You”).  The verses of the song are interspersed with spoken comic vignettes.  The arrangement is whimsical, and it includes a bit of Rachmaninoff’s “Prelude in C Sharp Minor.”1  The comedy is at times rather dark (“Prisoner at the bar, you are accused of striking this woman with your fist.  Why did you strike her with your fist?”  “Because I couldn’t find a hammer”).  The third speaker is Ambrose drummer Max Bacon, who liked to do comedy in a stereotypical Jewish accent whenever the chance presented itself.2

In 1933 there were other British treatments of “Seven Years with the Wrong Woman” by Jimmy Campbell and His Paramount Band (in a medley, with vocals by the Three Ginx),  Roy Fox and His Band (with vocalists Jack Plant and Sid Buckman), Ray Noble and His Orchestra (with Al Bowlly), Billy Cotton and His Band (Alan Breeze, vocalist), Syd Roy and His R.K.Olians (with Ivor Moreton), and Jack Payne and His Band (with vocalists Billy Scott-Coomber, Bob Busby, Bob Manning, and Jack Payne himself).


  1. For a considerably more elaborate British dance band treatment of Rachmaninoff’s prelude, listen to Teddy Joyce’s recording of a Bob Busby arrangement of the piece.
  2. Many thanks to Fred Finnigan for drawing my attention to Bacon’s considerable work as an independent comedian, and not just as Britain’s premier drummer.

"The Idol of the Radio." British dance band singer of the 1920s, 1930s, and 1940s.