Solo Recordings

It seems almost a misnomer to speak of Elsie Carlisle “solo” recordings, for she always had accompanists. What I here call “solo” recordings are records on which her name is featured, rather than that of a band, and usually only when the accompanists cannot be safely identified.

“Let There Be Love” (1941)

“Let There Be Love.” Music by Lionel Rand, words by Ian Grant. Recorded by Elsie Carlisle under the musical direction of Jay Wilbur in London on May 22, 1941. Rex 9989 mx. R5782-2.

Personnel: Jay Wilbur dir. Alfie Noakes-Chick Smith-t / Paul Fenoulhet or Ted Heath or George Rowe-tb / Frank Johnson-Frank Weir-cl-as / George Smith or Cliff Timms-ts / Matt Heft-p / Jack Simmons-g / Billy Bell-sb / Jack Simpson-d

"Let There Be Love" (1941)

Elsie Carlisle – “Let There Be Love” (1941)

The output of songwriters apparently known for little else, “Let There Be Love” has exhibited unusual staying power, with a notable artist reviving it every decade or so: Nat King Cole (1961), Rosemary Clooney (1992), Cliff Richard and Matt Monro (2006). Bruce Forsyth even sang it as a duet in 1976 with Miss Piggy of Muppets fame.

For the sake of full disclosure, I should mention that I do not like this song, and that Elsie Carlisle’s version of it is my least favorite of her recordings. Some of my objection to it must stem, no doubt, from simple matters of personal aesthetic sensibility. I find the rhythm of the beguine moderately irritating: it is to dance genres what a cloying, fruity blended drink is to cocktails (I am referring to the kind with a paper umbrella in it). All the same, 1941 saw Elsie Carlisle release a recording of another beguine, “You’re in My Arms,” which seems in every way preferable to me.

Surely there must be firmer grounds for my dislike of “Let There Be Love.” I locate those grounds in the insipid lyrics, which aim for cuteness and end up with stupidity verging on the repugnant. The rhymes are facile and seem to be the driving force behind the lyrics, rather than any detectable thematic cohesion:

Let there be you,
And let there be me.
Let there be oysters
Under the sea.

The moment of maximum bathos comes early in the song:

Let there be birds
To sing in the trees,
Someone to bless me
Whenever I sneeze.

The blessing-sneezing moment is no doubt the most carefully thought-out part of the lyrics. “…[O]ysters / Under the sea,” for example, only rhymes and does not contribute to a love theme, but “Someone to bless me / Whenever I sneeze” is a preconceived notion that the lyricist actually had to work to put into words — it is not there simply for the sake of rhyming.

One might hope that, as is usually the case with weak underlying compositions, Elsie Carlisle (assisted by some musical luminary such as Jay Wilbur) could redeem the piece in some way, but I cannot hear it. The arrangement contains one too many wacky woodwind flourish for my taste. It is all just too regrettable: Elsie’s voice seems to have acquired strength over the course of her career, and the improved recording techniques of the early 1940s (putting the Rex label’s infamous “crackle” aside) capture every bright moment, every delicious quaver in her voice. That they captured this particular song is perhaps unfortunate, but it provides us with something like an absolute zero on the thermometer of Elsie Carlisle songs. Everything else is better, even “Calliope Jane.”

Noteworthy 1940-1941 American recordings of “Let There Be Love” are those of Sammy Kaye, Kay Kyser and His Orchestra (v. Harry Babbit), Maxine Gray, Shep Fields and His Rippling Rhythm Orchestra (v. Hal Derwin), and Jimmy Dorsey and His Orchestra (v. Bob Eberly).

The song was recorded in Britain by Ambrose and His Orchestra (v. Anne Shelton and Sam Browne), Joe Loss and His Band (v. Bob Arden and Bette Roberts), Victor Silvester and His Ballroom Orchestra, and the Savoy Orpheans (dir. Carroll Gibbons, v. Anne Lenner).

“To Be Worthy of You” (1932)

“To Be Worthy of You.” Words by Benny Davis, music by John Frederick Coots (1931). Recorded by Elsie Carlisle with orchestral accompaniment on February 9, 1932. Zonophone 6069 mx. OY2687-2.

Personnel: cl / Bert Firman-vn / ?Bert Read-p / ?Joe Brannelly-g / ?Billy Bell-sb

Elsie Carlisle – "To Be Worthy of You" (1932)

Elsie Carlisle – “To Be Worthy of You” (1932)

“To Be Worthy of You” was composed in 1931 by Benny Davis and John Frederick Coots. Davis had written the successful standard “Baby Face”  back in 1926,  and Coots would go on to co-write the best-selling “Santa Claus Is Coming to Town” in 19341 “To Be Worthy of You” did not have the staying power that those other songs enjoyed. Indeed, the melody falls short of being particularly infectious or compelling, and the lyrics initially seem gushy. I do think, however, that the words express sentiments that are comparatively deep for a popular song, and that Elsie Carlisle’s version is a rather elegant realization of the song’s possibilities.

At first it would seem that Elsie is merely expressing her satisfaction at having found a love partner whose merits are so great that she feels scarcely worthy of having him. In fact, she is rejoicing in having resolved to be a better person: “Watch the way that I’ll come through / To be worthy of you.” The idea of being transported, not just with the joy of love, but also with delight at having discovered in another person the means of self-improvement, is really extraordinary.

Elsie’s singing in this comparatively simple arrangement is nothing if not refined. Her anonymous accompaniment is also noteworthy, in particular the pianist, whom Richard J. Johnson tentatively identifies as Bert Read2, a constant fixture at Elsie’s recording sessions (especially in his role as an Ambrose man). Whatever this pianist’s identity, his flourishes contribute a great deal to the overall bright, crisp sound of the recording and to the idea that we are dealing in this piece with an elevated mental state.

“To Be Worthy of You” was also recorded in a radio transcript in 1931 or 1932 in America by Gus Arnheim’s Cocoanut Grove Ambassadors (v. Loyce Whiteman). In Britain it was recorded by Roy Fox and His Band (v. Al Bowlly), Ambrose and His Orchestra (v. Sam Browne), and the Savoy Hotel Orpheans (v. Jack Plant).

Notes:

  1. Not to mention “Gosh Darn,” which Elsie Carlisle would record with Ray Starita and His Ambassadors later in 1932.
  2. Johnson, Richard J. Elsie Carlisle: A Discography. Aylesbury, UK, 1994, 14.

“Up the Wooden Hill to Bedfordshire” (1936)

“Up the Wooden Hill to Bedfordshire.” Words by Nixon Grey, music by Nixon Grey and Reg Connelly (1936). Recorded by Elsie Carlisle with orchestral accompaniment on January 31, 1936. Decca F. 5877 mx. GB7661-1.

Elsie Carlisle – "Up the Wooden Hill to Bedfordshire" (1936)

Elsie Carlisle – “Up the Wooden Hill to Bedfordshire” (1936)

“Up the Wooden Hill to Bedfordshire” was composed by the relatively minor British lyricist Nixon Grey and the great songwriter and producer Reg Connelly (of Campbell and Connelly publishing fame). The title alludes to a childhood nickname for bedtime. As the song explains,

The old wooden hill was the old wooden stair,
And Bedfordshire, a cot, where I knelt to say my pray’r.
Climbing up the wooden hill to Bedfordshire,
They were happy, happy days for me.

The lyrics are an adult’s memory of an idyllic childhood, and especially of the joys of riding on “Dad’s” shoulders upstairs to go to sleep; in short, they are perfect treacle, but perhaps suited to the sentimental tastes of their day. One might compare them to “Little Man, You’ve Had a Busy Day,” but that earlier song is more melodically compelling and has the added bonus of possibly not really being about childhood.

Elsie Carlisle recorded “Up the Wooden Hill to Bedfordshire” at this her last session with Decca (she would not begin recording with HMV until late 1937, but is clear that she was more than busy broadcasting during that hiatus). She breathes a fair amount of life into the flawed composition, palliating its saccharinity with the appearance of sincerity. Vera Lynn also recorded this song, but her organ accompaniment makes the whole affair seem unnecessarily solemn. Elsie’s studio band can be applauded for their more playful approach to the melody; the overall effect is sweet and light.

"Up the Wooden Hill to Bedforshire" original sheet music featuring Elsie Carlisle

“The ‘Daily Herald’ Dance Medley” (1933)

“The Daily Herald Dance Medley.” Selection from Elsie Carlisle (credited) singing “Snowball” (on Decca F. 3696). Dubbing session on December 7, 1933. Decca F. 3790 mx. GB6408-1.

The "Daily Herald" Dance Medley (Decca F. 3790 mx. GB6408-1)

“The ‘Daily Herald’ Dance Medley” (1933)

In December 1933, the Daily Herald newspaper announced a holiday season contest for its readers: The Daily Herald Dance Tunes Contest. Readers were to pick out 12 dance songs from a list of 28 as their “best programme of dance music.” A group of “experts” would arrive at their own ideal line-up of tunes, and whoever had mailed in a list closest to that of the experts would win a staggering £2,500 (in the event of a tie, the money would be divided evenly among the winners).

As a commercial tie-in, two records were released with selections from each of the 28 songs, one recorded by George Scott-Wood and His Orchestra (“Dance Parade”; Regal Zonophone M.R. 1170), the other dubbed by Decca from records by its various artists (“The Daily Herald Dance Medley”).

I include the second record on my website because of the dub of Elsie Carlise’s “Snowball” (Decca F. 3696). The titles of all the songs are announced before each selection. The artists are not individually credited by the announcer, but their names are listed in a general sort of way on the label. Jack Hylton, Roy Fox, and Lew Stone are on both sides of the label, with the addition of Elsie Carlisle on side A and of Alfredo Campoli, Olive Groves, and the Britannica Piano-Accordion Band on side B. Members of the Facebook Golden Age of British Dance Bands group were kind enough to help me identify the source of each song excerpt:

  1. Isn’t It Heavenly? – Lew Stone and His Band (Decca F. 3630)
  2. Let’s Call It a Day – Roy Fox and His Band (v. Peggy Dell; F. 3631)
  3. Night and DayJack Hylton and His Orchestra (Decca F. 3698)
  4. It’s the Talk of the TownJack Hylton and His Orchestra (Decca F. 3687)
  5. The Wedding of Mister Mickey MouseJack Hylton and His Orchestra (Decca F. 3669)
  6. Lazy Bones – Lew Stone and His Orchestra (Decca F. 3644)
  7. Snowball – Elsie Carlisle (Decca F. 3636)
  8. Trouble in ParadiseJack Hylton and His Orchestra (Decca F. 3663)
  9. Reflections in the Water – Jack Hylton and His Orchestra (Decca F. 3671)
  10. Somebody Stole My Gal – Roy Fox and His Band (Decca F. 3618)
  11. Who’s Afraid of the Big Bad Wolf? – Lew Stone and His Band (Decca F. 3697)
  12. Dinner at Eight – Roy Fox and His Band (Decca F. 3685)
  13. Don’t Blame MeJack Hylton and His Orchestra (Decca F. 3659)
  14. Hold MeJack Hylton and His Orchestra (Decca F. 3600)
  15. In the Valley of the Moon – Jack Hylton and His Orchestra (Decca F. 3672)
  16. Sweet Dreams, Pretty Lady – Britannic Piano-Accordion Band (Decca F. 3683)
  17. We’re in the MoneyJack Hylton and His Orchestra (Decca F. 3672)
  18. The Last Round-Up – Jack Hylton and His Orchestra (F. 3687)
  19. I Can’t Remember – Jack Hylton and His Orchestra (F. 3612)
  20. Shadow Waltz – Jack Hylton and His Orchestra (F. 3672)
  21. Alice Blue Gown – Olive Groves (Decca F. 2361)
  22. The Saint Louis Blues – Jack Hylton and His Orchestra (v. Billy Munn; Decca. F 3239)
  23. Destiny – Alfredo Campoli and His Salon Orchestra (Decca F. 3679, side two: “Memories of the Ball – A Medley of Pre-War Waltzes”)
  24. WhisperingRoy Fox and His Band (Decca K. 713)
  25. Nights of Gladness – Alfredo Campoli and His Salon Orchestra (Decca F. 3679, side one: “Memories of the Ball – A Medley of Pre-War Waltzes”)
  26. Learn to Croon – Jack Hylton and His Band (Decca F. 3633)
  27. ThanksLew Stone and His Band (Decca F. 3722)
  28. Under a Blanket of BlueRoy Fox and His Band (Decca F. 3632)

Scorecard: 3-8, 10-21, and 23-28 identified by Terry Brown; 1-2 by John Wright; and 9 by Peter Wallace.

The original £2,500 prize was claimed and split in February 1934 by five winners whose ideal dance band programs matched those of the Daily Herald‘s panel of experts.  The winning combination?

3. Night and Day
5. The Wedding of Mister Mickey Mouse
6. Lazybones
9. Reflections in the Water
11. Who’s Afraid of the Big Bad Wolf?
12. Dinner at Eight
14. Hold Me
17. We’re in the Money
18. The Last Round-Up
20. Shadow Waltz
22. The Saint Louis Blues
27. Thanks1

Notes:

  1. The Daily Herald. Friday, February 16, 1934, p. 9.

“I Cover the Waterfront” (1933)

“I Cover the Waterfront.” Music by Johnny Green, lyrics by Edward Heyman. Recorded by Elsie Carlisle with instrumental accompaniment in London on August 2, 1933. Decca F. 3628 mx. 6060-3.

Elsie Carlisle – "I Cover the Waterfront" (1933)

Elsie Carlisle – “I Cover the Waterfront” (1933)

The song “I Cover the Waterfront” was inspired by a 1932 book of the same name by Max Miller, a San Diego newspaper reporter, which is a collection of factual observations about the noteworthy events and criminal intrigues of that city’s waterfront. A pre-Code film, very loosely based on some events in the book, was released in 1933, and at the last minute the already popular Green-Heyman composition was included in it. Johnny Green and Edward Heyman are, of course, most famous for their collaboration with Robert Sour and Frank Eyton on Body and Soul.

“I Cover the Waterfront” references a book whose details are not really evident in the lyrics. The sentences “I cover the waterfront / I’m watching the sea” do not unequivocally convey to an audience the idea that the singer is impersonating a newspaper reporter (which is the premise of the book). The remainder of the lyrics repeatedly explain that the singer is waiting for a lover to return. The vagueness and repetition of the words create an attractive dreaminess that fits nicely with the atmospheric melody. The overall sound of “I Cover the Waterfront” is very much of its time; the song expresses the musical sensibilities of the early 1930s as well as “Ain’t Misbehavin'” does those of the late 1920s. Elsie Carlisle’s version of “I Cover the Waterfront” is exemplary of her ability to inject sincerity and character into any song, and in this case her plaintive tone makes us feel almost as if we knew its backstory — which we don’t.

“I Cover the Waterfront” was recorded in 1933 in America by Abe Lyman and His Orchestra (v. Grace Barrie), Freddy Martin and His Orchestra (v. Will Osborne), Bert Lown and His Biltmore Orchestra (v. Mac Ceppos), Eddie Duchin and His Orchestra (v. Lew Sherwood), Joe Haymes and His Orchestra, Annette Hanshaw, Connie Boswell, and The Washboard Rhythm Kings (v. Ghost Howell). Louis Armstrong was filmed directing and singing it in a performance in Copenhagen.

In Britain it was recorded by Howard Flynn and His Orchestra (v. Phyllis Robins), the BBC Dance Orchestra (directed by Henry Hall; one version with vocals by Les Allen in July 1933, followed by an instrumental medley in August 1933), Roy Fox and His Band (v. Peggy Dell), Harry Roy and His Orchestra (v. Ivor Moreton), Bertini and His Band (v. Cavan O’Connor), Ambrose and His Orchestra (v. Sam Browne), Jack Payne and His Band (v. Billy Scott-Coomber), Debroy Somers’ Band (v. Cecile Petrie), Nat Star and His Dance Orchestra (three takes with Tom Barratt in August 1933, as well as in an instrumental medley in October 1933), Freddy Gardner and His Mess-Mates, Maurice Winnick and His Band (v. Brian Lawrance), and Geraldo and His Orchestra (in a medley).

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