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.
“One Little Kiss.” Written by Bert Kalmar and Harry Ruby for the RKO Radio Film Kentucky Kernels (1934). Recorded by Elsie Carlisle with orchestral accompaniment in London on October 31, 1934. Decca F. 5289 mx. TB1698-2.
Elsie Carlisle’s version of “One Little Kiss” lacks the silliness of its celluloid antecedent, the last vestige of which, perhaps, is the repetition of the phrase “One teeny little, weeny little kiss.” Instead, it is a comparatively serious interpretation of the lyrics which highlights the inherent merits of the catchy melody. As with most popular songs from musical comedies, “One Little Kiss” saw a number of treatments in 1934. In America, there were versions by Cliff Edwards and the Eton Boys, Harry Reser and His Orchestra (with vocals by Tom Stacks), and Ted Weems and His Orchestra (with Gene Glennan as vocalist). In Britain, in addition to Elsie Carlisle’s version, there were recordings of “One Little Kiss” made by Brian Lawrance and His Quaglino’s Quartet in November 1934 and by Kitty Masters and Val Rosing in February 1935.
“You’re My Everything.” Words by Mort Dixon and Joe Young, music by Harry Warren (1931). Recorded by Elsie Carlisle with an instrumental trio in Manchester on September 23, 1932. Decca F. 3193 mx. KB135-2.
An effusive expression of affection, “You’re My Everything” has its origins as the hit song of of a 1931-1932 two-act Broadway revue entitled The Laugh Parade, produced by and starring Ed Wynn, a comedian who twenty years later would provide the voice for the Mad Hatter in Disney’s Alice in Wonderland. The music for the play was composed by Harry Warren, with lyrics provided by Mort Dixon and Joe Young. It was French actress Jeanne Aubert and American actor Lawrence Gray who introduced the signature tune.
Elsie Carlisle, in her 1932 recording of the song, brings sincerity to its hyperbolic lyrics. Hers is a surprisingly straightforward and touching interpretation of the composition; we find absent the coyness of her torch songs, the levity of her racier music. The band provides a suitably atmospheric accompaniment to her professions of love and awe for the lucky “you” of the song.
A light, romantic song about two lovers’ reconciliation, Harry Woods’s “We Just Couldn’t Say Goodbye” is noteworthy for its fanciful personification of pieces of furniture. When the couple is on the verge of parting, a chair and a sofa cry. A smiling clock expresses its feelings about the situation and brings the two people back together again, at which point the room in which everything happens sings and dances. Elsie Carlisle’s delivery of the lyrics is varied; it starts out somber, almost plodding, and becomes more upbeat as the relationship between the lovers improves. She engages in a sort of call and response with the clarinet at one point and almost whispers the final “I tell you confidentially.” Elsie’s is not exactly a lively take on the tune; it is, rather, a very deliberate interpretation of the sense of the lyrics, and of the other versions of the song recorded that year, it most closely resembles that of the American-born but London-based Layton and Johstone.
“The Clouds Will Soon Roll By.” Written and composed by Harry Woods and Billy Hill (using the pseudonym George Brown) in 1932. Recorded by Elsie Carlisle with piano accompaniment and with Len Fillis on the steel guitar on September 19, 1932 in Chelsea Town Hall, London. Decca F. 3146 mx. GB4844-4.
Elsie Carlisle – "The Clouds Will Soon Roll By" (Decca F. 3146)
The Ambrose recording is from July 1932, but in September of that year Elsie would record another version that contrasts greatly with the earlier one. Here, instead of a large band using an elaborate orchestration, we have a single pianist and Len Fillis on the steel guitar. The arrangement is basically that of the original sheet music, with the omission of the second verse and the addition of Elsie dreamily humming part of the melody and then proceeding to engage momentarily in what might almost be considered scat singing. As seems so often to be the case with meteorologically optimistic songs, the lyrics are upbeat but the rendering of the music is purely melancholy (compare some versions of “Blue Skies,” especially Al Bowlly’s 1927 version). Elsie’s subtle vocal flourishes make the recording a particularly touching part of her catalogue.
Photograph of “Grey clouds over Marwell Zoo” by Uli Harder.
Elsie Carlisle sings this languid love song about small talk leading to romance with considerably less of the dramatic element than is her wont. Instead, she adapts her delivery to the slow yet catchy tune in such a way as to make it atmospheric. Even her dreamy humming “Mm-mm-mm-mm…” followed by “I love you” is seductively sedating. It is perhaps fitting that the flip side of the record is “Star Gazing,” a song which is similarly leisurely in pace and vaguely mesmerizing.
Elsie’s 1935 rendition of “Conversation for Two” is the only recording that I have found of the song. Even the sheet music appears to be rare. The three composers were all prolific, however. Mysels and Emmerich got involved in composing music for motion pictures, and Emmerich, a pianist in the Tommy Dorsey Band and songwriter for Fats Waller, went on to write “The Big Apple,” a song which popularized New York City’s peculiar sobriquet.
"The Idol of the Radio." British dance band singer of the 1920s, 1930s, and 1940s.