“Won’t You Stay to Tea?” Words by Mack Gordon, music by Harry Revel (1932). Recorded in London on March 3, 1933 by Elsie Carlisle and Sam Browne with orchestral accompaniment. Decca F. 3510 mx. GB5633-1.
Elsie Carlisle and Sam Browne -- “Won’t You Stay to Tea?” (1933)
Prolific songwriters Mack Gordon and Harry Revel turned out a great many successful tunes in the 1930s, particularly for Hollywood movies, and three of them made it into Elsie Carlisle’s discography. “Did You Ever See a Dream Walking?” (1933) and “With My Eyes Wide Open I’m Dreaming” (1934) were both written for Paramount films and were recorded by artists on both sides of the Atlantic. Elsie’s other Gordon-Revel song, “Won’t You Stay to Tea?” only saw treatments in Britain (as far as I know), no doubt because of its culturally specific premise.
The question “Won’t You Stay to Tea?” is an amusingly pedestrian suggestion, but Gordon and Revel turn it into the occasion for a somewhat awkward romantic encounter. The impending rainstorm that prompts the social invitation transforms itself straightway into what the singer or singers describe as an indoor shower of “the loveliest love.” In this Sam Browne/Elsie Carlisle version of the song, the drama is allowed to play itself out fully, with Elsie lightly rejecting Sam’s various advances long enough that the outdoor weather actually improves — and yet she agrees to stay to tea anyway, signalling her genuine affection for him.
Other versions of “Won’t You Stay to Tea?” were recorded in 1933 by Lew Stone and the Monseigneur Band (v. Al Bowlly), Harry Roy and His Orchestra (v. Bill Currie), The Blue Mountaineers (v. Tom Barratt and Phyllis Robins), Ray Noble and His Orchestra (with vocalists Ace Roland and Frances Day, the latter of whom does an impressive Helen Kane-style warble at one point), and Syd Liption’s New Grosvenor House Band (v. Cyril Grantham).
“Won’t You Come Home, Bill Bailey?” Originally titled “Bill Bailey, Won’t You Please Come Home?”; words and music by Hughie Cannon (1902). Recorded by Ambrose and His Orchestra with vocalists Sam Browne and Elsie Carlisle in London on March 18, 1932. HMV B. 6162.
Personnel: Bert Ambrose dir. Max Goldberg-Harry Owen-t / Ted Heath-Tony Thorpe-tb / Billy Amstell-cl-as / Joe Crossman-cl-as-bar / Joe Jeanette-cl-ts / Ernie Lewis-Teddy Sinclair-Peter Rush-vn / Bert Read-p / Joe Brannelly-bj-g / Don Stuteley-sb / Max Bacon-d
Won’t You Come Home, Bill Bailey? Ambrose & his Orchestra (with Sam Browne & Elsie Carlisle
Video by David Weavings (YouTube)
Now a jazz standard, “Won’t You Come Home, Bill Bailey?” originated as a ragtime piece by American songwriter Hughie Cannon and predates Ambrose’s recording by thirty years. It has as its characters an emotionally desperate and abandoned battered wife and a smug husband who seems to think her situation serves her right. Somehow the song usually manages to sound upbeat, most often perhaps because musicians keep the refrain and omit the verses, leaving us to wonder who Bill Bailey is and why he is gone in the first place. In this her first recording session with Ambrose and His Orchestra, Elsie Carlisle plays the wife, who has ejected her husband from their home after he “took and throwed her down, / Bellowing like a prune-fed calf” — but she nevertheless blames herself. For this piece, Elsie adopts an attempt at negro dialect suited to her character:
Won’t you come home, Bill Bailey?
Won’t you come home?
I moans de whole day long.
I’ll do de cooking honey,
I’ll pay de rent!
I knows I’ve done you wrong!
‘Member that rainy eve that
I throwed you out
With nothin’ but a fine-toothed comb?
I knows I’s to blame —
Well, ain’t dat a shame?
Bill Bailey, wont you please come home?
The Ambrose recording lacks the second verse, in which it is revealed that Bill Bailey has somehow become rich and experiences Schadenfreude as he hears his wife moan for him.
“Won’t You Come Home, Bill Bailey?” had been recorded in Britain in late 1931 by Jay Wilbur and His Band (with vocalist John Thorne) and by Jack Leon’s Band — in both cases as part of a medley.
“Da-Dar-Da-Dar (Da-Dar-Da-Dee).” Words by Robert Hargreaves and Stanley J. Dammerell, 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). 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).
“Hold Up Your Hands (In the Name of the Law of Love).” Words by Mercer Cook and Thomas Blandford, music by J. Russel Robinson (1932). Recorded by Elsie Carlisle and Sam Browne on March 3, 1933. Decca F. 3504 mx. GB5634-2.
Elsie Carlisle & Sam Browne -- “Hold Up Your Hands (In the Name of the Law of Love)” (1933)
“Hold Up Your Hands (In the Name of the Law of Love)” was written by American songwriters Mercer Cook, Thomas Blandford, and J. Russel Robinson in 1932; that year they also wrote the very successful “Is I in Love? I Is,” as well as “Stop the Sun, Stop the Moon,” which Elsie Carlisle recorded with Ray Starita and His Ambassadors. This duet involves a fanciful metaphor in which it is not clear whether Sam Browne is an agent of “the law” he keeps invoking (viz. the law of love or of Cupid) or a robber carrying out a holdup; he seems to entertain both notions. At any rate, Elsie seems to acquiesce to his demands that she “put up [her] lips, and hold up [her] hands” with little resistance. 1933 was the second year of Sam and Elsie’s recording duets together, and “Hold Up Your Hands” is fairly representative of their duetting style (when they are not bickering, of course).
“Hold Up Your Hands” had been recorded in America in September 1932 by Victor Arden, Phil Ohman, and Their Orchestra (with vocals by Frank Luther). It was also recorded in 1933 in Britain by Maurice Winnick and His Band (with vocalist Louis Spiro).
“Let’s Make Love.” Words By Stanley J. Damerell, music by Tolchard Evans (1934). Recorded by Ambrose and His Orchestra with vocals by Sam Browne and with Elsie Carlisle in a speaking role on November 1, 1934. Decca F. 5297 mx. TB 1704-1.
Personnel: Bert Ambrose dir. Max Goldberg-t-mel / Harry Owen-t / Ted Heath-Tony Thorpe-tb / Danny Polo-reeds / Sid Phillips-reeds / Joe Jeannette-as / Billy Amstell-reeds / Ernie Lewis-Reg Pursglove-others?-vn / Bert Barnes-p / Joe Brannelly-g / Dick Ball-sb / Max Bacon-d
Ambrose & His Orchestra (w. Sam Browne & Elsie Carlisle) -- “Let’s Make Love” (1934)
“Let’s Make Love (In Spring, Summer, Autumn and Winter)” is a light waltz written by British songwriters Stanley J. Damerell and Tolchard Evans, who collaborated on such notable songs as “Lady of Spain” (1931) and “If (They Made Me a King)” (1934). There seems to be a general rule that whenever Damerell and Evans have collaborated on a song, Elsie Carlisle ends up with a speaking role. That would appear to be the case in the Ambrose recording of “Hyde Park Corner” (Hargreaves-Damerell-Evans; 1933), in which Sam Browne sings and Elsie and drummer Max Bacon have speaking parts, as well as in the Maurice Winnick version of “Da-Dar-Da-Dar” (also Hargreaves-Damerell-Evans; 1933), in which Sam Browne sings and Elsie is a mere interlocutor. So it is in this Damerell-Evans piece, “Let’s Make Love.”
Jack Payne and His Band had made, in late October 1934, a version of “Let’s Make Love” that relied for its entertainment value largely on comical Northern and Cockney voices provided by Jack Payne and Charlie Asplin; there was yet another version of “Let’s Make Love” in November by Jay Wilbur and His Band, with Fred Latham on the vocals. After an impressive instrumental introduction, the Ambrose recording has Sam Browne sing just the refrain and the first verse of the song. He then proceeds repeatedly to try to sing the first few words of the refrain (or something like them) in foreign accents which are intentionally abysmally done. His try at a Russian accent (“Letsky makesky loveskevitch”) is perhaps the least embarrassing. I cannot say whether his announcing the Russian lover a second time and then correcting himself to “a Spanish lover” is a feigned mistake or a real one. The cannibalistic Zulu with his war cry “Yum, yum, yum!” is awkward at best, as is the shivering Eskimo.
Elsie Carlisle, for her part, merely interjects on occasion that Sam’s “impressions are lousy,” or the like. Sam and Elsie had already played bickering lovers in the 1933 Maurice Winnick recording of “Seven Years with the Wrong Woman,” and it was only weeks after recording “Let’s Make Love” that they would berate each other in “I’m Gonna Wash My Hands with You” with Ambrose and His Orchestra. In “Let’s Make Love,” by contrast, it is not apparent that Sam really means it when he repeatedly sings “Let’s Make Love” to Elsie, nor that her rebuffing of him is anything more than a negative review of his talent. What is clear is that this song is one of the silliest things Sam and Elsie ever collaborated on in their years of working for Ambrose.