Elsie Carlisle in America

I have been postponing writing about Elsie Carlisle’s 1923-1924 stay in America for eight and a half years now, nearly the entire time that I have been running this website. Originally, I hesitated to comment simply because I was not sure the trip had happened. Later, it became clear that she had spent a few months in the United States, but I could not confidently name a single thing that she did here. There were rumors that she had made the journey to conceal her having a third child.

I am now prepared to clear the matter up a little.

Carlisle’s personal life was admittedly marked by subterfuge. She spent nearly half a century married to Wilfred Malpas, and yet she liked to pose as a single woman, passing off her two sons as her brothers. It is perhaps natural that people researching her life and her family expect to find more examples of secrecy and potential scandal.

I was first tipped off to the possibility of Carlisle’s having visited America by a gracious correspondent who was doing some genealogical research. American immigration records showed that a certain artist named Elsie Carlisle, born in Manchester, England in 1899 and based out of London, had arrived in New York on the steamer Franconia on August 26, 1923. The birth date was incorrect by three years — but might she not have been gilding the lily by making herself three years younger? My correspondent theorized about a secret trip to hide a pregnancy, which I supposed was possible. What turned me off was the final destination. This Elsie Carlisle was on her way to Memphis, Tennessee to visit Mrs. Ernest [sic] Taylor of Poplar Ave. The whole thing seemed so outlandish — what possible connection could the Elsie Carlisle we know have with Tennessee? I dismissed the whole matter as a probable confusion of persons. “Elsie Carlisle” must have been a common enough name, after all.

But soon I would find references in newspapers and trade journals to the famous Elsie Carlisle taking a trip to New York at exactly that time. I reconstructed her movements as follows. As late as August 8, 1923, an advertisement was run in The Era suggesting that Carlisle could still be seen on the London stage in Fred Karno’s revue “1923.”1 By September 5, she was in America:

We hear that Elsie Carlisle, who recently concluded her second season’s engagement in Fred Karno’s “1922-3,” is spending a holiday in America.2

Carlisle had, then, arrived on the Franconia on August 26 and told immigration that she was going to visit Mrs. Taylor in Tennessee. The Era continued to give British readers updates as to her activities:

Elsie Carlisle, who was last seen here in that successful revue, “1923,” opens this week on the Keith Circuit, New York. Elsie went over a few weeks ago for a holiday, but has evidently been prevailed upon to play there during her stay.3

What startled me was the following comment in the U.S.-based journal Variety:

Elsie Carlisle, English, recently arriving in New York will return to London without making an appearance in New York.4

Had there been some ruse? When Elsie really did get back to England — on March 4, after a six-month stay — the press was under the impression that she had been on stage and had been well received:

Elsie Carlisle, who was a principal in Fred Karno’s “1922” and “1923” revues, arrived in England on the “Ansonia” on Tuesday [March 4, 1924] after a six months’ successful tour on the Keith Circuit.5

With the London press suggesting that Carlisle was on stage in the United States but with U.S.-based Variety having her prepare to return to England without appearing in New York, I was beginning to think that perhaps her journey did have an ulterior motive. At this point I compared notes with researcher Terry Brown, who had noticed many of the same references in the press to Carlisle’s American trip. Terry informed me that he had also heard a theory that she had gone to America for privacy while pregnant with a third son (he did not himself take a position on the likelihood of that scenario), one Arthur Davies.

I let some more time pass, but of course I did not forget the intriguing rumor. Finally this month, while pulling together some biographical notes about Elsie Carlisle, I discovered the source of the confusion (which has made its way into a couple of family trees on ancestry.com, I see): there is an Arthur Davies, born either August 4 or September 4, 1923, whose mother was apparently named Elizabeth Malpas — Elsie Carlisle’s legal name. I say “apparently” because Davies’s mother’s last name was almost certainly “Malpass”, with two s’s, and it was her maiden name — I have seen the wedding certificate. She was an entirely different person.

I shared the results of my research with Terry, and he surprised me with some of his own: a clipping from the American publication Billboard (November 8, 1923):

Elsie Carlisle sang several songs in the second spot, affecting a naive style of delivery coupled with an appealing soprano voice. All of her songs are in a rather low key, so low as to make the performance monotonous. Miss Carlisle seemed to have a weakness for rolling her eyes toward an upper box and on two or three occasions while singing she burst into laughter, apparently at her own funny catch lines, or some incident that she happened to think of at that time. Probably it was all in the act, but if it was, she failed to follow it up and receive the full benefit of it, for she closed rather weak.6

So Carlisle was on stage, and in New York, at that! Variety had been misinformed. And the American reviewer had given Carlisle by far the worst review I have ever seen of her.

So the facts fall into place. Elsie Carlisle went to America in 1923 and ended up staying into 1924. I do not think that she could have secretly had a child in either of those years; she would have been on stage enough for people to notice. At least one reviewer thought her U.S. show was unmemorable, but whoever was promoting her career back in London was keen to assert that her performances had been “fully successful.” It is worth noting that The Era first described Elsie’s absence from London as a mere “holiday” or vacation, but it  seems to have turned into a professional opportunity soon afterwards.

But what do we do with the Taylors in Memphis, Tennessee, Elsie Carlisle’s supposed hosts while staying in the States? Mr. Emmett Taylor of 1071 Poplar Avenue was a cotton buyer, according to censuses, and he and his wife Elizabeth were prominent enough citizens to be listed in the social register.7 Their teenage daughter, Elizabeth Scott Taylor, made trips to Europe; a passport application has her leaving New York on the Leviathan on July 28, 1923, the first such trip of hers that I know of. That does not give her much time to become bosom friends with Carlisle, but she could definitely have arranged an invitation.

Did Elsie Carlisle, however, actually get as far as Memphis? Your guess is as good as mine.

Notes:

  1. “Elsie Carlisle – With a Different Style – ‘1923’ 2nd Season L.T.V. Tour,” The Era, August 8, 1923, 15, British Newspaper Archive.
  2. “The Variety World,” The Era, September 5, 1923, 12, British Newspaper Archive.
  3. “The Variety World,” The Era, October 10, 1923, 12, British Newspaper Archive.
  4. “Editorial,” Variety, November 8, 1923, 11.
  5. “Variety Gossip,” The Stage, March 6, 1924, 13, British Newspaper Archive; see also “The Variety World,” The Era, March 26, 1924, 12, British Newspaper Archive, where Carlisle is described as having been “fully successful.”
  6. “B. S. Moss’ Regent, N. Y.” Billboard, October 27, 1923, 18. https://worldradiohistory.com/Archive-All-Music/Billboard/20s/1923/Billboard-1923-10-27-List-Number.pdf.
  7. Social Register of Memphis. Memphis, Tennessee: Penn-Renshaw, 1925, 105.

“You’ll Find Out” (1932)

“You’ll Find Out.” Words and music composed by Archie Gottler and Betty Treynor (a pseudonym of Lawrence Wright) for On with the Show. Recorded in London on June 15, 1932 by Ray Starita and His Ambassadors with vocalists Elsie Carlisle and Sam Browne. Sterno 984 mx. S-2477-2.

Personnel: Ray Starita-cl-ts dir. Nat Gonella-t / t / tb / prob. Chester Smith-cl-as-bar-o / Nat Star-cl-as / George Glover-cl-ts-vn / George Hurley-vn / Harry Robens-p / George Oliver-bj-g / Arthur Calkin-sb / Rudy Starita-d

Ray Starita and his Ambassadors – You’ll Find Out – 1932

Transfer by Henry Parsons

Between 1932 and 1937, Elsie Carlisle would make some 42 record sides with Sam Browne, most famously with Ambrose and His Orchestra, but occasionally also with other bands. The two singers became best known for on-shellac vituperative bickering (the best examples being found in “Seven Years with the Wrong Woman,” “What’s Good for the Goose Is Good for the Gander,” and “I’m Gonna Wash My Hands of You”). But their fictional relationships could be much more playful and subtle, as we see here in “You’ll Find Out,” which they recorded with Ray Starita’s band.

“You’ll Find Out” was a joint composition of American songwriter Archie Gottler and the prolific British composer Lawrence Wright, who most frequently used the pseudonym “Horatio Nicholls.” (His pseudonym used here — “Betty Treynor” — may have been a one-off.) As far as I can tell, this West End musical song was only recorded one other time; that recording, from April 1932, featured Sam Browne with Billie Lockwood under the Zonophone pseudonyms “Jack and Jill.” Now, “Jack and Jill” numbers, while delightful, tend to be comparatively sedate, and that is definitely the case with the Browne-Lockwood version. The two singers slowly take their turns delivering the increasingly suggestive lyrics, leaving the song’s comic sensibility underdeveloped.

Browne and Carlisle, in the Ray Starita recording of the song, uncover the composition’s potential. Part of their success is due to an audible chemistry that few duettists could match. But just as important is their phrasing as they deliver the lyrics. The joke of the song is that the young couple asks each other questions that seem to answer themselves: “What do lovers do out in the moonlight?” “What will we do evenings when it’s raining?” Supposing I must leave you for a week or two / And you haven’t got as single thing to do / How would you spend all those lonesome evenings?” Answered with “You’ll find out!” the questions suggest sex, infidelity, and the like.

The repeated punchline risks seeming monotonous. But we hear Sam and Elsie breaking up that monotony by altering the line “You’ll find out” in such a way as to dramatize it. “You’ll find out” gives way to “Ah! You’ll find out…”; “Could I? You’ll find out!”; “Oh, but…you’ll find out!”; “It is! You’ll find out…”; “Hmm… You’ll find out!” and finally, “Try and find out!” By varying the response, they produce something resembling a witty, funny conversation.

The vocal chorus is unusually long in this dance band recording, and the arrangement is remarkably sophisticated. Ray Starita’s musicians remain comparatively quiet during the vocal refrain, but as it progresses they build momentum and come in strong at the end. Starita’s band was brassless at the time, and one gets the sense from the powerful sax section work in “You’ll Find Out” that the orchestra could execute a dynamically scored arrangement without  trumpets and trombone — instruments added only for recording purposes in Starita’s 1932 British Homophone sessions.1

Notes:

  1. My thanks to Henry Parsons for reminding me of this latter point.

“Rock Your Cares Away” (1932)

“Rock Your Cares Away.” Words and music by Leonard Blitz (as Leo Towers), Harry Sugarman (as Harry Leon), Lawrence Wright (as Horatio Nicholls) (1932). Recorded in London on November 5, 1932 by Rudy Starita and His Ambassadors with vocalist Elsie Carlisle. 4 in 1 – 17 mx. X-218-2.

Personnel: probably Nat Star-cl-as dir. / Nat Gonella-t / t / tb / cl-as / cl-ts / vn / p / bj-g / bb-sb / Rudy Starita-d-vib-x

Elsie Carlisle – “Rock Your Cares Away” (1932)

It is a little difficult to taxonomize this recording of “Rock Your Cares Away” by bandleader. It is clearly Ray Starita’s band, as is indicated on the label of the Sterno recording made at the same session (Sterno and 4 in 1 were both products of the British Homophone Company), but Ray had not returned from a vacation to America the previous summer and so could not have directed the music. The 4 in 1 record from the session mentions not Ray, but his brother Rudy Starita, the percussionist who did eventually take over control of the band from his brother. And yet Rust and Forbes think it likely that this particular session was led by Nat Star, who was generally in charge of dance music at Homophone.1

Whoever directed it, the result was a memorable piece of lively dance band music. The lyrics of “Rock Your Cares Away” exhort us to cast away gloom, live in the moment, and “…rock [our] cares away / In a cradle of dreams.” The Star/Starita 4 in 1 version is uptempo; Elsie Carlisle’s vocal refrain, while brief, is memorable for its ebullience. Her enthusiastic delivery is infectious and evocative of a carefree mental state, and she gets across the song’s message through raw energy rather than mere earnestness.

“Rock Your Cares Away” was also recorded in 1932 by Billy Cotton and His Band (v. Cyril Grantham), Ray Noble and His New Mayfair Orchestra (v. Al Bowlly), Jack Hylton and His Orchestra (v. Pat O’Malley), and Ambrose and His Orchestra (with an unidentified vocalist).

Notes:

  1. Brian Rust and Sandy Forbes. British Dance Bands on Record, 1911 to 1945, and Supplement. Bungay, Suffolk: Richard Clay, Ltd., 1989, 1021-1022.

“Mad about the Boy” (1932)

“Mad about the Boy.” Words and music by Noël Coward for the 1932 revue Words and Music. Recorded in London on November 5, 1932 by Rudy Starita and His Ambassadors with vocalist Elsie Carlisle. 4 in 1 – 17 mx. X-218-2.

Personnel: probably Nat Star-cl-as dir. / Nat Gonella-t / t / tb / cl-as / cl-ts / vn / p / bj-g / bb-sb / Rudy Starita-d-vib-x

Rudy Starita and His Ambassadors (v. Elsie Carlisle) – “Mad About the Boy” (1932)

“Mad about the Boy” must be one of Sir Noël Coward’s most successful compositions, especially if we measure success by the fact that the song continues to be recorded and even used in advertising many decades after its debut on the London stage. It originated in the 1932 revue Words and Music, whose words, music, script, and direction were all done by Coward himself; the show included other memorable songs such as “Mad Dogs and Englishmen” and “Let’s Say Goodbye.” “Mad about the Boy” was sung on stage by a cast of female characters — a society lady, a prostitute, a schoolgirl, and a Cockney servant — who describe their passion for a movie star as they wait in line to see one of his films. The lyrics are predictably witty, using a surprising variety of rhymes for the monosyllables “mad” and “boy”.1

It is not clear whether the song was meant to reference a specific film actor. A great deal of effort has been put into identifying an unrequited real-life crush that Coward is said to have had on some American actor (the name Douglas Fairbanks, Jr. comes up frequently). Coward may have contributed to the idea that the song had a homosexual theme by writing verses for a businessman character to sing in the New York version:

…I’m mad about the boy
And even Doctor Freud cannot explain
Those vexing dreams
I’ve had about the boy.
When I told my wife
She said
“I never heard such nonsense in my life!”
Her lack of sympathy
Embarrassed me
And made me frankly glad about the boy.

(The character was cut from the production — the idea may have been too risqué for its time.)2 I find it ultimately unnecessary, however, to assume that the “boy” of “Mad about the Boy” must have a specific, real-world analogue — in any case, infatuation with an inaccessible celebrity is a very common occurrence.

Elsie Carlisle’s versions of “Mad about the Boy” were made with Ray Starita’s band, but in the bandleader’s absence — Ray had gone on vacation to America in the summer of 1932 and never returned to England. There are quite a few records whose labels read “Ray Starita and His Ambassadors” that were likely made without him; one of the records with “Mad about the Boy” on them (4 in 1 – 17) is the first to specifically mention Ray’s brother Rudy Starita instead. Yet Rust and Forbes hesitate to say that Rudy was actually the musical director for that session, writing that it was probably Nat Star who played that role.3 It should be noted that the band and Elsie recorded takes for two records of “Mad about the Boy” that day, a Sterno and a 4 in 1 (both products of the British Homophone Company).

The other dance bands’ arrangements of “Mad about the Boy” exclusively used the society lady’s lines from the Words and Music review. For some reason, the Starita band had Elsie sing the prostitute’s verse, which is rather more edgy:

I’m hardly sentimental;
Love isn’t so sublime.
I have to pay my rental,
And I can’t afford to waste much time.

Elsie’s alternately weepy and enraptured vocal complements the band’s funereally melancholy yet infectiously catchy treatment of the tune. Her evocation of a street-walker’s brooding obsession with a Hollywood persona is really quite convincing.

Other British bands who recorded “Mad About the Boy” in 1932 were Ray Noble and His New Mayfair Orchestra, who did an instrumental version and included it in Words and Music medley, the Savoy Hotel Orpheans (dir. Carroll Gibbons / v. Cecile Petrie), the Debroy Somers Band (in a Words and Music medley), Jack Hylton and His Orchestra (v. Phyllis Robins), The Blue Lyres (dir. Bert Ambrose / v. Anona Winn), and The Blue Mountaineers (v. Sam Browne). In 1932 Coward’s close friend and professional associate Gertrude Lawrence would record a version that includes the society lady’s intro. Coward himself recorded “Mad about the Boy” in 1932, but his version was not issued during his lifetime.

Notes:

  1. Stephen Citron. Noel and Cole: The Sophisticates. United Kingdom: Hal Leonard, 2005, 318.
  2. Sheridan Morely. Noël Coward. London: Haus, 2005, 57.
  3. Brian Rust and Sandy Forbes. British Dance Bands on Record, 1911 to 1945, and Supplement. Bungay, Suffolk: Richard Clay, Ltd., 1989, 1021-1022.

Jonathan Holmes Interviews Me About Elsie

People who read my website are likely to be familiar with my good friend Jonathan Holmes, whose journalism, general music advocacy, and YouTube channel have made him almost synonymous with British dance band music:

Jonathan David Holmes
Jonathan Holmes

Jonathan interviewed me yesterday for his “British Dance Music Programme.” We played Elsie Carlisle songs and discussed her life and career. We also talked a little about my new website, mauriceelwin.com. The interview will be broadcast several times tomorrow, Friday, February 26, on Phonotone Classic. Check  out their website to tune in; I should be on at

2 a.m. (PST) 6 a.m. (PST) 10 a.m. (PST) 2 p.m. (PST) 6 p.m. (PST) 10 p.m. (PST)

British Dance Band Programme 116 (Interview With Alex Kozak)