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Jay Wilbur, Solo Recordings

“Alone and Afraid” (1931)

“Alone and Afraid.” Music by Jack Trent, with lyrics by Stan Leigh (1931). Recorded in London in May 1931 by Elsie Carlisle (under the musical direction of Jay Wilbur). Imperial 2489 mx. 5701-2.

Personnel: Jay Wilbur dir. Laurie Payne-Jimmy Gordon-cl-as-bar / George Clarkson-cl-ts / Norman Cole-?George Melachrino-vn / Billy Thorburn or Pat Dodd-p / Bert Thomas-g / Harry Evans-sb / ?Max Bacon-d-vib

Elsie Carlisle – “Alone and Afraid” (1931)

Elsie Carlisle recorded more than a few torch songs in her time, but “Alone and Afraid” stands out as a particularly noteworthy example of her efforts. I have argued elsewhere that one of Elsie’s foremost talents as a dance band singer was to establish the audience’s idea of her persona in a very limited time frame (often in under a minute of singing). In “Alone and Afraid” Elsie has more time, as it is not a dance band record, and so she uses most of one side of a record to produce the perfect vocal tearjerker. She sings of a deep disappointment, of unrequited love, or at the very least, of an asymmetrical relationship subject to unfortunate misunderstanding (“I gave my love, but his was lent”). The tune is memorable and can even be played as an upbeat dance number, as we find out near the beginning of the 1931 Stanley Lupino film The Love Race.

In the same year, Elsie recorded a short film of her singing “Alone and Afraid” and “My Canary Has Circles Under His Eyes,” accompanied by Harry Rubens on the piano (this may or may not be the same pianist as the Harry Robens who played briefly for Ray Starita’s band):

Elsie Carlisle (1931)

Very little camera footage survives of Elsie Carlisle, so it is hard to place this particular performance in the context of her career as a musical actress, but I find this film short both mesmerizing and satisfying. The quality of the singing is excellent and comparable to that of the record, but Elsie’s acting is really delightful. Her intense gazes into the camera leave one with the impression that she is sharing something very sincere.

“Alone and Afraid” was also recorded in 1931 in Britain by Jerry Hoey and His Band (v. Joe Leigh), Jack Payne and His BBC Dance Orchestra (v. Jack Payne), and Arthur Lally and the Million-airs (v. Cavan O’Connor).

Sam Browne

“Won’t You Stay to Tea?” (1933)

“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. GB-5633-1.

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).

Jay Wilbur

“Little White Lies” (1930)

“Little White Lies.”  Music and words by Walter Donaldson (1930).  Recorded in London in September 1930 by Elsie Carlisle under the musical direction of Jay Wilbur. Imperial 2346 mx. 5473-2.

Personnel: probably Jack Miranda-cl-ts / Eric Siday-vn / vn / Harry Jacobson-p-cel / Len Fillis-g

Elsie Carlisle – “Little White Lies” (1930)

Prolific composer Walter Donaldson, also known for such jazz standards as “Makin’ Whoopee,” “My Baby Just Cares for Me,” and “My Blue Heaven,” published “Little White Lies” in 1930, and it became an instant hit.  Initially recorded by Fred Waring’s Pennsylvanians, the song saw countless American recordings within months, including by such noted female vocalists as Marion Harris, Lee Morse, and Annette Hanshaw (“That’s all!”).

“Little White Lies” saw equal attention that year in Britain.  Notable recordings were made by the Rhythmic Eight and the Rhythm Maniacs (both with Maurice Elwin as vocalist), Harry Hudson’s Radio Melody Boys (Sam Browne, vocalist), Jack Hylton and His Orchestra (Pat O’Malley, vocalist), Bert Madison’s Dance Orchestra (directed by Nat Star, with Cavan O’Connor as vocalist), and Jay Wilbur and His Band (vocals by Jack Plant).  Jay Wilbur was, of course, the musical director at Imperial at the time, so he would have overseen Elsie Carlisle’s recording the previous month.

Sir Paul McCartney has reported that “Little White Lies” was John Lennon’s favorite childhood song, and that this was a fondness that they shared, but it is assumed that it was the 1947 Dick Haymes version that they were familiar with.