“Since I Found You.” Words by Sidney Clare, music by Harry Woods. Recorded by Elsie Carlisle at Studio B, Hayes, Middlesex, on May 6, 1927. HMV B. 2489 mx. Bb-10690-3.
“Since I Found You” is an effusive love song, but one vague on details: the song tells us very little about the “I” or the “you” of the title. Even the sex of the “I” is only implied by that of the singer; there is nothing internal to the song that suggests boy-loves-girl or girl-loves-boy, the two most obvious scenarios for a popular song of the early twentieth century. Ironically, the ambiguity of “Since I Found You” may be one of its strengths.
When I first began to listen carefully to different versions of popular songs from this period, I marveled that artists and arrangers were so adept at shifting the male and female pronouns in love songs around to suit the sex of the singer (and thus incidentally to preserve a heterosexual norm). At length I came to the conclusion that the lyrics were carefully written that way in the first place. A commercially ambitious Tin Pan Alley songwriter would never want to limit the number of artists who could record his music by using words that could not easily be swapped out. An example of success in this regard would be “I Can’t Get Over a Girl Like You (Loving a Boy Like Me)”; the pronouns in the title are simply begging to be reversed, as they were when Elsie Carlisle sang them.
“Since I Found You” is particularly ingenious in this regard, insofar as it mostly involves the first and second grammatical persons (“I” and “you”); there are no he’s that need to become she’s. In fact, the “I” of the song tells us practically nothing about himself (or herself) or about the “you” of the song, except to say that the former is absolutely ecstatic about having found the latter. The singer expresses his or her joy by insisting that the whole universe feels it, by transferring his or her feelings to heavenly bodies, birds, bees, and insects. This clever use of the pathetic fallacy renders the song simultaneously more general and even vague (and thus requiring no adaptations for sex) and yet entirely effective as an effusive emotional outpouring.
I do not mean to suggest that there is any doubt as to Elsie Carlisle’s identity in her version of “Since I Found You”; to the contrary, she is ebullient in a feminine and perhaps even girlish way. The lack of a real plot line does not prevent her from vocally caressing each of the lyrics’ hyperbolic claims regarding the transformation of the natural world by her love life. Elsie’s dulcet cooing is complemented in this 1927 recording by the piano playing of Carroll Gibbons.
“Since I Found You” was recorded in 1926 and 1927 in America by Cliff Edwards (Ukulele Ike) and His Hot Combination, Vincent Lopez and His Casa Lopez Orchestra, Jim Miller and Charlie Farrell, and Vaughn de Leath (in January with an orchestra and in February with piano accompaniment).
British recordings were made in 1927 by Bert Firman’s Dance Orchestra, Bert and John Firman (as Eugene Brockman’s Dance Orchestra), Teddy Brown and His Café de Paris Band (with vocalist John Thorne), Jack Payne and His Hotel Cecil Orchestra (with Jack Payne singing), and the Savoy Havana Band. In late 1927 Al Bowlly recorded “Since I Found You” with Arthur Briggs’ Savoy Syncopaters Orchestra in Berlin.