“Sweet Flossie Farmer (The Lovely Snake Charmer).” Words by Mort Dixon, music by Allie Wrubel (1935). Recorded by Elsie Carlisle with orchestral accompaniment on April 18, 1935. Decca F. 5524 mx. GB 7098-2.
“Sweet Flossie Farmer” is a comical song with a circus setting (like Elsie Carlisle’s duet with Sam Browne from the previous year, “Mr. Magician”). The scenario is simple: the title character, “Flossie Farmer,” is a professional snake charmer who is paradoxically attracted to a man repeatedly described as a “snake in the grass.”1 He is an animal trainer, but Flossie cares only for him, not for his animals, whose difficult polysyllabic names Elsie relishes rattling off while dismissing them: “rhinoceroses,” “hippopotamuses,” “sea lionesses” — she appears to give up after the gaffe “kangaroos-a-mooses!” — and the orchestra provides her with a satisfying antiphonal chorus of nonsense sounds. This animal trainer is a very bad man, we are to understand, who is only interested in sex, and he appears to succeed in his lechery, only to be bitten by Flossie’s snakes, who appear to be motivated by both jealousy and loyalty.
“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.
“Fare Thee Well, Annabelle.” Words by Mort Dixon, music by Allie Wrubel (1934). Recorded on June 20, 1935 by Ambrose and His Orchestra, with vocals by Donald Stewart, Elsie Carlisle, and the Rhythm Brothers. Decca F. 5590.
Personnel: Bert Ambrose dir. Max Goldberg-t-mel / Harry Owen and 1 unknown-t / Ted Heath-Lew Davis-tb / Danny Polo-cl-as-bar / Sid Phillips-cl-as-bar-a / Joe Jeannette-as / Billy Amstell-cl-ts / Ernie Lewis-Reg Pursglove-vn / Bert Barnes-p-a /Joe Brannelly-g /Dick Ball-sb /Max Bacon-d
Mort Dixon and Allie Wrubel wrote “Fare Thee Well, Annabelle” in 1934; it was introduced in 1935 by Rudy Vallée and Ann Dvorak in the film Sweet Music. The Ambrose Orchestra’s version does justice to this admirable example of the “train song” genre; it lacks the lollapalooza tap dancing sequence of the film, but its simulated train sounds evoke the original context of the song nicely, and Donald Stewart and Elsie Carlisle make suitable stand-ins for the movie actors.
In 1935 Britain would hear other recordings of “Fare Thee Well, Annabelle” by the Debroy Somers Band (with Brian Lawrance as vocalist), Billy Merrin and His Commanders (Ken Crossley, vocalist), Harry Roy and His Orchestra (Bill Currie, vocalist), Sidney Kyte and His Piccadilly Hotel band (with Norman Phillips singing), and Joe Loss and His Radio Band.
"The Idol of the Radio." British dance band singer of the 1920s, 1930s, and 1940s.