Sam Browne Articles

“A Bungalow, a Piccolo, and You!” (1932)

“A Bungalow, a Piccolo, and You!” Words and Music by Al Lewis, Al Sherman, and Lee David (1932). Recorded in London at Studio 1, Abbey Road on July 22, 1932 by Ambrose and His Orchestra with vocalists Sam Browne and Elsie Carlisle. HMV B-6218.

Personnel: Bert Ambrose dir. Max Goldberg-Harry Owen-t / Ted Heath-tb / Joe Crossman-cl-as-bar / Billy Amstell-cl-as-ts / Harry Hines-as / Joe Jeanette-cl-ts-?pic / Ernie Lewis-Teddy Sinclair-Peter Rush-vn / Bert Read-p / Joe Brannelly-g / Don Stutely-sb / Max Bacon-d1

A Bungalow, a Piccolo, and You ! - Ambrose and his Orchestra

A Bungalow, a Piccolo, and You ! – Ambrose and his Orchestra

Transfer by Lilian Harvey – YouTube

In the very first Elsie Carlisle discography, Elsie Carlisle – With a Different Style (1974), Edward S. Walker indicates that Ambrose’s version of “A Bungalow, a Piccolo, and You!” has a Sam Browne/Elsie Carlisle duet, and yet Elsie’s vocal has been ignored by every subsequent discography, including even my own Croonette: An Elsie Carlisle Discography (published earlier this year). The record would appear to be comparatively rare, and I only discovered “Lilian Harvey’s” transfer on YouTube last week. (The omission will be remedied in the second edition of Croonette, which should be ready for online publication very soon.)

The songwriters include Al Sherman and Al Lewis, who would later collaborate on “No! No! A Thousand Times No!” and Lee David, who would team up with Darl MacBoyle to write “That Means You’re Falling in Love”; the latter song was recorded in 1933 by Sam Browne and Elsie Carlisle. The title “A Bungalow, a Piccolo, and You!” recalls the earlier “A Bungalow, a Radio, and You” (Dempsey-Leibert; 1928), but that is where the similarities end. Another song in which the singer says that all he needs is one thing, another thing, “and you” is “A Cup of Coffee, a Sandwich, and You” (Meyer-Dubin-Rose; 1925).2

Ambrose’s version of the song has a mostly instrumental introduction, except that very near the beginning a piccolo plays three series of notes which Elsie can be heard to mimic vocally. The piccolo continues to intervene playfully, even comically, throughout the song. Then Sam Browne begins to sing, describing himself as standing beneath someone’s window and telling her that all he needs is a bungalow, a piccolo, “and you.” Sam’s fun and comparatively brainless love song proceeds until the piccolo takes over for a moment. It is at that point that something incredibly cute occurs: Elsie again has an exchange with the piccolo in which she imitates it with her voice, but this time she scats. Even better, she boops (“Boop-a-doo!”), and then repeats Sam sentiments about needing a bungalow, a piccolo, “and you.” Overall, her contributions to the recording are brief but incredibly bright, joyful, and memorable.

While the songwriters were all American, I have not been able to locate any American recordings of “A Bungalow, a Piccolo, and You!” There are plenty of other British dance band recordings, however, including those by Henry Hall’s BBC Dance Orchestra (v. Val Rosing), Billy Cotton and His Band (v. Cyril Grantham), Terence McGovern (as Terry Mack and His Boys; v. Joe Leigh), Jack Hylton and His Orchestra (v. Pat O’Malley), Jack Payne and His Band (v. Jack Payne, Bob Manning, and Charlie Asplin), Nat Star (as Billy Seymour and the Boys; v. Fred Douglas), Jay Wilbur and His Band (as Jack Grose and His Metropole Players; v. Leslie Holmes), and Lew Stone and the Monseigneur Band (in a medley).

Notes:

  1. These are the personnel according to Rust and Forbes’s British Dance Bands on Record; for the tentative identification of Joe Jeanette as the piccolo player, I have Nick Dellow to thank. Jeanette apparently played piccolo and flute in the British army years before joining Ambrose’s orchestra.
  2. My thanks to Jonathan David Holmes for pointing out the resemblance.

“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. GB5633-1.

Elsie Carlisle and Sam Browne - "Won't You Stay to Tea?" (1933)

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).

Elsie Carlisle Medley (1937)

Elsie Carlisle committed her last Decca record to shellac on January 31, 1936 and would not start recording again with HMV until October 25, 1937 — a hiatus of one year and nine months in an otherwise consistently busy period of fifteen years (1926-1942). We must not assume a low point in her career, however, but much the opposite. Elsie’s status as “Idol of the Radio” was at an all-time high, as suggested by the evidence of newspapers and industry magazines, and her stage activities seem to have kept up unabated.

The BBC Genome project shows a fair number of radio appearances in 1936 and 1937. Importantly, a December issue of Melody Maker prints the results of a nationwide poll showing Elsie Carlisle as the most popular British female singer1. Meanwhile, a 1935 stage show featuring Sam Browne and Elsie Carlisle (accompanied by pianist Ronnie Aldrich and Freddie Aspinall) morphed in 1936 into an act that featured solely Elsie. This act would continue into at least July 19372 and seems to have featured “Home, James, and Don’t Spare the Horses,” ending with “No, No, a Thousand Times, No!”

It should not be a surprise, then, that within days of returning to recording, Elsie recorded a collection including those two songs that went under the name “Elsie Carlisle Medley.” It was the first of two such medleys that would be released under her name in a three-month period. The medleys, which include songs that must have been perceived as somehow representative of her whole career up to that point, must reinforce her special status as a premiere vocalist.

“Elsie Carlisle Medley.” Part 1: “Gertie, the girl with the gong,” “Home James, and don’t spare the horses,” “No, No, a thousand times no.” Part 2: “Dirty hands, dirty face,” “Little chap with big ideas,” “Little man, you’ve had a busy day.” Arranged by Con Lamprecht. Recorded on November 8, 1937 in London at Studio No. 1A, Abbey Roads by Elsie Carlisle under the musical direction of Ronnie Munro. HMV B.D. 476 matrices OEA 5869-1 and OEA 5870-1.

Elsie Carlisle - "Elsie Carlisle Medley" (1937)

Elsie Carlisle Medley (1937)

This medley, arranged, according to Richard J. Johnson, by Con Lamprecht,3 begins with Ronnie Munro’s own “Gertie, the Girl with the Gong” (Sonin-Munro; 1935), which Elsie famously recorded with Ambrose and His Orchestra in 1935 (Decca F. 5486). The next two numbers were, as I have already noted, famously a part of Elsie’s stage show, but they had also been memorably recorded with Ambrose and His Orchestra on Decca F. 5318 (“Home, James, and Don’t Spare the Horses” [Fred Hillebrand; 1934]; “No, No, a Thousand Times, No” [Sherman-Lewis-Silver; 1934]).

Part 2 of the “Elsie Carlisle Medley” is a group of songs with childhood themes. According to Richard J. Johnson,4, it was originally supposed to include “He’s an Angel” (Michael Hodges; 1936; recorded by Elsie Carlisle on Decca F. 5902), but that song was not ultimately recorded for the “Medley” session. Instead, Part 2 begins with “Dirty Hands, Dirty Face” (Leslie-Jolson-Clarke-Monaco; 1923), which Elsie had never recorded. Perhaps it was part of her stage act, or perhaps she had broadcast it on the radio. The song’s popularity was long-lived, especially after Al Jolson featured it in The Jazz Singer (1927). Elsie had not recorded the next song, either: “Little Chap with Big Ideas” (Drake-Damerell-Evans) was a new song in 1937, and Elsie may very well have sung it on the radio. The last song, “Little Man, You’ve Had a Busy Day,” was one that Elsie had recorded twice in 1934, first solo, and then with Ambrose and His Orchestra on Brunswick 01790.

Newspaper ads for the first “Elsie Carlisle Medley” described it as “Elsie Carlisle sing[ing] a medley of her successes,”5 and the tabloid Illustrated Police News (Thursday, February 10, 1938, p. 15) included the following delightful review:

Croonette

Elsie Carlisle is probably the ace girl vocalist of the radio—British radio, at any rate. She has made a record of some of her most popular hits under the heading “Elsie Carlisle Medley.”

Elsie croons through these numbers in just as delightful fashion as she does when heard “on the air….”

The success of this collection of songs may be gauged by HMV’s decision to have the “ace croonette” record “Elsie Carlisle Medley No. 2” in January 1938, which similarly included four songs that Elsie had recorded in the late 1920s and early 1930s, as well as a couple that she had not recorded, but that she must have been associated with in some other way, whether through broadcast or stage.

Notes:

  1. Melody Maker 12.187 (Dec. 19, 1936) 11.
  2. The Stage issue 2,937 (July 15, 1937) 7.
  3. Elsie Carlisle: A Discography. Aylesbury, Bucks. (1994) 33.
  4. Ibid.
  5. In the Belfast News-Letter (Wednesday, February 2, 1938) 11 and elsewhere.

“Won’t You Come Home, Bill Bailey?” (1932)

“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-d1

Won't You Come Home, Bill Bailey? Ambrose & his Orchestra (with Sam Browne & Elsie Carlisle)

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.

Notes:

  1. Brian Rust and Sandy Forbes, British Dance Bands on Record (1911-1945) and Supplement, p. 25.

“Da-Dar-Da-Dar” (1933)

“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 (v. Sam Browne) - "Da-Dar-Da-Dar" (1933)

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).1 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).

Notes:

  1. It is not clear who impersonates the brother. Perhaps drummer and comedian Max Bacon, who did funny voices in “Seven Years with the Wrong Woman” at the same recording session, or even Sam Browne himself?

"The Idol of the Radio." British dance band singer of the 1920s, 1930s, and 1940s.