Sidney Clare Articles

“Since I Found You” (1927)

“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.

Since I Found You – Elsie Carlisle

Elsie Carlisle – “Since I Found You” (1927)

Video by David Weavings (YouTube)

“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.

“Come On, Baby” (1929)

“Come On, Baby.” Composed by Sidney Clare, Archie Gottler, and Maceo Pinkard (1928). Recorded by Elsie Carlisle with the Rhythm Maniacs at the Chenil Galleries Studios in Chelsea on August 23, 1929. Decca F. 1528.

Personnel:  Arthur Lally-cl-as-bar dir. Sylvester Ahola-t / Danny Polo-Johnny Helfer-reeds / Joe Brannelly-bj-g / Max Bacon-d-vib1

 The Rhythm Maniacs (w. Elsie Carlisle) – “Come On, Baby”

On August 23, 1929 Elsie Carlisle recorded three songs for Decca (“Why Can’t You?” “Come on, Baby,” and “He’s a Good Man to Have Around”) with a band known variously as the Rhythm Maniacs and as Philip Lewis and His Dance Orchestra. This was a studio band, and Philip Lewis the recording manager for Decca; it was really the great  Arthur Lally (pictured above) who led the sessions. An Ambrose Orchestra saxophonist, Lally also directed a great many sessions at Decca and Filmophone between 1929 and 1932 under various band names and oversaw the making of some of the “hottest” dance band music of the period.

“Come On, Baby” begins and ends with primal, saxophone-dominated instrumental segments, with Elsie singing for a mere 42 seconds in the middle of the song. She delivers the flirtatious lyrics with considerably more fervor and desperation than other contemporary singers. Her final appeal, “Come on, and let your conscience guide you,” concluding with “Oh BABY, come on!” conveys an impression of passionate urgency.

We have an earlier take of this song made the same day, and it is interesting to hear the development that the band and Elsie make over the course of the session. The first take is instrumentally weaker; it lacks the punch of the final recording as issued by Decca. Elsie begins on the wrong note – it is humbling to hear her make such a mistake – but she recovers admirably. There is also an alternate take from that session of “He’s a Good Man to Have Around,” in which she noticeably sings a note natural when it should be flat. Here we have, perhaps, a glimpse into the fast-paced life of these recording artists, who could have a weak start to a session but still turn out an excellent final product.

“Come On, Baby” had been popular the previous year in America. Between September and December 1928 there were versions by Allister Wylie and His Coronado Hotel Orchestra, Lou Gold and His Orchestra, Ted Weems and His Orchestra, Fred Hall and His Sugar Babies, Ernie Golden, Meyer Davis and His Orchestra (as The Park Inn Good Timers, with vocals by Smith Ballew), and Fletcher Henderson and His Orchestra.

British recordings of “Come On, Baby” date from September 1929 to January 1930, with versions by the Rhythmic Eight, Ray Noble’s New Mayfair Dance Orchestra (in a “Paul Jones” medley), Ray Starita and His Ambassadors’ Band (Eddie Grossbart, vocalist), Jack Hylton and His Orchestra (Sam Browne, vocalist), Bidgood’s Broadcasters (vocalist Tom Barratt), Arthur Roseberry and His Dance Band (as Barry Bryan and His Syncopators, with Pat O’Malley and possibly Len Lees doing the singing), Jay Wilbur and His Orchestra (as the Brooklyn Broadcasters, with Tom Barratt as vocalist), Cecil and Leslie Norman (as Norman Sissel and His Rhythm Twisters, with Cavan O’Connor doing the singing), Hal Swain and His Band (vocalist Hal Swain), Ronnie Munro’s Parlophone Variety Company (in their “Talkieland Selection”), Nat Star and His Dance Orchestra (as Eugene Brockman’s Dance Orchestra), Jay Whidden and His Band (vocalist Jay Whidden), and Harry Hudson’s Plaza Band (with vocalist John Thorne). There were also recordings of the song by the Trix Sisters in August 1929, and by Miriam Ferris in October 1929. Comedienne Dorothy Ward was noted for her performance of it in a Julian Wylie pantomime of “Robinson Crusoe” at The Palace, Manchester that same year.

It has always seemed odd to me that a song entitled “Come On, Baby” would not actually have that phrase in its lyrics (“Oh, baby, come on!” is as close as it gets). Such is human perversity.

"Come On, Baby!" sheet music featuring a photograph of Jack Hylton
“Come On, Baby!” sheet music featuring a photograph of Jack Hylton

Notes:

  1. According to Brian Rust and Sandy Forbes’s British Dance Bands on Record (1911-1945) and Supplement, p. 537.

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

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