“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 – “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). 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 (as the Silver Dance Band), 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).
“Let’s Make Love.” Words By Stanley J. Damerell, music by Tolchard Evans (1934). Recorded by Ambrose and His Orchestra with vocals by Sam Browne and with Elsie Carlisle in a speaking role on November 1, 1934. Decca F. 5297 mx. TB 1704-1.
Personnel: Bert Ambrose dir. Max Goldberg-t-mel / Harry Owen-t / Ted Heath-Tony Thorpe-tb / Danny Polo-reeds / Sid Phillips-reeds / Joe Jeannette-as / Billy Amstell-reeds / Ernie Lewis-Reg Pursglove-others?-vn / Bert Barnes-p / Joe Brannelly-g / Dick Ball-sb / Max Bacon-d
Ambrose & His Orchestra (w. Sam Browne & Elsie Carlisle) – “Let’s Make Love” (1934)
“Let’s Make Love (In Spring, Summer, Autumn and Winter)” is a light waltz written by British songwriters Stanley J. Damerell and Tolchard Evans, who collaborated on such notable songs as “Lady of Spain” (1931) and “If (They Made Me a King)” (1934). There seems to be a general rule that whenever Damerell and Evans have collaborated on a song, Elsie Carlisle ends up with a speaking role. That would appear to be the case in the Ambrose recording of “Hyde Park Corner” (Hargreaves-Damerell-Evans; 1933), in which Sam Browne sings and Elsie and drummer Max Bacon have speaking parts, as well as in the Maurice Winnick version of “Da-Dar-Da-Dar” (also Hargreaves-Damerell-Evans; 1933), in which Sam Browne sings and Elsie is a mere interlocutor. So it is in this Damerell-Evans piece, “Let’s Make Love.”
Jack Payne and His Band had made, in late October 1934, a version of “Let’s Make Love” that relied for its entertainment value largely on comical Northern and Cockney voices provided by Jack Payne and Charlie Asplin; there was yet another version of “Let’s Make Love” in November by Jay Wilbur and His Band, with Fred Latham on the vocals. After an impressive instrumental introduction, the Ambrose recording has Sam Browne sing just the refrain and the first verse of the song. He then proceeds repeatedly to try to sing the first few words of the refrain (or something like them) in foreign accents which are intentionally abysmally done. His try at a Russian accent (“Letsky makesky loveskevitch”) is perhaps the least embarrassing. I cannot say whether his announcing the Russian lover a second time and then correcting himself to “a Spanish lover” is a feigned mistake or a real one. The cannibalistic Zulu with his war cry “Yum, yum, yum!” is awkward at best, as is the shivering Eskimo.
Elsie Carlisle, for her part, merely interjects on occasion that Sam’s “impressions are lousy,” or the like. Sam and Elsie had already played bickering lovers in the 1933 Maurice Winnick recording of “Seven Years with the Wrong Woman,” and it was only weeks after recording “Let’s Make Love” that they would berate each other in “I’m Gonna Wash My Hands with You” with Ambrose and His Orchestra. In “Let’s Make Love,” by contrast, it is not apparent that Sam really means it when he repeatedly sings “Let’s Make Love” to Elsie, nor that her rebuffing of him is anything more than a negative review of his talent. What is clear is that this song is one of the silliest things Sam and Elsie ever collaborated on in their years of working for Ambrose.
“On a Dreamy Afternoon.” Lyrics by Robert Hargreaves and Stanley J. Damerell, with music by Montague Ewing (1932). Recorded by Ray Starita and His Ambassadors’ Band on September 15, 1932, with vocals by Elsie Carlisle. Four-in-One 7.
Personnel: Ray Starita-cl-ts dir. Nat Gonella-t / t / tb / prob. Chester Smith-cl-as-bar-o / Nat Star-cl-as / George Glover-cl-ts-vn / George Hurley-vn / Harry Robens-p / George Oliver-bj-g / Arthur Calkin-sb / Rudy Starita-d-vib-x
Ray Starita and His Ambassadors w. Elsie Carlisle – “On A Dreamy Afternoon” (1932)
“On a Dreamy Afternoon” was composed by Montague Ewing, who was known for his light music. The lyricists Hargreaves and Damerell (who sometimes used the joint pseudonym “Erell Reaves”) more frequently collaborated with composer Tolchard Evans, turning out such popular tunes as “Lady of Spain” and “If.”
Ray Starita’s version of “On a Dreamy Afternoon” was made in 1932, the last year of his recording career and one of the best, when his band included such greats as Nat Gonella and Nat Star. It was also the only year he used Elsie Carlisle as a vocalist, though he did so quite a bit, turning out excellent recordings of “Kiss by Kiss,” “Let That Be a Lesson to You,” and “I Heard,” amongst others. “On a Dreamy Afternoon” has music and lyrics that are mellow and atmospheric and showcase nicely the sweet quality of Elsie’s voice — this is definitely not one of her torch songs, and there is nothing particularly naughty in it — it is soothingly beautiful and romantic.
The recording in the YouTube video above is one of two takes of the song recorded by Ray Starita with Elsie Carlisle that day; the other appears on Sterno 1026:
Other versions of this song were recorded in October 1932 by Arthur Lally (Maurice Elwin, vocalist), Jack Hylton and His Orchestra (with vocals by Pat O’Malley; hear the unissued take 3 on jackhylton.com), and Carroll Gibbons and the Savoy Hotel Orpheans, with Cavan O’Connor singing).