Arthur Lally

“Nobody’s Using It Now” (1930)

“Nobody’s Using It Now.” Words by Clifford Grey, music by Victor Schertzinger. Composed for the film The Love Parade (1929). Recorded in London on March 31, 1930 by the Rhythm Maniacs under the musical direction of Arthur Lally with vocalist Maurice Elwin. Decca F-1716 mx. MB-1136-2.

Personnel: Arthur Lally-cl-as-bar dir. Norman Payne-probably Bill Shakespeare-t / Jock Fleming or Ted Heath-tb / Danny Polo-cl-as / Joe Jeannette-cl-ts / Claude Ivy-p / Joe Brannelly-bj / Spike Hughes-sb / Rudy Starita-d-vib-x / Maurice Elwin-v

The Rhythm Maniacs (v. Maurice Elwin) – “Nobody’s Using It Now” (1930)

“Nobody’s Using It Now” is but one of several memorable numbers from the musical comedy The Love Parade, Ernst Lubitsch’s first sound film. In the movie, Maurice Chevalier plays a military officer in Sylvania, a Ruritanian state located somewhere in Europe. He becomes prince consort to the queen — “a husband, and nothing else” — his nights busy and his days empty. Bereft of self-respect, the boyish, sexy Chevalier sings to the queen’s dog about how he would like a position of greater responsibility, although comically he keeps appealing to his talents in the bedroom as relevant qualifications. “[He’s] just wasting [his] youth,” he complains, “’cause nobody’s using it now.” As is the case with many Broadway and Hollywood tunes, if you take “Nobody’s Using It Now” out of its original context, its lyrics constitute a generic love song — the singer sounds merely lonely, not bored and disrespected like Chevalier.

In the Rhythm Maniacs’ version of “Nobody’s Using It Now,” Maurice Elwin gets a mere 25 seconds to sing the vocal refrain, but it is nonetheless memorable for its boldness. Particularly noteworthy is his ascent into his upper register with “no, no, no, NO!” It puts Elwin’s performance into the same comical territory as Chevalier’s original (the latter goes implausibly low in his intro). Elwin’s quickly delivered vocal at the beginning of the recording sets the fast pace for this up-tempo and loud early Decca recording, whose arrangement is infectiously catchy.

There were many medleys inspired by The Love Parade and Maurice Chevalier’s singing in general, and the Rhythm Maniacs themselves would do a reprise of “Nobody’s Doing it Now” later in 1930 in “Maurice Chevalier — Selection” (v. Fred Douglas). There were other British dance band versions of “Nobody’s Doing It Now” in 1930 by Jack Hylton and His Orchestra (who recorded a full version with Sam Browne on the vocals, and an instrumental excerpt in a medley), Cecil Norman’s Savoy Plaza Band (v. Cavan O’Connor), Bidgood’s Symphonic Dance Band (in a medley with vocals by Patrick Waddington, followed soon after by a full version — under the band name Al Benny’s Broadway Boys — with vocalist Sam Browne), Jack Payne and His BBC Dance Orchestra (who did an instrumental treatment in a medley), Nat Star (v. Tom Barratt), the Midnight Minstrels (dir. Stan Greening; as an instrumental in a medley), the Debroy Somers Band (v. Tom Barratt), and Jack Leon’s band (as an instrumental in a medley).

Arthur Lally

“Figaro” (1930)

“Figaro.” Words by Sidney D. Mitchell, music by Otto Motzan (1928). Recorded in Chelsea, London on May 20, 1930 by the Rhythm Maniacs under the musical direction of Arthur Lally with vocals by Maurice Elwin. Decca F-1799.

Personnel: Arthur Lally-cl-as-bar dir. probably Norman Payne-Bill Shakespeare-t / Jock Fleming or Ted Heath-tb / Danny Polo-cl-as / Joe Jeanette-cl-ts / Claude Ivy-p / Joe Brannelly-bj / Bill Harty-d / Rudy Starita-vib-x / Maurice Elwin-v / ?Jack Jackson-sc

The Rhythm Maniacs – “Figaro” (1930)
Transfer by Henry Parsons

Did the Rhythm Maniacs just reference the Figaro of Rossini’s Barber of Seville? They did, but only obliquely, as it turns out. The original lyrics of Mitchell and Motzan’s “Figaro” refer not to a Barber of Seville, but rather to a barber of Greenwich Village who likes to sing “Figaro, Figaro, Figaro”1 (whereas the Bidgood’s Broadcasters version relocates its “Figaro” to Saffron Hill, a London street housing Italian immigrants). In the Rhythm Maniacs version of “Figaro,” then, Maurice Elwin is not singing about the opera character Figaro, but about someone who thinks that he can sing opera.

The vocal refrain that Elwin is given is so short, at thirty-three seconds, that he does not get to specify who his “Figaro” is or where he lives and works. The lyrical excerpt has been torn from its context in the Mitchell-Motzan “Figaro,” so the repetition of “Figaro, Figaro, Figaro” and the general spirit of boasting that Elwin projects might actually lead us to recall the opening scenes of Rossini’s opera rather than the barber in New York or London. Elwin sings some generalities about “Figaro’s” attractiveness to the opposite sex and states that he is “the king of all.”

But Elwin ends up seeming like the straight man in a joke, as he is upstaged by another vocalist engaging in purposely comical scat. Rust and Forbes do not mention Jack Jackson’s presence at this session, but it sounds like him. One of the reasons that the scat sounds so awkward is that there is an additional joke of some sort embedded in it. Tim Machin of the Facebook Golden Age of British Dance Bands group is right, I think, to make out something like “Napoleon…one arm…could have been Nelson” embedded in amongst all the nonsensical vocalizations, and Nick Dellow suggests that there could even be a reference to the 1920s song “Why Sell Kippers in Pairs?” which has the line “Lord Nelson only had one eye and one arm, / So why sell kippers in pairs?”2

Other British dance bands who recorded “Figaro” in 1930 were the Savoy Orpheans (directed at the time by Ben Loban; v. Cavan O’Connor and chorus), Arthur Roseberry and His Dance Band (v. Leslie Holmes and chorus), the Debroy Somers Band (v. Tom Barratt), Jack Leon’s Dance Band (v. Jimmy Allen), Nat Star and His Dance Orchestra (as Selwyn’s Dance Orchestra; v. Tom Barratt), The Rhythmic Eight (directed by John Firman), the New Mayfair Dance Orchestra (dir. Ray Noble; v. Leonard Henry and Wally Vernon), Hal Swain and His Band (v. Fred Douglas), and (as mentioned above) Bidgood’s Broadcasters (as Ted Summer’s Dance Devils; v. Leslie Rome).

  1. Fred B. Diel, “In the World of Music Publishing,” The Music Trade Review, July 28, 1928, 22. ↩︎
  2. Comments on Henry Parsons, “To mark the debut of Alexandros Kozák’s new website,” Facebook, February 8, 2021. ↩︎
News

Jonathan Holmes Interview

People who read my website are likely to be familiar with my good friend Jonathan Holmes, whose journalism, general music advocacy, and YouTube channel have made him almost synonymous with British dance band music:

Jonathan interviewed me yesterday for his “British Dance Music Programme.” We played Elsie Carlisle songs, discussed her art, life, and career, and chatted about the elsiecarlisle.com website that I’ve been running for the past seven years. We also talked a little about Maurice Elwin and my plans for this website. The interview will be broadcast several times tomorrow, Friday, February 26, on Phonotone Classic. Check  out their website to tune in; I should be on at

2 a.m. (PST)6 a.m. (PST)10 a.m. (PST)2 p.m. (PST)6 p.m. (PST)10 p.m. (PST)
phonotoneclassic.com