Last weekend, the 9th of June, marked the 20th anniversary of the death of Arthur Alexander a singer/composer from Alabama of such significance that I am prepared to suspend the First Law of loosehandlebars &…just this one time… use the “U” word. Arthur Alexander is underrated & here is the proof, the whole proof & nothing but the…you get me !
So Randy Newman, a strong contender in a very strong field for a place on the Great American Songwriter podium, brings along Mark Knopfler off of Dire Straits to play with the world class house band on NBC’s “Sunday Night”. He has, even in these pre Disney/Pixar years, a stack of his own quality songs but chooses to perform a song by, in his words, “a great songwriter” Arthur Alexander. In 1962 teenager Randy was still trying to figure out how to write a pop song. “You Better Move On” is of a standard to which he aspired. It is a lovely, precise, assertive bit of work.
The song was the first hit to be recorded at a converted tobacco warehouse in Muscle Shoals where Rick Hall was establishing FAME studios. Arthur had a deal with Dot Records of Nashville who did not really know what they had. The B-side to the Mann/Weil written follow up, “Soldier Of Love” was evidently the superior track. In 1962 the generation of young British musicians, inspired by pick up an instrument by that first rock & roll explosion, were leaving school & ready to make their own noise. They, like Randy Newman in L.A., were listening to Arthur too.
4 of these listeners were the Beatles. They performed 3 songs Alexander recorded, another, “Anna (Go To Him)”, made it on to the debut LP. The songs suited John Lennon’s emphatic vocals & the logical, simple pop/country/soul/rock structure (Arthur really did have it going on !) was a big influence on his songwriting. I’m giving up “All I’ve Got To Do” & “You’re Gonna Lose That Girl”, you know of others. In 1963, down in that London, the Rolling Stones were recording an EP of 4 songs for their label (the one that had turned down the Fab 4) which thought an LP would be a little previous. 3 of the tracks were well-known up-tempo rockers. It was “You Better Move On” (see above) showing a more restrained, soulful Stones, which got played on the radio.
“Every Day I Have To Cry Some”, written by Alexander was given to Steve Alaimo, a teen idol/TV presenter who made better records than his jaunty interpretation of a plaintive song. Arthur did not get to record his song until 1975 & it’s a little busier than it would have been 10 years earlier. The quality of his voice still shines though. Back at the cultural centre of the planet in 1964 the song was claimed by a class act.
What a great clip. A video capsule of Swinging London in 1964, good music, everyone looking sharp, smiling & they are only sharing the dancefloor with a Beatle ! “Ready Steady Go” was must-see TV not just because it featured the best music around but it captured that notion that post-war Britain had changed & that there would be no going back. Dusty Springfield had a season ticket to R.S.G. interviewing the Mop Tops on their 1st appearance & here she is performing a track from her “I Only Want To Be With You” EP. The singer did her share of overly dramatic ballads, be-wigged & mascara masked on creaky variety shows like the other women singers. On R.S.G. she could relax & show her excellent taste in the soul music that she rode shotgun for in the UK. She was too old to be a Mod but she was still a face. Dusty’s smoky voice was a special talent suited to both ballads & belters. For me, when she was giving it that soul shimmy, singing a Motown or an Arthur Alexander song she looked to be a happy & attractive young woman.
There has been a lot written about Dusty since her passing about the insecurities she suffered over her looks, her sexuality & most other things. It’s a wonder she ever left the house. I was not even a teenager when this clip was filmed, I could neither locate Lesbia on a map nor had I even met a lesbian. I did know that Dusty was the Queen of British music with too much about her to take the cabaret/Eurovision route on offer to female artists in the music business. I was right, she never did.
One of the fables embroidered into Rock’s Rich Tapestry is the saga involving Phil Spector, Ike & Tina Turner & “River Deep Mountain High”. The Tycoon of Teen pays Ike to stay away from the studio then makes Tina sing till she’s hoarse to create his Wall of Sound masterpiece. This tower of force is ignored by the American record buying public, the master producer retreats to his mansion to lick his wounds. I saw it in a movie so it must be true. “River” is now accepted as a classic but so is the follow-up 45, the Spector produced, Holland-Dozier-Holland written, “A Love Like Yours (Don’t come Knocking Everyday)”, it’s just that this cymbals-in an-echo-chamber gem complicates the story.
There are 4 other tracks from the Spector/Turner partnership. The commercial failure of “River” discouraged both Phil & Ike from completing the planned LP. One of those 4 is this Wrecking Crew symphonic take on “Every Day I Have To Cry”. I’m not personally convinced of the merits of Arthur Alexander on steroids. I love Spector’s productions & understand how he felt the song was strong enough to bear a little extra weight. It is the clarity & restraint of his songs which is so effective, the strength is implied …mmm, attractive. So, the 2 biggest groups in the world, Dusty…Bob Dylan covered Arthur’s debut single later.
Heavy friends but he was driving a bus in the 1980s. There were a couple of later records & the collected work of Arthur Alexander is a deep soul delight. His legacy though is more than a nice set of hits. His natural ability with melody & emotion pointed the way forward for the Beatles, the Stones & others who preferred their pop music to include some integrity. He really was that good.