A3: Arthur Alexander: In The Middle Of It All
‘The mass of men lead lives of quiet desperation’.
(Henry David Thoreau)
‘Now I ache, with heartbreak and pain and the hurt that I just can’t explain’
Imagine you are the manager of a blue collar bar in a tough small town. You work long hours making sure everybody has a good time and that nobody’s good time winds up leaving someone else on their way to hospital.
You know who not to serve, who to share a joke with, who to warn off and who to throw out for their own good. You keep a weighted pool cue just out of sight from the floor within your reach – just in case.
You stock the jukebox and make sure that there’s old and new favourites: something that counts as a home town anthem; several that are fast and loud for the boys from the base; plenty to dance and sing along to for the girls with the faraway looks in their eyes; and, some for everyone to openly or quietly cry over.
The night, though long, passes quickly for you and you don’t realise how tired you are until the door’s been shut on the last, loud, lonely drunk.
You look around and sigh thinking of the work needed before the whole cycle starts again after you wake up in a few hours.
Time to pour yourself a more than generous measure of premium whiskey and play one last song.
Only one will do. Arthur Alexander, the patron saint of stoical fortitude. I can’t go on, I can’t go on – I’ll go on.
‘In The Middle Of It All’ tells the story of a broken man surveying, with an eerie calm that almost amounts to existential detachment, the shattered ruins of his life : ‘ It looks like my life is about to fall’.
Like all the great Arthur Alexander songs – ‘You Better Move On’, ‘Anna’ and ‘Dream Girl’ – it’s the song of a grown up man; a man who has experienced joy and pain, the ecstasy and despair brought on by love and it’s loss.
Though Arthur’s songs are suffused with intense feeling they are in no sense hysterical – the besetting sin of so much pop music.
The record opens with a beautiful elegaic guitar figure that seems to glisten and shimmer in the background throughout the song. It then flows on at a stately, magisterial ballad mid tempo with the swooning melody and instrumental backing acting as a cushioned support for Arthur Alexander’s deeply affecting and entrancing southern country soul voice.
Arthur’s vocal charm owes nothing to stylistic tricks rather it is founded on the ageless attraction of hearing the sound of a man’s open, if broken heart.
A sound that we can all recognise when it is authentic and true. Arthur Alexander’s proud and wounded vocals once heard will echo on in your own heart.
While listening to the song it seems as if you have pulled up your bar stool next to a pleasant looking though downcast guy who with no fanfare or needy plea for sympathy tells you, if you want to hear, why it is that night after night you can find him resident at this bar and why, night after night, no matter how much he drinks he does not get drunk.
During the course of, ‘In The Middle of It All’ the drummer seems to beat out a steady purgatorial pilgrim’s tempo while Arthur’s exquisite vocal lays out the extent of his lonely and desolate emotional landscape.
His love for his girl which was, ‘Really, really real’ remains true even though the house and home their love had built together is now a reproachful ruin he occupies alone.
The place where they had been so happy, as far as he can recall, now has the rain steadily and dreadfully falling all around it.
What he once thought were the certainties of love and loyalty have vanished like some cruel mirage as his world, ‘Just came down one day’.
The song seems to summon up this heart and soul assaulting rain as the strings swell and the chorus of backing singers join Arthur in his examination of regret and loss.
You can feel the southern heat and humidity of Alabama where the song was recorded in every breath of Arthur’s vocal and in every beat of the music.
The wonderful piano playing provides arpeggios of insistent pain and a sense that, in this vale of tears, no shield of love or faith can ever be proof against the truth that a love which seemed so sure can, in an instant, crumble into mere dust.
Arthur Alexander’s singing throughout this song is filled with an aching tenderness as he caresses each word into bruised breath and life. It is as if by singing with such scrupulous care he can somehow make whole his shattered heart or at least prevent it’s final destruction.
His singing remains controlled and conversational even as it grows in the depth of pain it examines.
Perhaps this is because the song, for this singer, even in such a situation is not a resentful scream but rather a tragic lullaby that tries despite all his trials to shore up a ruined life.
There is no escape from the realisation that all of us must sooner or later confront the inevitability of death, loss and failure. For as the roman poet Virgil and Arthur Alexander knew living a clear eyed life involves coming to terms with the terrible truth that there are tears in things, ‘Sunt lacrimae rerum’.
If you want someone to hold your hand when this truth becomes real in your own life it’s hard to think of a better soul companion than Arthur Alexander.
‘In The Middle of It All’ is one of those rare songs that seems to live on in the silence after it has finished and after the record arm has returned to its cradle.
Sometimes for me that silence feels like the silence between two sobs.
Forty years ago David Bowie in ‘Young Americans’ uttered an anguished plea: ‘Ain’t there one damn song that can make me break down and cry’.
Well David, wherever you are tonight, here it is.
It has always worked for me.
Notes, credits and further listening:
It seems that Arthur Alexander recorded ‘In The Middle Of It All’ four times in his life. The version discussed above is the second 1962 version.
Arthur Alexander recorded some 120 songs during his recording career for a variety of labels. His initial career featuring many of the songs he will always be remembered for began at Dot Records and includes some of the premier recording at Rick Hall’s FAME studio in Muscle Shoals.
From 1965 he recorded for Sound Stage 7, a Monument subsidiary and in 1971 he recorded a lone album for Warner Brothers. In 1975, out of the blue, he recorded the marvellously fluid and typically affecting single, ‘Everyday I Have To Cry’ which incredibly made the US top 50.
Finally and most poignantly of all he recorded the lovely low key, Lonely Just Like Me’ album issued by Elektra in 1993 some three months prior to his death.
This was later reissued by Hacktone Records with the addition of live performances and also with some hotel room demos which have some of the 3am in the morning, death on the horizon mood, shared with the New York Demos recorded by Buddy Holly prior to his untimely demise.
The ever alert Ace Records have issued two essential compilations covering the Dot and Monument Years. The other albums have also been reissued.
A welcome tribute collection, ‘Adios Amigo’ came out under the Razor and Tie imprint and features Nick Lowe’s tender cover of, ‘In The Middle Of It All’ (indeed Lowe’s career in this millennium might be seen as the largely successful attempt to pare his songwriting and recording style to their essentials in emulation of Arthur Alexander).
A relatively small investment will furnish you with the heartbreakingly magnificent catalogue of one of the greatest singers and songwriters in any genre and you will surely find that the songs and performances will become treasured fixtures in your life.
They were certainly a fixture in the life of John Lennon who had clearly listened closely to Arthur Alexander as evidenced in The Beatles cover of, ‘Anna’. The way that the famously acerbic Lennon could bring a wounded tenderness and discretion to ballad performances also betrays Artur’s influence.
John Lennon kept a jukebox filled with his favourite records to fortify him against the madness of the world that had grown up around him: prominent on his own immortal selection were records by Arthur Alexander.
Arthur Alexander was born in Sheffield Alabama in May 1940 and died in June 1993 in Nashville. He was only 53 years old.
Despite recording several classic songs and having some of these covered by The Beatles (Anna) and The Rolling Stones (You Better Move On) he never really made much money from his songs.
Sadly, he was also prey to alcohol and mental health problems. Disillusioned and depressed he was for many years largely estranged from the music business and spent long spells working as a janitor and school bus driver.
There is a heartfelt biography by Richard Younger, ‘Get A Shot Of Rhythm And Blues: The Arthur Alexander Story’ published by the University of Alabama.
Arthur Alexander might be said to be the epitome of the, ‘Country Soul’ style of music. The movement as a whole is warmly evoked and intelligently discussed in Barney Hoskyn’s book, ‘Say It One Time For The Broken Hearted: Country Soul In The American South’ (Fontana/Bloomsbury).
Musicians growing up in a deeply segregated society were nevertheless heir to musical traditions that, principally through the medium of radio, effortlessly crossed the racial divide. Mucians and singers recognised great songs whether they were played on country or ‘Race’ music stations.
The constellation of wonderful musicians and songwriters who worked at Stax, FAME and Muscle Shoals studios were artistic freedom riders shattering barriers within the sanctuary of the recording studio even if they had to step carefully once they emerged into the heavy heat of the Southern mainstreet.
Booker T and The MG’s, Dan Penn, Chips Moman, Spooner Oldham and their brothers and sisters in rhythm made records that were recognisably southern and spoke eloquently of the lives shared by black and white alike.
There is a website ‘The annotated Arthur Alexander’ which is a very valuable resource for anyone seriously interested in delving further into Arthur’s recording career.