Last month saw the re-release of Arthur Alexander's comeback album Lonely Just Like Me: The Final Chapter by HackTone Records. Originally issued in 1993, the album marked Alexander's return to music after a 15 year absence. He had helped pioneer southern R&B; during the 1960s and his songs were covered by The Beatles, The Rolling Stones, and other rock pioneers of that time. Along with great fame came alcohol and drug abuse as well as an inability to find a good manager. He saw little reward for his work and he dropped out of music in 1977 and apparently sustained himself by being a bus driver. In 1992 some old friends convinced Alexander to give music another go and the result was Lonely Like Me which was released on Elecktra. Tragically, Alexander died only three months after the album's release and in the midst of a triumphant comeback. This final chapter collects the original album and adds demos and live performances from the time.
Alexander had a fondness for not only R&B; but also country and so the twang and the pedal steel that emerges halfway through the opening "If It's Really Got to Be This Way" might make a listener think they've wandered into Charlie Pride territory. While country and the blues arguably emerged from the same mother lode and they are not mutually exclusive, the song sounds more like the glossy power country of Garth Brooks and his ilk of the early 90s than a gritty derivation of folk. Most of the rest of the album suffers a similar fate with producer Ben Vaughn's emphasis on polish instead of heartfelt performance. With its home organ drum box, "Lonely Just Like Me" sounds like something from a Holiday Inn motel bar instead of genuine heartbreak. It's nearly impossible to discern the genius that inspired the first British Invasion here.
There is the occasional moment of relief, though. The sparse piano of "All the Time" makes for a rare moment of intimacy and the bluesy "Sally Sue Brown" is a bit ragged in the best way. Unfortunately, these moments are fleeting and the bulk of Lonely Just Like Me is just too safe without any jagged edges.
The real music starts 13 songs in with the bonus material on this release. First we are treated to Alexander's appearance on NPR's Fresh Air program. Here he tackles three cuts from Lonely Just Like Me and his classic "You Better Move On", which was covered by The Rolling Stones. The newer material benefits exponentially from the stripped down instrumentation. Alexander's limited range is at home against a backdrop devoid of bells and whistles. Just compare live "Genie in the Jug" to its studio counterpart. They are poles apart and, when he sings "She ain't never comin' back to me", it actually sounds like he means it instead of the line coming across as a pleasant approximation of feeling suitable for folks who buy music at WalMart.
You can also compare these two versions of "Genie in the Jug" to a third which is a demo recorded in a hotel room by producer Vaughn. It's just Alexander and an acoustic guitar. This performance really cuts to the bone and exposes his blues roots. It's simple, plaintive, and has more depth of emotion than the entirety of Lonely Just Like Me. The album ends with a live rendition of "Anna" recorded at the Bottom Line in 1991. This show got Alexander his record deal with Elektra. It's just guitar and organ along with voice. It's a shame that the potential heard in this sparse arrangement was lost in the transition to major label debut.
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