Bruce Springsteen’s Soul Foundation: ‘Only the Strong Survive’ Song-By-Song Album Review from Rock Cellar Magazine
Below, enjoy a detailed reaction piece commenting on Only the Strong Survive, the new covers album of soul classics released by Bruce Springsteen on Nov. 11 — an intriguing and wildly different addition to his versatile catalog of timeless music.
Before breaking down the new Bruce Springsteen release, Only The Strong Survive, his foray into Soul/R&B covers, let me preface everything by saying that I have always been foremost a Pop-Rock guy. Give me Raspberries, Cheap Trick, or even ABBA, with their glorious hooks-laden songs, and I’m a happy man. But my music tastes run deep. The R&B/Soul/Motown/Stax songs, artists, and musicians of the 1960s and 1970s’ spoke deeply to my soul. They affected my DNA like none other. And yes, I’m a Springsteen fan.
Soul Music Runs Through the Swamps of Jersey
For the most part, Bruce Springsteen’s reputation has been made through his live performances and throat-shredding songs like “Badlands,” “Prove It All Night” and “Born In the USA.” He’s made his mark speaking to the ‘everyday’ Mary, Wendy, and Rosalita. To most casual observers, Springsteen covering R&B/Soul songs would seem odd, evidenced by some consternation among fans and critics.
The fact is, the genre has been a major influence on his style. Going back to his bar band days, it was not uncommon for him to pull a Sam & Dave, Eddie Floyd, or Wilson Pickett tune out of his pocket. It’s even surfaced in his own writing in songs such as “Club Soul City” and “Back In My Arms Again.” He’s spoken many times about the influence Sam & Dave have had on him as a front man. He also said, “If you were in a Jersey Shore band and wanted to survive, you HAD to play Soul music.”
“The greatest vocal music is gospel music and soul music.” – Bruce Springsteen
Soothing the Restless Soul
After finishing his last release, Letter To You, in 2020 with the E Street Band, Springsteen said that he knew he was going to take a break from songwriting, but he also wanted to keep recording. Lockdown was in process. Along with his producer Ron Aniello, he sifted through songs by other artists that he’d always loved: “I dug into my collection of my favorite singers like Jerry Butler, William Bell, David Ruffin, basically music that fit my voice.” This hunt also led to the discovery of an obscure Motown song, and eventually, the idea of an album of Soul covers. Over 50 songs were recorded, including the 15 for Only The Strong Survive. Of note, the album is subtly titled ‘Covers Vol 1.’ In a recent interview, he mentioned that Vol 2 is lying in wait.
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“I wanted to do some obscure things, but also find a balance, so people would hear what they knew. This was a chance to sing these songs myself and to re-introduce this music to the current cultural environment.”
“I wasn’t interested in reinventing the wheel. I wanted to improve the records sonically but get as close to the original recordings as possible.”– Bruce Springsteen
Breaking It Down: Song-By-Song
Jerry Butler. Tyrone Davis. William Bell. Frank Wilson. These are not names that roll off the tongue for the casual R&B/Soul music fan, let alone the Springsteen fan. Yet with this album, Springsteen has chosen to give voice to some less familiar artists.
The opening cut and title track a #4 Billboard Pop hit for Jerry Butler in 1968 (#1 R&B), was written by Butler along with ace songwriters/producers Kenny Gamble and Leon Huff. Butler’s original was followed closely in 1969 by Elvis‘ powerful version. True to his comment about not reinventing the wheel, Springsteen stays between the lines, somewhere between Butler and Elvis. For those familiar with the song and those hearing it for the first time, this is a table and mood setter. It’s also an apt choice for the album title, given how many of the songs in this collection have survived the years.
Only the strong survive,
You gotta be a man, You gotta take a stand,
So I’m telling you right now:
Only the strong survive.
Next up is “Soul Days.” Even the hardened R&B fan is not likely to know this song. It was first recorded by Dobie Gray in 2001, making it one of the newer songs here. Springsteen offers a vocal restraint that eases things along at a gentle pace. Having an ace in the hole like Sam Moore to help with background vocals, gives the song extra validation. The lyrics are also a perfect fit, encapsulating what Springsteen has in mind for this collection: “Otis on the jukebox, you know I like it like that…my first love was always these songs. Talking about those sweet soul days.”
The third cut is a cover of the Commodores’ wonderful Top 5 1985 hit, “Nightshift.”
Written by Dennis Lambert, Francine Golde, and Commodores band member Walter Orange, it was a heartfelt tribute to Marvin Gaye and Jackie Wilson, both of whom had recently passed. Springsteen says, “The Commodores’ version used to bring me to tears.” While he might have never met Gaye or Wilson, you can tell that by his delivery, Springsteen connects with the lyrics and feels the emotion. I loved the original, and Springsteen’s faithful cover elicited a similar feeling of warmth.
While the song “Soul Days” might be rare, “Do I Love You (Indeed I Do)” by Frank Wilson is more obscure. It was first pressed for release by Motown in 1965. Due to a variety of reasons, including Wilson making the decision that he would rather concentrate on producing, the song disappeared from Motown’s catalog. Over the years it gained legendary status among collectors with Berry Gordy apparently said to own one of the 2-5 copies that have survived. It was revived in the late 1970s in the UK, through popularity in the Northern Soul nightclubs. Springsteen said that he became aware of it through a Northern Soul CD compilation and it was the determining factor in his decision to record an album of Soul songs. Whether it’s Springsteen’s Gospel-driven version or the Wilson original, you have to wonder why a song this good was set aside. Fifty + years later, it’s nice to see it receiving proper due and being recognized as a certified Motown classic. A live version by the E Street Band in 2023 is just about assured.
“Here I am on bended knees
I lay my heart down at your feet
Do I love you?
All you have to do is ask
I’ll give until there’s nothing left
Do I love you?“
Next in the cue is “The Sun Ain’t Gonna Shine Anymore.“ Written by Bob Crewe and Bob Gaudio, who were house writers for the Four Seasons. Originally released as a single credited to Frankie Valli as a solo artist in 1965, it became better known via the Walker Brothers’ hit cover in 1966, which reached #13 on the Billboard Pop charts. Springsteen: “The Scott Walker version is the definitive version. It’s just a great, great song that I was proud to cover.” While this might fall more under the category of “blue-eyed Soul,” it doesn’t take away from the fact that it is a wonderful song. Springsteen and Aniello have layered this version with the thickness of Phil Spector’s ‘wall of sound.’ Even with that sheen, the song remains, a wall-shaker and one that was tailor-made for Springsteen’s voice.
“Emptiness is the place you’re in
There’s nothing to lose but no more to win
The sun ain’t gonna shine anymore.”
Tyrone Davis‘ “Turn Back the Hands Of Time,” a top 5 Billboard Pop hit in 1970 written by Jack Daniels and Bonnie Thompson, gets the next nod. While Davis’ name might not be familiar, his song 50 years on is undeniably a classic slice of Soul. The lyrics also seem like something taken right out of Springsteen’s notebook:
“And blessings are missed
In the wink of an eye
Why oh why oh why
Should one have to go on suffering”
With the plethora of R&B songs to choose from, a couple in this collection are head-scratchers for me. “Turn Back the Hands Of Time“ is a brilliant song, but not one that I could have predicted. Springsteen offered this comment which provides some insight into his decision: “This was North Carolina beach music; something that was on all the time in Jersey.” While there is nothing to get overly excited about, Springsteen does offer a tough reflective voice with passion and intensity that increases as the song moves along.
Another fairly recent song, albeit still 40+ years old, is the Four Tops hit “When She Was My Girl.“ My first thought was, “How the heck is Bruce going to sing like Levis Stubbs?” Springsteen has readily admitted, “I’m lucky that I can sing in the same range as Levis Stubbs and David Ruffin. Not as good as them, but in the same range.” There is strength in his delivery, especially in the bridge sections, but nothing earth-shaking happens here. I’m sure there were other choices for the album, but this is probably a Springsteen fave.
“When she was my girl,
There was laughter and loving in my world.”
With 15 Soul/R&B songs on the album, Springsteen selected multiple songs by Jerry Butler and the Four Tops. The second Butler offering, “Hey, Western Union Man,” was written by Butler, Gamble, and Huff, and was a top 20 Billboard Pop hit in 1968. There’s never been a time when Springsteen has been accused of a lack of passion in his vocal delivery. That strength is on display here. Butler sang it with a yearning. Springsteen follows a similar path. Will he make you forget the original? Probably not.
“I want you to tell her that I’m all alone
I tried to call her on the phone
Tell her I’m in misery and she’s avoiding me.”
On a personal note, three of my favorite Motown songs are, the Temptations‘ “I Wish It Would Rain,” Jimmy Ruffin‘s “What Becomes Of The Brokenhearted,” and the Supremes‘ “Someday We’ll Be Together.” More on the last two songs later.
David Ruffin of the Temptations ranks among the greatest vocalists in popular music. His life struggles came out in every song. With an aching voice, he made songs like “Ain’t Too Proud To Beg,“ and “My Girl” majestic, and helped define the Motown sound. Similar to Levi Stubbs, if you’re brave enough to cover a Ruffin song, you could only dream of capturing his emotional intensity.
“Day in day out, my tear-stained face
Pressed against the window pane
My eyes search the skies, desperately for rain.”
“I Wish It Would Rain“ was written by Barrett Strong, Norman Whitfield, and Rodger Penzabene. It hit the Top 5 of the Billboard Pop charts in 1967 and to this day, remains one of the greatest songs in Motown’s unrivaled catalog. It’s not an easy song to sing, but Springsteen offers one of his strongest vocals on the album. The arrangement also stays true to the brilliance of the original. As Springsteen says, “You’re not going to get better lyrics than ‘I Wish It Would Rain.’ It’s a masterpiece. I tried to find the hurt and the center of human emotion in it.” And he did. Whoever came up with “I’m a man and I’ve got my pride, till it rains I’m going to stay inside” must be applauded.
Remember on our first date?
You kissed me and you walked away”
“Don’t Play That Song“ was first recorded by Ben E King in 1962. It was written by Ahmet Ertegun and King’s wife, Betty Nelson. King’s version reached number #11 on the Billboard Pop charts but has long been overshadowed by Aretha Franklin‘s transcendent cover. Released as a single in 1970, her version hit #1 on the R&B charts while also making it to #11 on the Pop charts. Springsteen takes a different route. While he keeps a gospel feel, thanks to the backup singers, his version is more playful compared to Aretha’s which is full of anguish. In Springsteen’s words, “This is our New Jersey version..kinda like the stuff we used to play on Sunday nights at the Stone Pony with Southside Johnny. The way we arranged it is a piece of Jersey Soul.”
The next two songs were both written by William Bell. “Any Other Way,” was neither a big chart hit for Bell in 1962 (Bell’s version didn’t crack the Top 100) nor for Chuck Jackson (#81) when he covered it in 1963. It’s a tune whose melody straddles the line between Soul and Pop and Springsteen does well with an uplifting performance, keying in on that strong melody. Kudos to Bell for coming up with this fine lyric:
“People have been talking, since we’ve been apart
When I pass I hear them whisper, there he goes with a broken heart.“
Springsteen’s goal to find a balance between the well-known and the obscure brings him to “I Forgot To Be Your Lover“ which probably falls under the ‘obscure’ banner. Co-written with Booker T Jones, it was a minor #45 Billboard Pop hit (#10 on the R&B) in 1968). It’s possible that this song came to Springsteen’s attention when delving into Bell’s catalog. Or maybe it was a New Jersey hit. Once again Sam Moore’s backup vocals help to amplify the passion in the lyrics. This is right in Springsteen’s vocal wheelhouse, and together he and Moore push and pull to create tension.
“Have I taken the time to share with you
All the burden tha. love will fare?
And have I done the little simple things to show you
Just how much I care?”
As mentioned earlier, when you tackle a song by Levi Stubbs, you set yourself up for a formidable challenge. “7 Rooms Of Gloom,” the second of two songs here by the Four Tops, was written by Lamont Dozier, Brian Holland, and Eddie Holland. While it fits Springsteen’s vocal style more than “When She Was My Girl,” he pushes himself to parallel Stubbs’ passion and capture the emotion pouring out of the lyrics:
“You took the dream I had for us and turned that dream to dust
I watch a phone that never rings, I watch a door that never rings
I need you back into my life and turn this darkness into light
I’m all alone in this house, turn this house into a home.”
The Four Tops had a long string of memorable hits. “7 Rooms” reached #14 hit on the Billboard Pop charts in 1967, but it doesn’t necessarily get the same love as some of their other songs. It remains a tremendous showcase for any vocalist and a testament to the incredible songwriting team of Holland-Dozier-Holland.
“What Becomes Of The Brokenhearted“ by Jimmy Ruffin was written by James Dean, Paul Riser, and William Weatherspoon. It is among the greatest R&B/Soul songs. Ruffin’s incredible vocals helped propel it to #6 Billboard Pop charts in 1966. The song has been covered many times. My personal favourite is Joan Osborne‘s version from the “Standing In The Shadows Of Motown“ documentary. Just like “The Sun Ain’t Gonna Shine Anymore,” this is a great fit vocally for Springsteen. And he delivers in fine form.
“I walk in shadows searching for light
Cold and alone, no comfort in sight.
Hoping and praying for someone to care.”
The final track is Diana Ross & the Supremes‘ last #1 song, “Someday We’ll Be Together“ written by Jackey Beavers, Johnny Bristol, and Harvey Fuqua released in 1969. The original actually goes back to 1961 when Bristol and Beavers recorded it together as “Johnny & Jackey.“ Their version didn’t reach many ears and is different in arrangement and melody from the Supremes’ seminal recording. Even though it was credited to “Diana Ross and the Supremes,” Mary Wilson and Cindy Birdsong never sang the song. Background vocals were handled by Merry Clayton, Julia Waters, and Maxine Waters.
“My love is yours, baby
Oh, right from the start
You, you, you possess my soul now, honey
And I know, I know you own my heart”
While Springsteen and Aniello (and the fine string section arranged by Rob Mathes) do great work in capturing the mood, one of the aspects that made the original so appealing was Bristol’s off-the-cuff vocals. It might be a minor thing to most listeners, but it stands out for anyone well-versed in the Supremes. While Springsteen’s version is comparable to the other covers of the song, I found that I had to block off all thoughts of Bristol. Maybe it’s just hard to hear anyone other than Ross singing this song. Especially a male singer.
When The Music Satisfies The Soul
Only Strong Survive for the most part, is a two-man effort: Springsteen and Aniello, with huge assistance from Mathes in the string arrangements. The E Street Horns (including long-time side members Eddie Manion and Curtis Ramm) and backup vocalists (featuring Soozie Tyrell, Lisa Lowell, Curtis King, and Michelle Moore) are prominent throughout the album, but it is Aniello’s fingerprints that are everywhere. In addition to production, he covers duties on guitar, bass, keys, and drums. He laid the basic tracks before handing things over to Springsteen to add vocals. Aniello’s work is commendable. Along with engineer Rob Lebret, they have produced a sound that is rich, accomplishing Springsteen’s goal of sonic improvement over the originals. There is a modern albeit slick feel to everything, so it is easy to understand complaints that there is a lack of ‘grit and ‘heart.’
Springsteen was a creature of Top 40 music, influenced maybe more by Soul/R&B than any other genre: “At the school dances, you had the rockers at one end, the greaser and the mods in another area. They each got up to dance when one of their songs played. But when Motown played, everyone hit the dance floor, It was the magic of that music.”
There’s a belief that the music would have had more ‘soul‘ if Springsteen had used a band, even the E Street Band, instead of just one musician, Aniello. Some have called it a misstep, and a vanity project, but he’s earned the right to go this route. Just like he did when he followed his musical muse with “We Shall Overcome: The Seeger Sessions.” While he’s certainly not the first Rock/Pop artist to take a stab at covering Soul music (Michael McDonald, Rod Stewart, and Phil Collins are some others that have walked the same ground, he might be the most surprising and interesting.
‘Only The Strong Survive‘ just might have a greater appeal to the non-Springsteen fan. They might be interested in the songs more than the artist’s interpretations. My feeling is that this is music that needs to germinate before it can satisfy the soul. One-time-through won’t cut it. These songs were important to Springsteen, and for the most part, this comes through in his performance. Furthermore, there has to be an appreciation for diving into catalogs that have been forgotten and for recognizing artists overdue for attention. That counts in my book. There’s no denying that this is classic music, and it’s good to have it back in the spotlight.
“These songs, in my opinion, are just as much a part of the American Songbook as Cole Porter and Gershwin’s”
“All of this music worked because it served many functions. It had a way of entering the time period that it was created in, addressing the times. All I’m trying to say on this record is, ‘I’m having fun. I hope you’re having fun too.” – Bruce Springsteen