Bruce Springsteen - Only the Strong Survive (Columbia)

Bruce Springsteen’s soul covers album retains the shape of the originals while also providing insight into his own storied body of work

With his twenty-first studio album, Bruce Springsteen takes another late career left turn that nevertheless makes all the sense in the world. Only the Strong Survive is a collection of soul covers that sits meaningfully alongside his 2019 Western Stars set, where he adapted his persona to something approaching Glen Campbell, albeit through original songs. Here Springsteen generally follows the templates of the originals and without fellow disciple of soul Little Steven or the other members of E Street on board, the process of transformation is relatively light. This isn’t a case of Johnny Cash working with Rick Rubin to transmute songs from one songbook to another. That being said, the front and centre positioning of Springsteen’s still powerhouse voice – perfectly appropriate given the material – is enough to make these cuts distinctly Boss-like. More curiously perhaps, the album also provides repeated glimpses into Springsteen’s own storied body of work.

Bruce’s comfort with the material is highlighted early on with “Soul Days”. As he sings about putting on his favourite t-shirt and rolling up the sleeves like James Dean, he lets out the easiest of chuckles. It’s one of those welcoming Springsteen gestures where he pulls you into his world and you’re helpless to resist his charms. These might not be his words, but he’s still talking directly to us. 1980s Commodores number “Nightshift” was already looking back (to soul legends Marvin Gaye and Jackie Wilson) while moving forwards and here it sits astride the timeline communicating with ghosts from past, present and future. The track might well be the fulcrum of the project and indeed Springsteen, producer Ron Aniello and engineer Rob Lebret dubbed themselves The Night Shift in the studio during the making of the record. I’ve noted elsewhere that the synthesiser in “Wildfires” by current leftfield soul outfit SAULT echoes that of “Streets of Philadelphia” and there’s perhaps a hint of it again here. Influences go both ways of course.

“The Sun Ain’t Gonna Shine Anymore” was popularised by The Walker Brothers and Springsteen specifically takes on their version, beautifully channelling Scott Walker in the process. The horns feel heightened, drawing out their Spanish inflections and making it sound like Scott 4 as filtered through the aesthetics of Western Stars. Imagine the morning after the end of the world, with Bruce there to make you feel just fine about it all. Two songs then distinctly echo Springsteen’s own language of storytelling. “I Wish It Would Rain” (The Temptations) delivers an earlier version of the “let it rain” refrain of “Mary’s Place” from The Rising and “What Becomes of the Brokenhearted” (Jimmy Ruffin) similarly reflects “The Brokenhearted” from the Darkness on the Edge of Town sessions (released as part of The Promise). These feel like quotations being highlighted, literary road signs for the constant listener to pick up on. Consider them phrases, meanings and fragments of the American dream scattered along the highways of twentieth century American music. Impervious to the anxiety of influence, Bruce Springsteen continues to map out his remarkable journey with Only the Strong Survive.