Review Summary: Bruce Springsteen returns with an album that evokes the passion, beauty, and romance of classic soul.
Bruce Springsteen always wanted to make a vocal album, and his desire materialized with the release of "Only The Strong Survive," a collection of covers of the soul songs that made the soundtrack of his youth. This album could have been Springsteen's worst effort due to an apparent lack of originality. Instead, the record is the fruit of his passion and I must recognize that this fruit of passion amazed me. Although I initially thought that the album will bore me, I was overwhelmed by the thrill of the interpretation and by the heartfelt arrangements which made lively allusions to the singer’s youth.
Even if "Only The Strong Survive" isn’t the album we all expected (personally, I wanted a follow-up to the emotionally charged "Letter To You"), the record suceeds to stay with you long after the first listen. Maybe it’s better than "We Shall Overcome" (the other cover album), because it remains strongly connected with the music which Springsteen treasures the most: the sweet soul of the sixties, the music of the drive-ins, the music that reminds us of movies like "Diner" or "Stand By Me." What’s sure about the album is that it isn’t the flop that I thought it would be and evades the status of an old-fashioned effort, standing among this year’s gems.
Essentially, "Only the Strong Survive" is a manifest of love and nothing more. Some critics denounced the artificiality of the vocal interpretation, evidencing the impossibility of recreating the marvel of the originals. My opinion begs to differ. I really think that this artificiality comes from pure passion. I know that Bruce’s voice may be a little dissonant and doesn’t have the resonance of Ben E. King or Jerry Butler, but he aims to give the most appropriate homage to these singers, even if he risks getting some artificiality due to this effort. The artificiality is just a consequence of trying to touch the heights of the soul interpretation and doesn’t deserve to be condemned. Furthermore, the album is more than a cover collection; it is a great vehicle for a memorable reminiscence of youth and an attempt to reinterpret it from a wiser perspective. Even if the songs are upbeat, Springsteen’s voice has a wisdom and maturity that sheds new light on the old songs and highlights their polyvalence.
The album doesn't aim for perfection, instead searching for substance. This idea is evident from the beggining, represented by Jerry Butler's song "Only The Strong Survive”. If you want perfection, check out Elvis Presley’s version from "Elvis in Memphis." That is beautiful, well-crafted, and touching. Springsteen’s version isn’t perfect or magnificently crafted, but it certainly touches the listener’s heart and showcases perfectly the album’s retro spirit.
"Soul Days" sounds like it was made for Bruce Springsteen’s singing style. It’s even better than the original, because it bases on the retrospective character encountered in songs like "Glory Days" or "Jungleland." When he sings: "Like James Dean/ Thinking I was still nineteen," we get the album’s meaning, that of a recreation of the old days from a mature point of view, the singer remembering his youth with a beautiful and emotionally charged music.
This feeling of sheer emotion transpires from the Commodores' cover of "Nightshift," a bewitching rendition of the soul classic. It may be the album’s greatest moment, due to its sensible interpretation and powerful way of communicating with the listener. The voice has sadness, a strange optimism, and an interior tumult.
"Do I Love You (Indeed I Do)" combines the feeling of the sixties soul with the fire of Springsteen’s original style. It preserves the energy which crowned "Thunder Road" and overflows with a burst of excitement that feels like a return to the energy that was gone from "Letter to You”.
"The Sun Ain’t Gonna Shine Anymore" presents a beautiful rhythm and another passionate parade of verses and vocal inflexions, "Turn Back The Hands Of Time" expressing a bitter-sweet memory. "When She Was My Girl" is founded on a funk succession, presenting a change of register for the arrangements and adding diversity to the sweet atmosphere.
"Hey Western Union Man" may be my favorite in terms of interpretation and conception. Although it was written and made famous by Jerry Butler, this version shares the vitality of Al Kooper’s rendition. The refrain appears to have been taken directly from there, adding a new dimension to the art of adaptation.
"I Wish It Would Rain" blends the balladry with soul vocal ascensions and it's an incursion into a more sentimental side. Also, the song sounds original while keeping a significant approach to the Temptations’ version; this trait is one of the reasons why the record resists multiple listenings and keeps that passionate joy unspoiled.
"Don’t Play That Song" is a different take on the classic and succeeds in sounding heartbroken and full of regret, even if its musical climate distances from the original. "Any Other Way" and "I Forgot to Be a Lover" are adaptations of two famous William Bell songs. It was said that William Bell was one of the soul singers who had a decisive communicative force with the public. Springsteen has a great way of communicating with the public and, like Bell, has composed some of the most celebrated songs of the last century. This correlation between the two singers gives expressive force and makes both adaptations to work out splendidly in the record’s cursive flow.
"7 Rooms of Gloom" may disappoint you due to its lack of consistency, but it fits in the album’s texture and demonstrates the vocal capabilities once more. "What Becomes of the Brokenhearted" will be another successfully adapted song, presenting the catchy spell that accompanied the previous songs and preparing us for "Someday We’ll Be Together," a perfect finale which magnifies the choruses, the orchestral arrangement, and, above all, the emotional vocal tones.
Finally, "Only The Strong Survive" is a rewarding experience. Every song has a passionate charm that shows a deep respect for the originals and a expressive rhythm which gives them a new breath. For every Bruce Springsteen fan, the album is delightful and, for everybody else, it constitutes a pleasant homage to a golden age. With this marvelous record, we’re invited to discover a mature approach which unveils in a nuanced way the beauty of those times.
