Bruce Springsteen
Only The Strong Survive COLUMBIA
Cover me: Bruce cranks up his soul-man jukebox, with mixed results.
Springsteen has said he wanted to do an album where he “just sang”, and to do justice to the great American songbook of the 60s and 70s. The book he’s reading eulogises the soul classicism of Stax, Motown and Gamble-Huff, so this love letter to his youth stands in contrast to his only previous covers album, 2006’s Pete Seeger tribute. Within the big, serious-faced picture of Bruce’s significant career, it probably counts as a mere divertissement, a fun frolic. That said, it’s feasible its coffee-shop tastefulness could fluke humongous sales in the manner of, say, Rod Stewart’s karaoke sets.
Like most covers collections, it’s hitand-miss. Obviously Springsteen’s having a great time, and loves the songs. Black music matters. And his musicians, including the E Street Horns and guest vocalist Sam Moore, cut it. But does he bring anything new to these remarkable standards? Only his committed voice, which rises to the undeniable urgency of The Four Tops’ and Frank Wilson’s northern soul banger Yet sometimes his boom and gusto upset the delicate poise of a beauty like The Supremes’ which always transmitted its emotion with finely honed understatement and allowed Diana Ross’s quiet, quivering ad libs to hint, not holler, about the hurt. Tackling an Aretha Franklin hit also has risks, and on he wisely avoids competing, but ends up treading water. replicates Jimmy Ruffin’s original, conceding only a slight, respectful
