What does it sound like?:
Doing a covers album has always been something of a rite of passage in the rock world. There was a craze for doing it in the 70s, The Band, Lennon, Dylan (kind of), Ferry etc. More recently we have had covers albums again from Dylan (5 of them), Rod Stewart (seems like dozens), McCartney, Lucinda Williams, Neil Young and indeed Bruce Springsteen himself (The Seeger Sessions in 2006). Now he has done another album of “soul covers”, it is referenced as vol 1 and apparently dozens of other songs were recorded for potential future volumes.
The timing of the release is curious, coming on the eve of a huge E Street Band tour (first since 2016-17) and none of the band (except Soozie Tyrell on backing vocals) are featured on the new album. It seems quite possible that the now 73 year old is going through an extended period of writer’s block. the lacklustre High Hopes album in 2014 effectively featured 5 covers, 3 from other writers, plus 2 of his own songs, then came the brilliant all new Western Stars release in 2019 but most of that was apparently written and recorded about a decade earlier. Letter to You a year later contained the only newly written songs featured on an album since the American Beauty EP in 2014, but was itself padded out with 6 older songs including some from the early 70s that had never been previously released.
Only the Strong Survive is a “lockdown album” recorded at home and mainly featuring producer Ron Aniello on all instruments, plus some orchesstral/horns/backing vocals overdubs that were recorded afterwards. Old collaborator Sam Moore features on 2 songs. Springsteen does not play on the album. Although this is only his second pure covers albums he has reinterpreted hundreds of other writer’s songs live throughout his career. Go back to 1975 as an example he played around 10 covers on the 2nd night at Hammersmith Odeon. While most of the covers featured in his career have been from the rock n roll era he has strayed into soul music on occasion, Edwin Starr’s War was released as a (live) single in the mid 80s, he has also covered Jackie Wilson’s Higher and Higher and a number of others. Some of his own songs clearly have a heavy soul influence, 10th Avenue Freezeout, The Fever, Man’s Job to name but 3. There have also been songs written for the soul inspired Southside Johnny and the Asbury Jukes The live E Street Band experience also often has the feel of seeing a big soul band on stage and it is clear that this genre of music has had a big influence on his career. So not such a big surprise that he has gone down this route rather than a perhaps more obvious choice of covering some of his 50s or 60s heroes or maybe a country or (another) folk covers album.
So is the album any good? Well, yes and no. On the positive side he sings wonderfully throughout, he clearly doesn’t have the chops of a Marvin Gaye or a Sam Cooke but he sings with soul and it is clear that many of these songs mean a lot to him. On the other side the arrangements of the one man band are a little tame and generic and somewhat less inspiring, and the backing vocals are at times also a little intrusive. The song selection is interesting, some very well known songs, plus a few that, to this reviewer (not a soul expert), are more obscure. If there is a theme then it seems to be of loss and heartbreak related to relationships, perhaps a future volume will feature the positive side of being in love?
So we get “The Sun Ain’t Gonna Shine Anymore” (Franke Valli/Walker Brothers), “What Becomes of the Broken Hearted” (Jimmy Ruffin), “Someday We’ll Be Together” (Supremes), Northern soul stomper “Do I Love You” (Frank Wilson), plus The Commodore’s post Lionel Richie 80s hit “Nightshift”, but also songs new to me like “Hey Western Man” (Jerry Butler) and “7 Rooms of Gloom” (Four Tops) amongst the 15 tracks.
Main highlights for me were a widescreen, passionate “Sun Ain’t Gonna Shine”, a breezy “Soul Days” an exuberant “Do I Love You” and “Don’t Play That Song” which he possibly could have done with the E St Band any time over the last 50 years and may well give it a go over the next few years. “Hey Western Man” is also lots of fun and a bit of an ear worm.
An album that will likely not feature in many best ever lists of his, but it is an enjoyable listen and one to potentially soundtrack your seasonal parties over the next couple of months. He doesn’t owe us any more great albums (I still have hope for at least one more though) and if this is the way he wants to progress through his 70s on record then I guess that’s ok too.
What does it all *mean*?
It means less than most of his albums, but good to hear him on decent vocal form at his advanced age
Goes well with…
The Big Wheels of Motown
Release Date:
Today
Might suit people who like…
Bruce Springsteen, soul music
Tracklisting:
1. “Only the Strong Survive”
2. “Soul Days” (featuring Sam Moore)
3. “Nightshift”
4 “Do I Love You (Indeed I Do)”
5. “The Sun Ain’t Gonna Shine Anymore”
6. “Turn Back the Hands of Time”
7. “When She Was My Girl”
8. “Hey, Western Union Man”
9. “I Wish It Would Rain”
10. “Don’t Play That Song”
11. “Any Other Way”
12. “I Forgot to Be Your Lover” (featuring Sam Moore)
13. “7 Rooms of Gloom”
14. “What Becomes of the Brokenhearted”
15. “Someday We’ll Be Together”
Thanks for this post. The writer’s block claim is interesting and I think in some ways unlikely though it is dependent on what you call ‘block.’ I felt Western Stars was his most interesting and moving album in a long time and Letter to You felt like High Hopes – a slightly unnecessary addition to his catalogue. I enjoy that album but never feel called to it.
It might be that in lockdown he had no desire to do serious work – I expect another release of ‘new work’ within 12 months – that is how he rolls these days I’d say. From time to time, he seems to like to record a song to bring awareness to it though why he would bother with Don’t Play That Song is anyone’s guess. Love that he chose Nightshift.
Fine review @Dai.
Found myself nodding re your comment on writers block , then agreeing with EGBDF!
Didn’t realise it’s a “ manufactured “ thing. Expected him to be vibing off some crack soul sessioneers.
Will give it a full burst tonight. Not much love for Nightshift on the blog but I am rather fond of it.
A theme of “loss and heartbreak related to relationships” is the very definition of Soul music. If you are looking for the positive side of love, you need to go to Pop. Even Disco has upbeat music but heartbroken lyrics.
Great review.
Great review @dai – you should do more of them.
It’s an enjoyable listen, and I agree that Bruce is in fine voice. It’s a probable purchase for me in a somewhat barren year of new material, though the Dodgers appear to be out of stock of silver bird scarers already. As you say, it’s not the best thing Bruce has ever done, but it will more than do. We are blessed that he is still with us.
Thanks @Boneshaker
Seen Brooce four times and each time apart from War and Chimes of Freedom I’ve thought “Sing your own stuff, boy”. However, as all have said, a most excellent review . I’ll give it a whirl later today.
Don’t know about that Lodey. Live he makes Trapped his own with a brilliant arrangement that improves on the original.
His cover of Dream Baby Dream is one of my favourites. Imma post it again, innit.
Yeah, there’s those two covers of course…
This is a whole lot of fun. I love Bruce doing covers, I do
So you have changed your mind, then. I find him to a great singer and in some ways prefer it when he sings covers. Great version of Burning Love in a show a few years ago
My account was hacked and the swine claimed Bruce was crap at covers. I am now firmly back in control and can state unequivocally Bruce is one of the best cover artists around.
This makes the fact that his latest record is karaoke pants even more disturbing.
Excellent review @dai. Will certainly give this a listen albeit without any great expectations.. Agree about your analysis of his recent work, though I’ve come to like Letter to You more than I did on first listen. Western Stars is wonderful; High Hopes his worst record of original material in my opinion.
Thanks @Blue-Boy
I love covers, me. Bit of a hobby collecting and collating. I like(d) Bruce. This just so doesn’t appeal, smacking of Xmas stocking filler product for his ageing faithful. All a bit tawdry.
After a listen, on the turps, my favoured tracks are 3,4,9 & 15
Turps? Blimey, you’re hardcore. A few shots of Brasso is enough for me.
That stuff’ll be the end of you…
…but you’ll have a lovely finish.
I’m veal all week.
It helps me shine, dahling
I think this is by some distance the worst record he’s ever made. Soul covers albums are generally the last refuge of the scoundrel, but this could have worked if, say, he’d rekindled his friendship with the Roots and used them as his backing band, or even gone left field and picked up the phone to Sault, but having the producer play everything and singing along is setting your sights way too low. I expect the pair of them had a fun time in the studio, and I don’t begrudge them that, but this should have stayed in the vault. It’s a nothing record.
It’s better than Human Touch, High Hopes too and Working on a Dream is a strong candidate too
I agree. It’s also better than The Seeger Sessions and – sacrilege alert – The Wild, The Innocent and the E Street Shuffle.
The Seeger Sessions are unalloyed joy!!
(And perhaps the best gig I’ve ever been to)
And that I realise completely demolishes my “Bruce Don’t Do No Covers” argument
See that old bloke in the middle of the crowd singing like he’s had eight points of Young’s Best – me, that is
I might like this one more than Seeger Sessions. I like the Live in Dublin version though.
Good lord.
Sacrilege indeed. It’s a brilliant record, especially side two, and a quantum leap from the debut album which manages to be both overwritten (the words) and underwritten (the music) at the same time. I feel with Wild, Innocent he found his true voice – and of course never looked back.
I would agree with that.
I will see you, and raise you: I think it’s his best record. That side 2 is about as good as it gets.
HT and WOAD are bad records, but not as bad as this. I reckon High Hopes is mid-tier Springsteen, with some very good songs let down by a grab-bag approach.
The Jukebox Graduate mailout has an excellent review:
In 2003, Bruce Springsteen was still doing Christmas shows in what was still a deserted Asbury Park. If you went to AP back in the pre-gentrification era, you probably remember that feeling of stepping into a time machine. So when the special guest that year was Sam Moore, it definitely added to that whole aura of ye olden times you felt every time you drove down the Garden State Parkway, got off at exit 102, and then drove straight down Asbury Avenue until it turned left along the boardwalk, and parked near the Pony or Convention Hall.
There is so much about those shows that was special, but the main event was Sam Moore’s appearance. It was orchestrated just like it was out of a rhythm and blues revue of the 60’s, and there is a reason those shows were set up the way they were. The Alliance Singers (Lisa Lowell, Soozie Tyrell, Michelle Moore, others) come out, take their places, and Bruce cues them to start. They begin singing the refrain of “Hold On, I’m Comin’” while Bruce goes full “Star Time,” because who wouldn’t in this situation?
“We have with us tonight, one of the greatest soul singers on the planet Earth! So hold on to glasses, grab hold of your asses, and put your hands together, and put your arms together for Sam Moore!”
That’s when the band and the horns come in with that unmistakable riff, that refrain you can hum in your sleep. As soon as Bruce sees Sam making his way across the stage there’s a flurry of fanboys doing the “We’re not worthy” bow. Sam looks around, lets the band vamp. In the video, you can see the moment where Sam is ready to go and Stevie raises his arm in the air to cue the band. And then we’re off, and it is the kind of rock and roll moment you dream about. (At least I do.)
Youtube image
Eternally grateful this exists.
Friends, I have seen Screamin’ Jay Hawkins emerge from a coffin; I have seen Solomon Burke come out wearing a crown and a cape, carrying a scepter, and sitting on a throne. This moment beat them all, and it’s unlikely I’ll ever see anything like this again. It still gives me goosebumps.
Old school. Every single musician on that stage cut their musical teeth on this music, hearing it on the radio, buying the singles, learning it, playing it, loving it, arguing about it, performing it night after night at teen dance clubs and VFW halls and supermarket openings and senior proms, anywhere, they could play and get paid (but mostly play). Just, like, the unbridled joy on people’s faces on that stage was overwhelming. Their love for this music and their personal connection and professional history with it, was rolling off the stage in waves. Watching Bruce with Sam, Bruce taking the Dave Prater lines, Sam yelling “Play it, Steve” during “Soul Man,” grinning at Steve Van Zandt as he did, or the moment when they segued into Otis’ “Sad Song,” that moment of collective wow and shared acknowledgement of, we know what this is, we know who this was, this is important, to us and to history.
Bruce told stories during the show, about how he used to go to the Satellite Lounge outside of Fort Dix and watch Sam & Dave, specifically, referencing how he used to go and study —“I didn’t watch him, I studied him” — and how everything you saw in songs like “Mary’s Place” he learned from studying Sam, that he considered him to be one of the great band arrangers and band leaders — “It’s a lost art” — watched Sam lead a band in order to learn how you did that. There was also that moment during “So Young and In Love” where he took off his jacket, slung it over his shoulder, thanking Jackie Wilson. (Seriously, I died. This is my ghost writing this.)
This wasn’t a regular Bruce Springsteen concert where someone walked on and sang a song or two with them; this wasn’t even the RRHOF 25th Anniversary show that had Sam *and* Darlene Love (which, don’t get me wrong, was also pretty fucking great). It was the force of all of these elements together letting you feel what it was like back in the day from a rock and roll perspective. You didn’t get to go to the Brooklyn Paramount or the Fox? You never saw a Motortown Revue? Here you go, a little stardust for ya. And it was stardust, because everyone on that stage not only was a talented musician, they had an emotional connection to the music, they had listened to and played those songs over and over, and so you can feel some of what they are feeling.
Youtube image
part II
Another element worth noting from the ‘03 Christmas shows is how careful Bruce was with his vocals. He didn’t over-sing and he didn’t over-emote, which are two elements he can fall into when he’s trying to use his soul singer voice. He is very proud of that particular style of vocals — he wants to sing like his idols! — but he doesn’t always recognize when he is overdoing it, and he doesn’t always have someone who can, or will, tell him to dial it back. It is a skill, and if you are not always singing like that, you might need to re-orient yourself.
All of the above is why Springsteen’s new album, his soul covers record Only The Strong Survive, should have been absolutely incredible. He has the chops, he has the knowledge and the genuine emotion and affection, he can snap his fingers and the most talented musicians in the world who also vibe with this would be at his service. It would be a breeze, he’d be hanging out with old friends, they’d argue about their favorite songs, Bruce would win and only later realize that Stevie made him feel like he won the argument when he, Steve Van Zandt actually did.
Even if he decided he wanted to bring in musicians who aren’t yet members of AARP there is no shortage and not one person would have said “no” to Bruce Springsteen. There are a million ways that this record could have been the coolest fucking thing. It could have also just been an incredibly well executed soul covers record, with great musicians and performances, and Bruce could live out his Wall of Sound or Studio A or (either Stax or Motown) dreams. Instead this is a record that I cannot listen to either as a Springsteen fan or a soul music fan and historian, because it is not executed well. Worst of all, it feels completely inauthentic. It will, however, be pleasant enough for most people.
At this stage of his career, he’s definitely doing the thing that he refers to as “getting all summational,” something he does at the end of tours but it makes sense that after seven years working on his autobiography, and then the Broadway show, followed by and Western Stars and Letter to You —while both original material, they absolutely touched on those formative years and musical influences. Bruce has certainly earned the right to get loose and have some fun with his friends, but he is not doing that here, because none of the people you would expect to be on a record of soul covers with Bruce Springsteen are anywhere to be found (with a few exceptions with the horn section and the backing vox) —in fact, there is no actual band involved, at all. Somehow Bruce Springsteen thought this overly bright, dynamically insubstantial, and emotionally unfulfilling selection of soul music was something that needed to be publicly released and presented as part of his legacy.
As we’ve already established, Bruce is very enamored of his soul voice, but it’s not how he naturally sings, so he can overdo it if he’s not careful. He’s careful, with great results, on “The Sun Ain’t Gonna Shine Anymore,” and while the arrangement doesn’t wow, at least it doesn’t distract from the vocal performance. He also does a phenomenal job with “I Wish It Would Rain,” which man, that song walks such a delicate line between hope and despair, and he hits the mark with pathos and precision. Again, the arrangement isn’t great; it’s doing too much for this song, and if you are going to rearrange the song, then put this vocal front and center. The songs with Sam Moore sound great, you can’t even really tell they did it remotely, and that has a lot to do with the fact that they are drawing on mutual respect and a long relationship together. I’m so glad it’s on record.
But that’s not the case with the rest of the album. “Nightshift” is an example of over-emoting, or maybe it’s that incredibly rare instance of Bruce Springsteen incorrectly reading the emotional tone of a song, but the delivery feels awkward and uncomfortable. He took Aretha’s “Don’t Play That Song (He Lied)” and turned it into a party song — yes, Aretha’s version also swings, but the parenthetical in the title is not a joke. This song is meant to be defiant or at the very least, insistent. The chorus is, literally, “Oh darling, you lied, you know that you lied.” When Aretha sings those lines, I get chills. But Bruce bops through this song like there’s nothing going on and starts it with a fraternity rock-era bit of crowd noise and invocation of HEY GOOD TIMES. There is no way I know anything about this music that Bruce Springsteen does not, which is what makes this even more of a crime against nature.
Then there’s the closing number, ”Someday We’ll Be Together,” originally performed by none other than Diana Ross & the Supremes, at that point where Diana was heading into her solo era and leaving the Supremes behind, it’s such a poignant track for that reason. Diana’s inflection, tone, and control are singular, and this is why no one covers those songs. It is so clear that the arrangement and performance on OTSS is meant to exactly mimic the original because that is what this record is, and it’s certainly done with outstanding attention to detail, but what it is completely missing is that exquisite continuity of emotion that Motown were singular at figuring out how to create and capture, and without that, there’s no point in doing the song. But the worst choice on this record, in terms of mis-match of material and vibe and everything else is Jackie Shane’s “Any Other Way.” It is with complete and total confidence that I affirm that Bruce Springsteen can write, perform, and deliver songs from a variety of viewpoints and personas and characters, and he absolutely could have offered a powerful or at least interesting interpretation of “Any Other Way.” You elide her entire history by neutering this song in this fashion, turning it into a bouncy romp.
don’t you go changin’.
A few songs into my first listen to the record, I texted a friend, “It’s Murph & the Magic Tones.” Now, Steve Cropper and Duck Dunn (and other outstanding musicians) were in the Magic Tones, so it’s not exactly analogous, but the purple velour and hotel lounge band blandness of Murph & his pals were because they needed to cater to the lowest common denominator and so they needed to make everything smooth and pleasant and feature-less, and that is what has somehow happened here on this Bruce Springsteen record in regards to the instrumentation, arrangements, and production. It sounds like Bruce is singing over a karaoke backing track, because there is simply no depth. Everything is colored the same bright and inoffensive hue no matter what. We will be hearing this in grocery stores and elevators for the rest of our lives.
There are a lot of very talented string players on this record; they are insanely qualified as classical musicians, but to the best of my knowledge and research, have no background playing rock and roll, but it’s not their fault that they’re shoved in your face at the top of the mix. In defense of the horn section: they’re great. They’re always great. The production of the horn section, however, is inelegant and flat. I do not understand how the same person who threw the first mix of Born to Run into a swimming pool, or who remixed the guitar solo on “Prove It All Night” after the tapes were already at the pressing plant, or the guy we saw in that Barry Rebo footage complaining that you can hear Max’s drum stick, thought this record met his standards.
I also cannot understand why, when Sugar Miami Steve Van Zandt, the man who sang horn charts to the Brecker Brothers and played the oldies circuit with the Dovells, is one of your oldest friends, that he is not the first phone call you make for this project. Or Garry Tallent, who, with a guy named Southside Johnny, owns one of the largest collections of rnb 78s in the world. (ALSO: SOUTHSIDE JOHNNY LYON IS STILL ALIVE AND LIVING IN OCEAN GROVE) And, you know, maybe he did, and maybe Steve and everyone else involved said “nah, use someone else,” and even if this is true, I would have rather that he found a local cover band that he liked that covered soul music and gave them the gig, because they would have played their hearts out. However, none of that would have solved the problem with the production and arrangement, and the only solution for that is, use someone else. But the person who signs off on that is the one who has his name on the front cover.
Here’s the thing, though: he’s smart, because he knows no one will care, that he can do whatever he wants and people will embrace it wholeheartedly. Do you remember that 90’s movie, The Commitments? It was a bunch of Irish kids who form a soul band. (Glen Hansard was in it!) Anyway, the soundtrack was super-popular, but when I made a tape of the originals for people who adored the movie, they didn’t like it and they didn’t care. They liked the versions of the songs they heard in the movie. Only The Strong Survive is for those people, and there are more of them than there are of people like me.
Years ago, Dave Marsh once told me, “You are the toughest critic in the fanbase that still gets what he’s trying to do.” It’s my job to pay attention and hold Bruce Springsteen accountable, and so, here we are.
That is one hell of a review! Such passion and knowledge – brilliant!
The sound – i agree , I found it harsh. I got listener fatigue.
I think he was better on the softer songs apart from Indeed I do.
I dont agree re Nightshift but an excellent contribution Kid.
Dont think he understands what “lockdown” was about. Easy to work with only one guy in such circumstances rather than “getting the band back together” and Dave Marsh is not someone to use to add credibility to your views
*She.
Not sure about the lockdown reasoning, tbh. There have been plenty of full-band records released in the last eighteen months.
Given the speculation of a few weeks ago: I wonder if anyone’s views have changed (in either direction) after having actually heard it?
To answer your question – I like it less. .
His singing is way better on the record than I expected
Embarrassed that I used the “last refuge of the scoundrel” line twice, but not really changed my mind. When the news of a soul album was leaked, I was a bit hmmm, but hoped Bruce could pull it off. That post was written after the first single, which seemed to indicate pretty conclusively that he couldn’t, and I’ve not heard anything this morning to alter that opinion.
Pretty clear you don’t like it
What gave it away? Seriously, if anyone is getting some enjoyment from it, then more power to them. My opinion is just that, and if you like it then good for you. I’m just more vocal about this than I am the rest of the tide of mediocrity that washes up every Friday morning because it’s Bruce Springsteen, and I want him to be better than this.
As I try to say in my review it’s no masterpiece but there is plenty to enjoy here. I didn’t read any other reviews before composing mine but they are almost universally positive. So maybe your expectations are a bit off for what a 73 yr old Bruce will release and his last couple of albums were great anyway. Either listen or don’t bother, maybe we will get more albums from him that are up to your expectations, maybe not, we still have 20 other studio ones.
That’s a tad mean-spirited, Dai. Just an exchange of opinions. Kid dislikes it, you think it’s better than ok without being magisterial. On one and a half listens I’m more with Kid but I have been known to be wrong before
That’s fine. He has made his point I think in multiple places. And it really takes off on the 3rd listen 😉
The Sun Ain’t Gonna Shine Anymore – He’s no Scott Walker (who is?), but this is a great vocal (in my opinion)
He sounds like a bad Neil Diamond tribute. Awful. Thanks for posting as that was the one track that I had wanted to listen to.
Each to their own. Do you normally like his voice?
Yes. Maybe just a more casual fan, tho’, just 7 or 8 albums, The River my favourite, followed by Nebraska, and only the once live, the show in Birmingham when Edwin Starr joined him on stage for War.
I was at that one!
At that gig, in 1988, he also covered Gino Washington, Arthur Conley, Richard Berry, Eddie Floyd and The Top Notes’ Twist & Shout. 😉and
Whole lotta soul in those.
I am talking about a 1999 gig at the NEC
You didn’t go to Villa Park a decade earlier?
In 1988 was Basel, Switzerland for me.
I can confirm Dai was there, I saw him using the box.
My Crohn’s was particularly bad that night, spent large parts of the show in a cubicle (not a box)
Great review, Dai, you should do more – but, if the main highlights for you were “Sun Ain’t Gonna Shine”, “Soul Days” and “Do I Love You”, well… I’ve heard two of them and let’s just say I have no desire to hear the third.
The Seeger Sessions is probably my fave Boss album. Funny things, opinions, innit?
Thanks. Soul Days gets better and better, Hey Western Union Man is coming up on the rails too …
A civilian (and live Bruce fan – several gigs each year) chum’s review popped up on my FB, to paraphrase: “played it once, it’s going straight onto the shelf, it just made me want to hear the originals.”
I am not sure Bruce would be unhappy with that.
Great song, lousy sound.
Lousy sound, maybe, but it has a spark and has people running to the dancefloor in a way Brooce’s cover does not. Not that I’m ever going to risk it.
It’s better sure. But I think he swings a bit more on that one than most of the other and the better production really gives presence to the female chorus.
I haven’t listened yet, but I will later, and I will probably buy it as I am a bit of a Bruce completist, but what I’ve heard so far hasn’t really enthused me. I’m not much of a soul fan really, so I think that’s the main issue for me.
The writer’s block theory is interesting and it hadn’t really occured to me – there could be something in that, but for someone who has written so MUCH, I guess a dry period could have been due!
I’ve disagreed with you before about High Hopes, which I absolutely love. Yes they are retreads and cast offs, but Tom Morello’s work on that is terrific. For me, his weakest period is Human Touch through to Tom Joad, and I find the last of those a real trial to listen to. I played it again the other day and I simply don’t get it at all. There was a 7 year gap between that and the Rising….now THAT was a dry period!
I think much of Human Touch was written in 1989, so he only released 2 albums of completely new material between 1992 and 2002. However Tracks disc 4 was more or less all unreleased 90s stuff and he apparently wrote and recorded several other albums that didn’t come out (yet)
If we ignore who it is and just concentrate on listening to what it is, what do we hear? A disastrous mish-mash of arranged-to-death mush.
I’ve heard cover versions by James Last that were more moving and more sincere.
Still, I’m sure it’s a sound commercial move in the Christmas run-up. I expect the Kenny G. market will lap it up.
James Last and Kenny G would have chosen more obvious songs.
Hi Archie and peace to you. But it’s not what ‘we’ hear. It’s what you hear. Friend of mine came over ( no fan of Bruce or his voice) and said ‘what is this, it’s great.’ Proceeded to dance while making lunch. I played it only after looking at this oddly intense thread.
She really hates Kenny G, too.
In most cases acts are not going to be as good as they used to be. It’s enough with the imperial phase, the classics that we still have. Just let it go and listen to something else, something new and enrich your life. You’re welcome.
Quite agree. A perfect example is that fella releasing a new album every ten minutes…whatsisname…erm…Van Morrison, that’s it.
Meanwhile, Ezra Collective have just made their best album. It’s a corker.
Nope, not familiar with them so that won’t be happening. I’d prefer to spend my time listening to a rubbish album by someone I’m familiar with.
I bet you periodically replace members of your family with new people when they aren’t as good as they used to be. …. actually don’t tell us if that’s true.
It’s not about replacement. I keep everything stored in its right place. I just don’t bother with them once I lose interest.
…..”in its right place”…..*shivers*
The ties that bind.
The recently released into the wild second album from Ezra Collective is indeed a joy. Tremendous album. See also Renaissance which was set free by DoomCannon back a few Prime Ministers ago in that July.
To Archie’s point about ignoring who it is, can we do that? A detailed review and over 50 comments is because it is who it is. And with that all the standards and expectations we have. So its a two edged sword.
Anyhoo here’s a band that would be a nobody for most of you doing Western Union Man also covered by Bruce. Kiwi Max Merritt and the Meteors had a huge hit down here with their cover of Western Union Man, also done by Bruce.
Excellent review Dai. I’m a fan so I’ll give it a listen but I’m not excited, as I might be, say, if he’d done an outlaw country album of original material (Bruce – do it!).
I thought Western Stars was very by-numbers plus yukky strings (how many times did he wake up this morning?) but (high) hope springs eternal. BTW I liked a lot of Human Touch…
Fair to say HP not impressed
“So the album, then. My attention wandered with me out into the garden after a few tracks. I’d been distracted by the irritatingly weak guitar on the first track – once you hear that, you can’t put it away. Everything but the horns and the strings are played by nobody’s first call soul brother Ron Aniello, and how was this ever entertained as a possibility, leave alone a great idea? Springsteen could have – and damn well should have, given the genre – assembled a “kick ass” band and recorded live. I’m no expert on soul music, but this I know – it’s real, and it’s righteous. It’s also black. The only thing black about Bruce is his hair dye.
Critics have been giving the man respect for paying respect to the genre. Sam and Dave weren’t respecting the genre. They were living it. Springsteen is living in some nightmarish Meta©verse, acting through an icon as convincing as Zuckerberg’s. If anyone prefers his karaoke versions to the originals, then they will probably be white, already a Bruce fan, and have next to no soul records in their collection. Maybe a Best Of compilation they don’t play much, but it’s nice to have. In case someone checks. Springsteen sums it up on the album, when he testifies during the Zoom recording session of Soul Days – I wanna hear some Ray Charles!
Bruce, you got your five hundred million bucks for your back catalog – couldn’t you have given the world something better than this record-your-own-album vanity project? It’s too late for you to shut the fuck up, but I don’t have to listen anymore. Amscray. Your work here is done.”
Should this opinion – and that’s all it is, folks – carry any more weight than anyone else’s? I get the impression that many on here think it does.
And was Sam Moore ‘living the genre’ when he duetted on ‘Soul Man’ with…LOU REED? 🤔 No, he was probably having fun and/or chasing the dollar. Which is precisely what Bruce is doing here.
I’ve heard that Stephen King doesn’t think much of this album either.
Amazing a guy singing a few songs he likes can produce such vitriol, says more about the reviewer than what is being reviewed I think
Most of the time I disagree strongly with HPs musical opinions but, as we always say here, it’s all IMHO. And most of the time he writes very well.
I just thought his piece, as above, merited a place in this discussion (whether or not I agree with it)
Don’t really care but is it normally the case that when someone posts a review others find the need to post other reviewers in the same thread? Give your own views after listening, fine
Jings but you are hard work! It’s a pub not a Debating Society. Bruce is an artist who mostly is held in regard on here. That regard varies from AfterWorder to AfterWorder. You posted a most excellently crafted review which in general stated the album, whilst not one of Brooce’s best, is well worth a try . I have read other reviews elsewhere which strongly disagreed. HPs is one of those. That takes absolutely nothing, say it again, away from your piece .
Ok, here’s a few more (randomly selected)
https://pitchfork.com/reviews/albums/bruce-springsteen-only-the-strong-survive/
https://www.allmusic.com/album/only-the-strong-survive-mw0003827081
https://www.standard.co.uk/culture/music/bruce-springsteen-only-the-strong-survive-album-review-soul-commodores-b1038941.html
To be honest I only included HP cos he’s one of us (sometimes) and we have years of experience with which to evaluate. No need for you to go overboard with all those links was there?
I’m glad of the Pitchfork link, it led me to the review of B’s last album which is a nice bit of writing even if I have no idea if it’s accurate because I haven’t listened to a ‘Steen album since Tom Joad, apart from that live Dublin album (brilliant btw)
First up great review @dai. You absolutely should do more. I did sense a wisp of disappointment yet acceptance that he’s 73 and still having a go so you’re giving him the benefit if you being a lifelong fan. I on the other hand it will barely surprise anyone just about know Bruce’s hits. Most of which I like.
I wouldn’t normally have listened to this but your review and the subsequent discussion has lead me to play it this morning. I’m currently up to When She Was My Girl and he sounds like Bill Tarmey to me and I’m really struggling to get past that..
I’m so sorry Dai I’ll be checking out soon. As a non Bruceite what I will say the one song I would return to is Do I Love You where he’s able to give it some welly. The slow soul songs sound like it’s hurting him physically to sing and I just don’t find it enjoyable.
I’m in no position to comment on the band, his affinity with soul legends or who should have played. I’m in no position to comment on Bruce Springsteen actually so maybe I shouldn’t have. As with most acts it comes down to personal taste so fair play to him and those who enjoy it. If Justin Currie ever comes up with an album of Industrial Metal covers I’ll be here stating how brilliant it is regardless.
Yep Do I love You is a cracker. I recall HP mocking me for that observation so pfffft
I really was sweating with fear through that post Dave… then you managed to get Justin Currie into the last sentence and I breathed a sigh of relief.
No Billy Mackenzie, though. I am disappoint.
Love you, Dave. 😏
B McK would have made a bloody good job of some of these tunes.
It’s all good I know I ask for it. If we didn’t repeat ourselves here it would wither and die very quickly. Much like Mooses knob gags 😉
Bad punctuation, Dave. You missed the asterisks either side of “gags”
Thanks but Bill Tarmey? That’s a bit harsh. If you don’t know Bruce very well this is not the place to start. Maybe your 2024 or 25 project should be 12 albums from Greetings from Asbury Park to The Rising, Every album differs from the previous one, sometimes quite considerably I would like to read that
I find myself agreeing mostly with @dai.
It is not a terrible Bruce album -Working on a dream gets that accolade.
It is not the Bruce album I wanted and expected bearing in mind he has a big tour coming up.
I would have preferred it to be more organic but I think his voice is actually very good and the song choice perfectly fine.
I think there was an inevitable rush to slag it off once it was known it was a covers album and that it didn’t feature the E Street band. Heaven forbid that artists are allowed to deviate from their norm.
I have now listened – in a nutshell, I think it’s pretty awful, and I speak as a huge Bruce fan. I just don’t think his voice suits the material, and certainly bears no comparison with the originals. It’s fine dropping the odd soul cover into a live set, but this album seems to go on forever…and not in a good way.
This reminded me that I picked up the Rod Stewart Soulbook album last year for 50p and it is a cracker…oddly, it finishes with Only The Strong Survive…and that lad knows how to sing soul.
Seems to be a polarising album, for some a fun way to get through 50 minutes or so, for others “goes on forever”. Disagree about his voice not being suited, he has always sung in a partially soul influenced way as far as I can tell and, repeating myself, I think he sounds great for a 73 yr old with many many miles on the clock. The problems I have with the album are not there
He is essentially a rhythm and blues singer (in the 60s sense), always has been. The soul idiom has been sitting just under the surface of a lot of his work since then. In terms of being “of rock” rather than “rock”, he’s got more in common with Bobby Womack than with Black Sabbath.
✔️
I think I understand what has been happening. Like Rod, his cerebral cortex has become cut off from its blood supply, so tight is the elastic band keeping his hair on. (And, as anatomists will note, that’s going to be ever so tight.)
I’d love to see the outcome of a variation around that tale about why dogs sniff other dogs arses, a fire at the rock star sleb dinner, with them all hanging up their syrups for the duration of the meal. Fire alarm and off out they all rush, picking up the nearest as they flee. Cue all these iconic “hair” styles on the wrong heads. Sounds a great photoshop opportunity for someone clever in that department.
This is where Van Zandt has played the long game. Seeing he was going to go chrome-dome early in life, he adopted the picnic-blanket headgear ahead of time.
See also Pharrell Williams and his Diddyman/Baden-Powell hat. Young pop types: have a look at your older male relatives this Christmas, and if they are strangers to the follicle, plan ahead. As it were.
The be-titfered elephant in the back room of the milliners’ shop
is of, course, one Richard Thompson
Just as well Steve VZ never got whacked..
Can a Bruce Duets album be far away?
Or skiffle?
Born in the USA – no plan B
Latest River Project Vol I
Somewhat inevitably, Van does have a Bruce ‘diss’ song – A Town Called Paradise, off the No Guru… album.
I remember a contemporaneous interview when he referred to Springsteen by name when asked about the song.
Out of interest I gave it a listen today and broadly agree with the previous comments. Autotune is working hard, and Bruce’s always slightly wobbly pitch is now magically pinged into place which sounds odd. I skipped through all the tracks then listened to “The Rising” at high volume which sounds magnificent in comparison.
Jesus, autotune? I’ve not heard this and now never want this. Autotune is the devil’s flatulence.
TMFTL
Why do you think his vocals have been autotuned? Likely there has been a little bit of correction which is standard but autotuned? I have never thought of his vocals as always wobbly – can you point me to an example of this?
Voice sounded pretty rock solid live each time I have heard him.
“Somewhere in the night” springs to mind, in fact much of “Darkness”. But it doesn’t matter, he’s not hugely out of tune, he’s just not bang on. To my ears, on this album, suddenly he’s bang on. I don’t believe it. Someone has been fiddling with it and it sounds odd.
Well @Dai you may not have liked some of the opinions expressed on this thread but you’ve earned yourself a hamper, cracked 1000 views and garnered a fair bit of praise for the review itself.
I think the debate has been good.
Yes, I think it has shown how we can agree to disagree without flouncing.
Next week at Debate Club: VTM. Discuss.
Whadya mean? I’ve flounced at least twice during this thread
Hard to flounce on one leg.
VTM as in Vlaamse Televisie Maatschappi, the main commercial television station in Flanders (the Dutch-speaking northern region of Belgium) that forms part of a network of channels owned by DPG Media (formerly Medialaan)?
I am so looking forward to next week!
It doesn’t stand for Violate the Massive?
No issue with opinions, I am clearly not thinking the album is best thing he ever did, but it’s mostly a fun. listen * I just think posting other third party reviews under a review on this bored is a bit off, but it’s a free world, baby.
I am grateful for all the nice comments of my review, thanks all, even if I think I could have managed a better one if I had taken a bit more time.
* some seem personally offended by it though, Lord knows why
Some members of the listening public have a very fixed view of what Bruce “means” – and feel personally offended and let down if he does anything outside of that narrative…or something like that…@DanP ?
Probably more the case with Springsteen than with most other artists actually. Speaking as a Bruce Tourist.
Finally listened to it, and it sounds almost exactly the way I imagined it would. Which is probably not a massive endorsement.
I have a few competing thoughts here:
* As a Soul record, it clearly does not work at all. Bruce is a wonderful singer, with the right materials, and this is him playing very far out of his comfort zone, on a set of material originally blessed with some of the finest vocals ever recorded. It’s a real hiding to nothing scenario. I’m not normally a production guy, but I also found it a little syrupy – would have preferred a rawer, more live sounding affair, but – hey – that path would probably have been even more perilous.
* Nonetheless, I think it’s a fun record, and it sounds like he had a good time recording it. I like Dai’s review very much – the only thing in it I would challenge is the assertion that Bruce sings with soul. Very much in the eye of the beholder, obviously, but not for me – that voice is good for lots and lots of things, and has sung some of the best songs I’ve ever heard, but soulful I don’t believe it is. In fact, this album reinforced to me that I struggle to think of any Springsteen vocal (even the greater ones) where there isn’t an element of artifice. That’s not a criticism, just an observation. And, that being the case, I think this was quite a brave thing to do at this stage of the game.
* As Dai says: Springsteen has more than earned the right to this sort of thing. It’s nice to hear him having fun and enjoying music at this stage of life – frankly, it’s exactly the sort of thing I’d probably want to do if I were him. I don’t believe for a minute he had an expectation he was producing a truly great Soul record, and I’m sure it was largely regarded as a bit of a lark to pass the time, while paying tribute to some songs that have meant a lot to him. There are worse things in life.
* What Becomes Of The Brokenhearted is my personal standout. It sounds like a Dad at a wedding rushing the band and giving it some welly on the mic, but I kind of like that. He’s really chucked himself at some of these songs – respect. Nightshift is also pretty good.
“An album that will likely not feature in many best ever lists of his, but it is an enjoyable listen and one to potentially soundtrack your seasonal parties over the next couple of months.”
I think that sums it all up pretty nicely. I doubt I’ll return to it very often, but I’ve no objection to its existence. Stick that on the posters.
You’d think at my age I would learn, wouldn’t you? You would think that I would know by now not to offer up opinions until I have “properly” listened to a record.
I’ve properly listened now (mostly from my hospital bed using my spanky new earbuds).
Me and Dai, we’re like one
“An album that will likely not feature in many best ever lists of his, but it is an enjoyable listen and one to potentially soundtrack your seasonal parties over the next couple of months.”
Perhaps not the best testing environment. Bluetooth headphones , in hospital bed with a throbbing knee versus cranked up on sone decent speakers, 2 glasses of wine in, stirring the sauce for the evening dinner.
There is those painkillers though. .
I’ve listened a couple of times more. The songs I liked I like still. And overall I hate the sound – it lacks warmth.
As to motivatiuon it reminds me of Dylan’s Christmas album in that he did the album coz he liked the songs – plain and simple. And at his age he figured well why not? Tellingly, I recall Dylan saying no-one is making you listen to this or buy it. And most took him up on that. But this is Bruce , he is out on the talk shows talking about it. This album will probably sell well coz it is Bruce and it is soul for people who aren’t soul aficionados, a big market. But to suggest it is a cynical ploy to capture the Christmas market. I mean come on. He’s earned squillions and will earn a shitload on his big tour nest year.
Interesting how Bruce said there were heaps of songs done but not put on the record. So if you got agitated about this record save some agitation for Volume 2.
Afterthought. Probably the release timing is for the Christmas market, however, I don’t think the genesis of the record was “lets make a soul record for the Christmas market”. .
The only song of which I can claim to be a big fan of the original is Nightshift. Total choon, that. Bruce’s version sounds like decent-ish karaoke to me. Nowhere near as appealing as the original. But, I must say, I really like his suit in the video. Elegant and sophisticated without being too formal. 10 out 10 for the suit. 3 and a bit for the performance. And who are all those people in the video? They can’t all be Ron Aniello, surely? Or perhaps they can. I don’t know who Ron Aniello is or what he/she/they look(s) like.
Any bets as to where this record will finish up in the “AW Album of 22” poll?
I have a feeling it will end up in the lower reaches of our Top Twenty with lots of 5 or 6 or 7 scores.
And just to say Bruce’s performance here is far from karaoke at least not any karaoke I’ve ever been to.
“Right then, who’s up next? Sit down, Maisie and put yer top back on. Jimmy, I’ve told you before you’re no doin’ Papa Was A Rolling Stone, not with your back. C’mon, don’t be shy, there’s a hamper to be won here (wouldn’t touch the tinned chicken if I was you). Right then, young man. Nice suit, what did you say your name was?”
For anyone interested in hearing what these songs sound like away from the Ron Aniello one-man band, Bruce is on Jimmy Fallon this week singing 4 songs from the record with the same band that’s in the videos.
They’ve broadcast two songs so far. Do I Love You? was pretty good but on Monday night but I think his performance of Turn Back the Hands of Time last night is fantastic. You could call it lots of things but karaoke it is not.
https://www.youtube.com/watch?v=V3ypTDSRVZs
The bass player in the band is a friend of mine who we met in NYC about 7 years ago and have caught up with whenever we’re over there or she’s over here since. It’s fair to say she’s very much enjoying her moment in the sun!
If that’s her behind BS’s left shoulder to the right of the screen cap, she looks a bit like Gail Ann Dorsey who used to play with Bowie and did a splendid solo album in the late 80s/early 90s whose name I have shamefully forgotten
The Corporate World. Should have been massive. Fate had other plans.
The yes, “The Corporate World”.
I’ve got that, up in the attic somewhere.
It was pretty good.
[sings] “The Missiles of Midniiiiiiiight, The Missiles of Midniiiiiiiight”, etc.
And here’s Do I Love You (Indeed I Do)
https://www.youtube.com/watch?v=NX3Fyw2N0Rs
That’s much more like it.
He should have left the lockdown recordings as demos, got the band and recorded the whole album live in the studio (ideally in one take).
He released Western Stars twice (similar initial recording method) so he could well do that
https://en.wikipedia.org/wiki/Western_Stars#Film
Do I like this? Indeed I do.
Surprisingly, I like the new album. More than I expected to.
Well well well.
Guess what CD somebody got me for Christmas?
For my unmannerly and ruffianly conduct towards @dai this seems just reward.
He looks fkin buff on the cover, thoughbut!
Ha ha. Well I got it for Christmas too (on vinyl), the review was from a stream kindly provided by @Bargepole
I’ll probably like it. Mind you it’ll get its first run out tomorrow night at about 11pm, when I’d probably like Kenny G Meets the Panpipes if it was loud enough.
Well, well, well…I got it too! I have warmed to it (and sounds much better on my CD player than via streaming) – it is a light listen whilst pottering, and the songs are (obviously) very good. I still think he could/should have avoided a couple of the choices (Sun ain’t gonna shine in particular), but it is OK.
Funny, many pick Sun ain’t gonna shine as the standout
I’m given to understand that his Sun should be judged against the original rather than the familiar (to us) Walker Brothers version.
Frankie Valli’s original was never a hit, whereas the Walker Brothers was a big hit in many countries, including the US, so it is by far the more familiar version everywhere. Scott Walker’s voice is obviously so associated with the song that I can’t think anyone can ignore the comparison. As an aside, is it really a ‘soul’ song..?
HP thought @dai might like
https://falsememoryfoam.blogspot.com/2023/01/springsteens-rastaman-vibration-album.html
And this
https://falsememoryfoam.blogspot.com/2023/01/sweet-jesus-this-is-so-luscious-my-mind.html
Huzzah! When did HP re-open the island for business?
When he left here a couple of months ago
Thanks, but don’t think I will bother
Good move Dai. Why would he want to read HP putting shit on Bruce and the recent record when he has already been through the wringer here?
I’m absolutely certain he was just having a bit of fun.
Yeah , but it was the same mocking.
Why won’t he come back here and be subjected to extraordinary personal abuse? The big wuss.
I went to a wine tasting evening and on the notes it said you could taste HP sauce among other things. I had to explain to non-brits what it is and the whole discussion over ketchup versus HP sauce when it comes to bacon sandwiches. They were agog.
You can explain that most people here make the mistake of having back bacon in their sandwiches, which hasn’t actually tasted of anything since about 1940. That’s why it has to be slathered in sugary crap.
Yesterday, Offspring The Younger attempted to make pigs in blankets with back bacon. Perfect if you like your bacon chewy and your sausages raw. Yum!
Much as I like the sauce that is brown the thought that it was one of the tasting notes in wine would put me off buying it, let alone tasting it.
What was the wine so I can avoid it in the future?
Chianti Classico. It was actually the perfume rather than taste so not so bad.
That’s a lovely vino. Got subtle grape hints when I tried a glass
Yes it was the most popular of the 5 reds we tried.
Only the 14% survive.