Only the Strong Survive

Springsteen's choice of songs, especially in the deep tracks and left turns, also i=underscores a deeper retrospect and aspiration. [Jan 2023, p.82]

There are times when, while applauding Springsteen's attempts to stay faithful to the originals, you wish he'd taken more chance. ... But that was not his intention, and it becomes hard to carp when he brings off something as triumphantly as his note-perfect version of Frank Wilson's "Do I Love You (Indeed I Do)". [Jan 2023, p.10]

There are many less rewarding experiences than hearing Springsteen thirstily sing his favourite songs, but there’s a sense here that all concerned hope it would catch fire and amount to something more. [Dec 2022, p.76]

He comes at these songs with an easy familiarity that tells you he didn’t need to spend a lot of time learning them, because he had long since absorbed them into his very bones. Also, the guy can flat-out sing, which is something he doesn’t get enough credit for. ... The one real knock against anything on Only the Strong Survive is that the definitive versions of most of these songs are so solid that even he can’t find much to improve upon.

It would be easier if this album were bad, which it isn’t: it’s a competent, often fairly enjoyable set of performances. But as neither good Springsteen nor good popular soul, it’s likely to fade out of most listeners’ memories long before the final track drifts off into nothingness.

Only the Strong Survive is an expertly crafted collection, but a rougher hewn approach, with a sound closer in style to Stax Records than Dionne Warwick and Phil Spector, would have better honored the spirit of its source material.

Springsteen is looking back on looking back; nostalgia, squared. If there is a criticism to be made of this big-hearted wallow, it’s not only that the mood here is galvanising, rather than anything more subtle or bruised.

It may be neither a classic Springsteen or soul album, and it may just be impossible to make a truly great album with such a familiar concept, but at the very least it stands as a passionate love letter to the sweet soul songs that helped shape both modern music and Springsteen himself.

It’s got character, and more than that, it’s got energy: Springsteen has never sounded quite so lighthearted, so unburdened, on record.

It's enjoyable enough that it takes a minute to realize that Springsteen and Aniello aren't exactly re-interpreting these 15 songs: they're merely playing them for a lark. That's enough for a good time but once Only the Strong Survive fades out with the last notes of "Someday We'll Be Together," there's not much that lingers behind in the memory.

Not only does it shine a light on what inspires one of the greatest living American songwriters, it also works to preserve the greats of the past and ensures that the best music and stories continue to survive.

Without a doubt, ‘Only The Strong Survive’ exemplifies Springsteen’s unfaltering commitment to top-notch musicianship and production.

Admittedly, this is pretty much Bruce does karaoke, but when it’s done this well and with so much obvious love for the source material, it’s irresistible. Volume 2 can’t come quickly enough.

On Only the Strong Survive, Springsteen places his voice front and center, and his love for this timeless and joyous music is jubilant and infectious.

Even if the arrangements occasionally feel static in their mimicry, Springsteen’s voice shines and sparkles.