Covering the Boss: 12 great Bruce Springsteen songs performed by others

This particular piece is thanks to the recommendations of my friend Brian, who occasionally shares music-related thoughts with me. However, I seldom pursue those suggestions due to my strong-willed nature. Instead, I tend to believe that I ought to conceive such ideas independently.

After hearing about an extensive new Bruce Springsteen anthology, it felt like the cosmos was urging me to pen something on The Boss. In a stroke of cosmic genius, the universe subtly nudged me through Brian’s suggestion to tackle my headstrong nature. So, I decided to put together a compact list of remarkable Bruce Springsteen covers.

I may not be the originator of this concept, but I’m eager to jump into it. Similarly, those artists didn’t compose these tunes, yet they still immersed themselves in them. Isn’t symmetry fascinating?

Great covers of Bruce Springsteen songs

There have likely been thousands of instances where Bruce Springsteen’s songs have been covered, with Nebraska possibly accounting for a significant portion of those covers. In 1982, Springsteen released Nebraska, an album featuring stripped-down songs that he performed without his band. Although the album wasn’t initially popular, it had a profound impact on other musicians, becoming one of the most influential albums in recording history.

Essentially, those two albums outline the general musical territory that Springsteen explores. A couple of years after that, Bruce Springsteen and his E Street Band drew inspiration from the songs of the Nebraska era to create Born in the U.S.A., which turned out to be a huge success.

While not known for pushing musical boundaries among legendary rock and roll artists, Bruce Springsteen has thoroughly explored the realm of heartland rock, producing some of the finest songs from the last half century, regardless of whether he delves into heavier rock styles or leans more towards folk-influenced tunes.

We’ll aim to select around a dozen cover versions that offer unique twists on Bruce’s originals. While it’s not essential for them to be drastically different genres, they might. Sometimes, there are extraordinary renditions of songs that surpass even the Boss himself.

To clarify, the term “cover” can sometimes be unclear, so I’ve established some guidelines. Two popular songs often associated with Springsteen aren’t actually covers. Warren Zevon’s “Jeannie Needs a Shooter” was inspired by a Springsteen song, but it’s a unique work of Warren Zevon. Similarly, Bruce Springsteen started “Because the Night,” but Patti Smith completed it. These songs are attributed to both Springsteen and the original artists who first released them, so I won’t refer to them as covers.

I sometimes struggle with Springsteen songs performed by other artists live, which haven’t been officially released on albums. You can find these performances in bootleg copies or online videos. Due to its expansiveness, I won’t delve into it extensively (but I might make a few exceptions later on).

All right – so much for the disclaimers. Here are the songs….

“From Small Things (Big Things One Day Come) by Dave Edmunds (1982)

The tune Brian proposed as the starting point is a fitting opener. Originally created during the songwriting process for Bruce Springsteen’s hit album “The River” (1980), it didn’t make the final cut despite its lively, small-town storyline. In fact, his version wasn’t officially released until over 20 years later.

I’ve always found Bruce’s rendition to have a vibrant, almost-rockabilly vibe, but I believe the tune resonates more with Edmunds’ signature jangle. He even throws in some horns for good measure. Springsteen saw its potential as a fitting ride for the Welshman. Legend has it that he extended an offer to perform it backstage during one of his concerts in 1981. It eventually became one of Edmunds’ most celebrated hits on the American rock charts.

“Highway Patrolman”/”Johnny 99” by Johnny Cash (1983)

Interested in understanding the significance of Nebraska to other musicians? Even the iconic American singer-songwriter Johnny Cash, renowned for his legacy, felt compelled to include not one but two of his songs on his new 1983 album. In fact, one track was so significant that it named the album itself – “Johnny 99”.

In the early ’80s, Cash’s career appeared to be bogged down, as his music seemed to clash with the fresh, new wave of the decade. The country genre was dominated by groups like Alabama and a more pop-oriented version of the Oak Ridge Boys, who ruled the field with their country pop hits. However, Johnny 99 served as something of a comeback for Cash, and both Springsteen covers – whether you prefer the grittier “Highway Patrolman” or the energetic outlaw rocker “Johnny 99” – played significant roles in his renewed success.

“Reason to Believe” by Beat Farmers (1985)

The last track on “Nebraska” is one of Springsteen’s most adaptable songs. Its title carries a message of optimism. Springsteen’s initial rendition is subdued and minimalistic, which serves to underscore the irony of that upbeat title.

On their first album, “Tales of the New West”, The Beat Farmers opted for a different route. Known for their lively, rocking, and entertaining performances, they had a knack for composing clever tunes and presenting them in an appealing manner. Notably, renowned rock critic Robert Christgau commented on their debut by saying, “they compose good songs and cover even better ones.

In a different phrasing, one might say: “It’s possible they were referring to ‘Reason to Believe.’ Their performance was energetic and fast-paced, filled with guitar flourishes, which amplified both the inherent optimism and the initial wit of the original song.

“Two Faces” by Salamander Crossing (1996)

My preferred Bruce Springsteen album, titled “Tunnel of Love,” was released in 1987, signifying the culmination of his early golden era. This album presents a heart-wrenching depiction of a love story that ascends and descends. The song “Two Faces” found its place sandwiched between two highly praised tracks on side two – the title track and the stunningly brilliant “Brilliant Disguise.” It narrates a quiet tragedy revolving around the inescapable pull of temptation and infidelity.

Isn’t that an ideal choice for a bluegrass interpretation? As Kyle Tuttle, who isn’t part of Salamander, describes it, bluegrass is about “songs with a happy tone but dealing with grim subjects.” That’s the vibe they created with “Two Faces.” For me, it became even more fitting since I initially encountered the cover on the posthumous album Henry St. , which was released after the band disbanded in 2000.

Later on, I discovered that they first debuted it on “Passion Train” back in 1996. Listening to it can create quite a Doppler Effect, depending on whether you’re encountering it mid-stream or as the lingering echo of a disbanded group. It seems to possess two distinct aspects.

“Meeting Across the River” by Syd Straw (1997)

1975 saw the release of Springsteen’s third album, titled “Born to Run.” Although his first two albums had received substantial critical praise, it was this one that truly resonated with American listeners, catapulting him to fame. The album is filled with energetic rock songs, such as the opening track “Thunder Road,” and the title song which started side two. Hidden near the end, just before the expansive “Jungleland,” lies a tender ballad that hinted at future hits like “Atlantic City.

Syd Straw, who lent her talents to Pat Benatar and harmonized with Michael Stipe on “Boy” by Golden Palomino during the ’80s, now showcases her powerful voice in this rendition. She exhibits a toughness reminiscent of Bruce Springsteen, yet also introduces a captivating, ethereal beauty that accentuates the despair.

“Stolen Car” by Patty Griffin (2002)

On the album “The River“, “Stolen Car” is one of the more melancholic tracks. However, Bruce Springsteen can pull off such somber songs because of his exceptional songwriting talent and knack for evoking profound feelings without slipping into melodrama.

Patty Griffin’s extraordinary album, 1000 Kisses, is brimming with songs like this. She infuses a touch of delicate grace to counteract the original’s overpowering sense of powerlessness. One of these three cover songs on the album is what truly set it apart and propelled it as a breakthrough.

“Growin’ Up” by Portastatic (2003)

Bruce Springsteen first introduced himself to the world through his album, “Greetings From Asbury Park,” which was released in 1973 and contained the song “Growin’ Up.” Thirty years later, Mac McCaughan shared his slightly hazy interpretation of this track on the EP titled “Autumn Was a Lark” (released in 1993). This five-track disc included not only covers of Badfinger and Ronnie Lane’s Slim Chance but also featured “Growin’ Up.

One interesting aspect of Portastatic’s rendition is that despite McCaughan being older than Springsteen was when he first sang the original song, his voice conveys a sense of youthfulness. In contrast, Bruce Springsteen, with his maturity and authority, seems to be reflecting on the past in his version. However, when McCaughan recorded it, well into his 30s, his voice maintains the exuberance and freshness of a teenager immersed in the song’s emotions.

“I’m On Fire” by Bat For Lashes (2007)

Springsteen’s ‘I’m On Fire’ hails from his monumental album, ‘Born in the U.S.A.’ This hit single showcases a passionate love song with an upbeat tempo, featuring the swift drumming of Max Weinberg and Bruce Springsteen’s guitar driving the rhythm. The synth, skillfully played by Roy Bittan, gracefully dances within the melody. Although it was penned during the ‘Nebraska’ era, it could easily fit on that album too.

Natasha Khan, known as Bat For Lashes, offers a strikingly unique interpretation of her music, which was added as a bonus track on the U.S. version of her first album, “Fur and Gold.” A somber piano melody and eerie harpsichord tone provide the foundation for Khan’s hauntingly beautiful vocals. Despite slowing the tempo to a snail’s pace, she manages to create a hypnotic, otherworldly tune that strays from the original but preserves the underlying emotional intensity and longing.

“Streets of Philadelphia” by Bettye Lavette (2007)

From the grand three-album series called “Song of America“, Lavette lends her stunning blues-jazz vocal talent to Bruce Springsteen’s Academy Award-winning song, which was featured in the 1993 movie “Philadelphia“.

1. The Fray delivers an impeccable martial rhythm interpretation, while Waxahatchie’s vocals lend a dreamlike atmosphere. However, among all, Bonnie Raitt conveys the sorrow and exhaustion more authentically, even surpassing Bruce Springsteen in this regard.

2. The Fray creates an exceptional martial-beat rendition, whereas Waxahatchie’s vocals instill a dreamy ambiance. Yet, when it comes to expressing pain and weariness, Lavette outperforms everyone, including Bruce himself.

3. In the hands of The Fray, we have an outstanding martial-beat adaptation; Waxahatchie’s rendition infuses a dreamlike essence. Nevertheless, among all, Bonnie Raitt captures the despair and fatigue more genuinely, even surpassing Bruce Springsteen in this aspect.

4. The Fray offers a flawless martial-beat interpretation, and Waxahatchie’s vocals evoke a dreamlike feeling. However, Lavette conveys pain and weariness with unparalleled authenticity, even outdoing Bruce Springsteen in this regard.

5. The Fray provides an exceptional martial-beat version, while Waxahatchie imbues her performance with a dreamlike quality. Nevertheless, when it comes to conveying pain and weariness, Bonnie Raitt does so more truthfully than anyone, even excelling Bruce Springsteen in this respect.

“Atlantic City” by Justin Townes Earle (2010)

Let me clarify a few points at the outset. I don’t believe “Atlantic City” is Bruce Springsteen’s most-covered song, but it might hold more outstanding covers than any other. One of the mesmerizing tracks from the album “Nebraska” has been given a country twist by Levon Helm and the Band, an intriguing bluegrass interpretation by River Kittens, and a flawless roots rock rendition by O.A.R. This is just a glimpse of what’s out there.

Moreover, I mentioned earlier that there’s a chance I might disregard my rule regarding the requirement for a studio album release for covers. As far as I know, Justin Townes Earle has not officially released this particular song. Instead, he performed it during the AV Undercover project in 2010. It features just guitar and vocals, with no elaborate additions. The song is so captivating, and Justin’s interpretation of it feels so genuine that it leaves a lasting impression once heard.

Incidentally, you might find it interesting that Justin’s father, Steve, sang a different version of the “Nebraska” song 24 years prior during his “Live from Austin, TX” album performance. Remarkably, this rendition follows “Little Rock ‘N’ Roller,” a song Steve composed for Justin when he was only four. Hearing it now, after Justin’s untimely passing five years ago, can be quite emotional.

“Downbound Train” by Kurt Vile (2011)

For years, Vile has been known for his distinctive interpretations of iconic American rock songs. Therefore, it’s no wonder he delivered an exceptional rendition of “Downbound Train.” Originally appearing on “Born in the U.S.A.,” this track succeeded the fast-paced tunes like “Darlington County” and “Working on the Highway.” It introduced a more melancholic tone that resonated with the poignant lyrics prevalent throughout the album, reflecting its overall mood.

On his EP “So Outta Reach“, Vile cranked up the raw, grungy style to its maximum. The unyielding guitar and bass, skillfully played by Rob Laakso, create an ideal foundation for Vile’s deep, monotonous vocals. Musically, it seems as though Vile has accurately portrayed the sound of a runaway train.

“Better Days” by Elliott Murphy (2019)

Originally, “Better Days” was debuted on the album titled “Lucky Town” back in 1992, and among Bruce Springsteen’s tunes, it carries an exceptionally positive vibe. Given that I have highlighted numerous artists who emerged after Springsteen had already achieved fame, I decided to conclude by showcasing one of his fellow musicians active during the same era.

Elliott Murphy was born in the same year as Bruce (1949), and like him, has produced several albums throughout his career. However, unlike Bruce, he hasn’t attained the same level of fame. Yet, he has penned numerous books – both fiction and non-fiction – during his journey. His rendition of “Better Days” possesses a charming grace and refinement, particularly due to its cello-infused rhythm, which is not as prevalent in Bruce’s more robust version, where the melody seems almost forcefully emphasized.

As a die-hard Bruce Springsteen fan, I’m confident I could rattle off a playlist with a baker’s dozen tracks without repeating any on this list. However, I believe this selection serves as an excellent starting point for anyone diving into the Boss’s music.

Thanks, Brian.

2025-04-09 13:01