Who Sings the Gospel Song “Last Mile of the Way” in the Film “Springsteen: Deliver Me from Nowhere”?

A key scene in “Springsteen: Deliver Me From Nowhere” features Bruce Springsteen and manager Jon Landau listening to a recording of “Last Mile of the Way” by The Soul Stirrers.

One of the interesting aspects of the movie Springsteen: Deliver Me from Nowhere (2025) is how it shows the close relationship between Bruce Springsteen, played by Jeremy Allen White, and his manager Jon Landau, played by Jeremy Strong. In one touching scene where Springsteen is at a low point, Landau says he has a song to play for Springsteen. He puts on “Last Mile of the Way” as the two men sit and Springsteen enjoys a rare quiet moment of comfort and peace.

Longtime Springsteen fans know about the role Landau has played in Springsteen’s life. First, as a rock critic he famously proclaimed Springsteen as the future of rock and roll: “I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.”

But more importantly, in addition to eventually becoming Springsteen’s manager and co-producer, he also became a close friend that helped inspire Springsteen by sharing influences from music, literature, films, and elsewhere.

Deliver Me from Nowhere gives little background about Landau beyond the close relationship he has with Springsteen, always supporting his friend. It is a rare illustration of a close adult male friendship on screen. Landau is the opposite of the portrayal of Elvis Presley’s manager Colonel Tom Parker portrayed by Tom Hanks in the 2022 film Elvis. Landau’s and Springsteen’s close bond is highlighted in the moment they sit and listen to Sam Cooke singing “Last Mile of the Way” from when he was with the gospel group The Soul Stirrers.

Origins of “Last Mile of the Way”

While the song is a gospel tune, in the context of the film, a troubled or depressed soul might find inspiration to just keep going in the hope of better times ahead.

Johnson Oatman Jr.

When I’ve gone the last mile of the way,
I will rest at the close of the day,
And I know there are joys that await me
When I’ve gone the last mile of the way.

“Last Mile of the Way” is the oldest song in the Springsteen movie. Johnson Oatman, Jr., who lived from 1856-1922, wrote “Last Mile of the Way,” which was published in 1908. Oatman, like Springsteen, spent most of his life in New Jersey. From a young age he had a license to preach the Gospel and was ordained. Although sometimes serving as a local preacher, he had a more secular career too. For awhile he was in the mercantile business at Lumberton, N. J. And after his father died, he went into the life insurance business in Mt. Holly, N. J. (about 30 miles from where Springsteen would be born), where he lived with his wife and three children. Oatman also found time to write music, reportedly writing more than three thousand hymns, including “Last Mile of the Way.”

Sam Cooke & Bruce Springsteen

Before Sam Cooke became a pop star, he found success as part of the gospel group The Soul Stirrers. He served as the main lead singer of the group from 1950-1957. On August 17, 1955, Cooke and The Soul Stirrers recorded “Last Mile of the Way,” with arrangements by Cooke. It’s unclear to me whether the song was released while Cooke was alive, but the song would be released as a single in 1970 with “Must Jesus Bear The Cross Alone” as the B-side. This 1970 release features posthumous overdubs and appears to be the version played by Landau in Deliver Me From Nowhere.

Cooke, of course, would go on to find pop success with songs like “You Send Me,” “A Change Is Gonna Come,” “Another Saturday Night,” and “Twistin’ the Night Away.” Unlike Springsteen, Cooke died at a young age. He was 33 when he was shot and killed in a confusing violent act in 1964 around the time Springsteen would have been 15.

During his career, Springsteen has performed Sam Cooke’s songs such as “A Change Is Gonna Come” and “Another Saturday Night.” Also, Cooke’s “Mary’s Place” may have inspired Springsteen’s “Meet Me at Mary’s Place” from The Rising album. Springsteen has also jokingly referred to Cooke as “the other sexiest man that ever lived,” while he has also praised Cooke’s work with The Soul Stirrers. He has referred to Cooke’s “miraculous voice” during that era, “when he was at his most youthful, and maybe at his best.”

The music Cooke made with The Soul Stirrers of course lives on and still can provide solace and comfort for those who find it in the music, as illustrated in Deliver Me from Nowhere.

Bonus Another Key Non-Springsteen Song in Deliver Me from Nowhere: The soundtrack for Deliver Me from Nowhere features some other non-Springsteen songs, often playing in the background. Another one that stands out is Suicide’s “Frankie Teardrop,” which Springsteen listens to in his rented house while lying on the floor. As recounted in the book that is the source for the movie, Warren Zanes’ Deliver Me from Nowhere, Springsteen was a fan and early supporter of the band Suicide and lead singer Alan Vega. “Frankie Teardrop,” which appeared on Suicide’s first album in 1977, clocks in at over ten minutes and is about a troubled factory worker who murders his family and then commits suicide.

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The Gang’s All Here: Muhammad Ali & Sam Cooke

Muhammad Ali album

In 1963, boxer Cassius Clay, who soon would become known as Muhammad Ali, recorded the album titled, I Am the Greatest. The title may not really describe the great boxer as a singer.  But Ali was aided on one of the songs by one of the world’s greatest singers, Sam Cooke.

In this short interview, Cooke explains to Dave Clark that he had been working with some young singers. And the subject of his song with Ali, “The Gang’s All Here” comes up.

The combination of the music star and the rising boxer garnered some attention, with The New York Times covering the recording session of the song, which was arranged by Horace Ott. During the session, according to Peter Guralnik’s biography of Sam Cooke, Cooke provided guidance while keeping everyone’s spirits up. And Ali played around on the drums and recited poetry.

While Ali and Cooke were working on the song for the album, Harry Carpenter interviewed Ali for the BBC sports TV show, Grandstand. During the interview, Cooke showed up and exchanged some quips with his friend Ali. Then, the two sang a segment of the song they recorded together, “The Gang’s All Here.”

Here is the recording of “The Gang’s All Here” from the album. The tune add some tweaks but is based on the old classic “Hail, Hail, the Gang’s All Here,” which was written in 1917.

The original song features lyrics by D. A. Esrom based on a tune written by Arthur Sullivan for the 1879 show The Pirates of Penzance. Check out Muhammad Ali’s take on the song.

Six months after releasing I Am the Greatest, Ali lived up to the title of the album. The twenty-two year-old boxer became champion of the world by beating Sonny Liston in the ring on February 25, 1964.

(Note: In Peter Guralnick’s excellent and well-researched biography of Cooke, Dream Boogie: The Triumph of Sam Cooke, he describes that the above Grandstand interview with Cooke and Ali took place after the Liston fight in 1964. But in the video, Ali says that he and Cooke are working on the song, which was released in 1963. So it seems more likely that the Grandstand interview above took place after Ali fought Harry Cooper.  That fight took place in 1963 at Wembley Stadium, Wembley Park.)

Leave your two cents in the comments.

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    Sam Cooke: “Blowin’ in the Wind”

    Blowin Wind

    Sam Cooke, who was born on January 22, 1931, was one of the century’s greatest singer-songwriters.  He also was an electric performer, and while there are not many videos of him singing live available on YouTube, the one below captures him singing Bob Dylan’s “Blowin’ in the Wind.”

    Not surprisingly, Cooke puts his own stamp on Dylan’s song.  Check it out.

    Leave your two cents in the comments.

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    3 a.m. Albums: Sam Cooke’s “Night Beat”

    Sam Cooke Night In our series “3 a.m. Albums,” we look at albums that are perfect for those nights when you cannot sleep due to sadness, loneliness, despair, or other reasons. This post in the series considers Sam Cooke’s twelfth album, Night Beat, released in August 1963.

    When you think of singer-songwriter Sam Cooke, who was born on January 22, 1931, you probably first think of the singles and his wonderful tracks like “You Send Me,” “A Change Is Gonna Come,” and “Twistin’ the Night Away.” But if you ask a Sam Cooke fan to name their favorite album by the R&B singer, chances are they will name an album without any of his most recognizable hits: Night Beat.

    The Recording and “Nobody Knows the Trouble I’ve Seen”

    Early in 1963, less than two years before Cooke’s tragic death, he went into the studio for some late night recording sessions with talented musicians such as pianist Ray Johnson (piano), the sixteen-year-old Billy Preston (organ); Barney Kessell (guitar), Hal Blaine (drums), Ed Hall (drums), Cliff Hils (bass), Clif White (bass), and René Hall (rhythm guitar). During those nights, they created a moody masterpiece for late-night listening.

    The opening track on side one of the album creates the mood with Cooke singing an old spiritual, “Nobody Knows the Trouble I’ve Seen.” While the singer tells us about his lonely troubles, Cooke adds a layer of rhythm and blues that both provides comfort to the troubled and offers a little bit of hope.

    Cooke’s Originals on the Album

    Night Beat includes some Cooke originals, like “Mean Old World,” a song Cooke had recorded with the Soul Stirrers six years earlier. The other songs written by Cooke were “Laughin’ and Clownin'” and “You Gotta Move.”

    Below is “You Gotta Move.”

    An Uplifting Coda

    Most of the songs were written by other artists, including classics like the blues song “Little Red Rooster.” Indeed, many of the songs are steeped in the blues, with many of the songs reflecting themes of heartbreak.

    The one song, however, that stands out as an uplifting coda is the closing track on side two, Cooke’s version of “Shake, Rattle, and Roll.” It is as if after sorting through the heartbreak, he wants to remind us that after you get through it all you will find pure joy once again.

    So, after reflecting on your misery, “Get out of that bed, go wash your face and hands.”

    The Song That Sums Up the Album

    According to Peter Guralnick’s excellent biography of the singer, Dream Boogie: The Triumph of Sam Cooke (2005), the song that best summed up the mood of the album was recorded at the end of an evening, “Lost and Lookin’.” Cooke’s voice in the minor-key number faces the world alone, accompanied only by bass and the cymbals on the drum set.

    According to Guralnick, “Lost and Lookin'” “showed off every one of Sam’s characteristic vocal effects.” But it did so “without in any way suggesting, either to the listener or himself, that they were effects, so intrinsic were they to his feeling for the music, to the feelings he wanted to express.”

    An Album To Get You Through the Night

    The album is a wonderful friend to have late at night. Allmusic explains, “The songs are intimate blues, most taken at the pace of a late-night stroll, but despite the dark shading and heart-rending tempos, Cooke’s voice is so transcendent it’s difficult to become depressed while listening.”

    So, the next late night where you need some company to help get you through until sunrise, put on Sam Cooke’s Night Beat.

    What is your favorite 3 a.m. album? Leave your two cents in the comments.

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    Spotlight On the Four Magnificent Artists Behind “Sweet Soul Music”

    One of the great pop songs “Sweet Soul Music” was created by Arthur Conley and Otis Redding starting with a Sam Cooke song and adding a little touch from the movie “The Magnificent Seven.”

    Sweet Soul Music
    Arthur Conley

    Singer-songwriter Arthur Conley was born in Georgia on January 4, 1946 and died of cancer on November 17, 2003.  Conley is best known for his singing of the wonderful song “Sweet Soul Music.”

    Conley helped create the classic recording with Otis Redding, but the song’s creation comes from a history of digressions.  Similarly, Conley’s life had its own digressions.

    The Singer and Co-Writer

    Arthur Conley started off his career as the lead singer of Arthur & the Corvets in 1959, recording three singles with the group in the early 1960s. But he went on his own and eventually had his biggest hit with “Sweet Soul Music” in 1967.

    Conley had hit singles in the U.S. through the early 1970s, with some ups and downs in the music industry. In 1975, he moved to Europe, eventually settling in the Netherlands and changing his name, using his middle name and his mother’s maiden name, to Lee Charles.

    After his relocation, Conley became a successful entrepreneur and continued to work in the music industry and promote other bands. His moves likely were prompted by discrimination he faced for being gay, and he died in relative obscurity in a small village near the German border.

    Still, most people remember him for the great joy he brings to his recording of “Sweet Soul Music.”



    The Co-Writer Otis Redding

    Conley had some help in writing “Sweet Soul Music.” The great Otis Redding, after hearing Conley’s earlier music, asked Conley to record on his label and the two men later worked on writing “Sweet Soul Music” together.

    Conley admired Redding, who mentored Conley in the music business. While name-dropping the great soul singers in the song, Conley insisted they include Redding’s name.

    Redding died tragically in 1967, the same year “Sweet Soul Music” became a big hit.  Reportedly, Conley never got over the death of his friend and mentor Redding.

    The Original Inspiration: Sam Cooke

    But “Sweet Soul Music” was not created by only Conley and Redding. The two men wrote the song while jamming on the work of another great singer-songwriter, Sam Cooke.  Cooke’s song was “Yeah Man,” which had appeared on Cooke’s album Shake when the album was released after Cooke’s death.

    I first heard “Yeah Man” years after “Sweet Soul Music” and initially thought Cooke had created a variation on “Sweet Soul Music.” But the truth was the other way around. “Yeah Man” created the foundation for “Sweet Soul Music.”

    Listening to “Yeah Man,” one is not surprised that Cooke is listed as a co-author of “Sweet Soul Music” (following a lawsuit by Cooke’s surviving business partner).

    The Movie That Inspired the Opening Riff

    Our story does not end here, because there is still that great opening riff of “Sweet Soul Music” to discuss. Cooke’s “Yeah Man” was not the only tune that influenced the creation of “Sweet Soul Music.” The opening riff of “Sweet Soul Music” comes from one of the great movie scores, Elmer Bernstein’s score for the Western The Magnificent Seven (1960).

    Although like many, I know the movie’s riff by heart, I had never made the connection to “Sweet Soul Music” until reading about it. But after listening to them side-by-side, it now seems obvious. You may hear the riff in this video, set to start where the riff first appears at the 23-second mark.

    Other Versions of “Sweet Soul Music”

    The lively “Sweet Soul Music” has been performed by a number of great artists. There are wonderful recordings by artists like Sam & Dave, whose song “Hold On, I’m Comin'” is referenced in Conley’s version.

    Wilson Pickett, who is mentioned in “Sweet Soul Music” along with his song “Mustang Sally,” also has performed a version of “Sweet Soul Music.” Cyndi Lauper, Ben E. King, and Billy Joel joined forces to perform a version of the song as part of a medley on the Sixth Anniversary Late Night with David Letterman special.

    Similarly, Bruce Springsteen has performed the song a number of times in concert. I remember hearing him sing it during the 1980s at a concert in Cleveland during his Tunnel of Love tour.  Springsteen made a few lyric changes (as in the July 1988 performance below), highlighting his band and his audience.  Interestingly, Springsteen does begin by spotlighting one great singer not mentioned in Arthur Conley’s version, which had highlighted Lou Rawls, Sam & Dave, Wilson Pickett, Otis Redding, and James Brown. Springsteen, perhaps aware of the history of the song, begins with a mention of Sam Cooke.

    At the time I heard Springsteen’s cover, I knew the original, but knew little about the songwriters or that “Sweet Soul Music” started out from a Sam Cooke song. I just knew it was incredibly fun.

    We’re still dancing to one of the greatest songs compiled by a committee of geniuses. Oh yeah, oh yeah.

    Photo of Arthur Conley via public domain.

    What is your favorite version of “Sweet Soul Music”? Leave your two cents in the comments.

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