The Snake King

Album review

Whether or not it stands as a cruel injustice, despite a career spanning more than fifty years, Rick Springfield remains completely unknown in our part of the world. He’s had a few moments under the spotlight, like the one granted by the TV show Glee, which in 2011 made his Jessie’s Girl into a hit, or when Dave Grohl invited him to take part in his documentary Sound City in 2013. But even his numerous appearances on the big screen or on television have remained relatively unnoticed. Some of his performances are worth a watch, like in American Horror Story (season 7) in which he portrays a deranged and dangerous minister. As an explanation, it seems obvious that the musician, as well as the actor, is better suited to an American audience. Ever since the United States offered him a fortune in 1972 to leave his native Australia and excellent band Zoot, betting on his pretty face as much as his musical ability, he has been presented as the Bruce Springsteen for teenagers, and this was cemented by his first few solo successes (Jessie’s Girl, No 1 in 1980, I've Done Everything for You, No 8 in 1981, Don't Talk to Strangers, No 2 in 1982, Affair of the Heart, No 9 in 1983…). Since the end of the 80s, he’s become scarcer and more rock’n’roll, pushing even further this style stripped bare and tinged with blues in this 17th album (The Devil That You Know, Judas Tree, Blues for the Disillusioned…). Furthermore Springfield shows he’s far from helpless on the guitar, particularly on the slide (The Voodoo House, The Snake King, God Don’t Care…). While it looks like a concept album around the theme of religion, this Snake King seems to flow quite naturally. Both varied and balanced (but not calibrate, this time), it will delight both Bon Jovi fans and Springsteen’s. © Jean-Pierre Sabouret/Qobuz