Back in the 80’s, Richard Lewis Springthorpe aka Rick Springfield was huge. For some weird reason his music never resonated with me back then. Sure, I knew the hits and I thought they were pretty good but I never got around to buying any records. Up until 1988 and Rock Of Life that is. But even though I dug – and still dig – that record hard I never got around to checking out any of his older stuff – or stay in touch with what came after it. It would take me something like 20 years to do that. In 2008 Springfield released Venus In Overdrive, a record that totally floored me. Songs For The End Of The World (2012) sealed the deal for me – I was now officially a Rick Springfield fan – and now I love his old stuff.
After that he has released a couple of records with a musical theme – Rocket Science (2016) took his brand of pop-rock-AOR-west coast and gave it a Country flavour and with 2018’s The Snake King he did the same thing but this time with a flavour of Blues and Classic Rock. Both albums were brilliant. Since then no new music has emerged from Springfield, only an album of orchestrated rerecorded songs and a live album so this record is his first album with new songs in six years. And when Rick comes back he do so with a bang – no less than 20 songs are thrown to us. 20 songs!!! In my book, it’s a bit of an overkill to be honest. That said, I’m super-happy to finally have a new Rick Springfield album to sink my teeth into.
Opener “Exit Wounds” doesn’t disappoint one bit. It’s a classic Rick Springfield pop-rocker full of catchy riffs, contagious pop-hooks, live-friendly grooves and I’m surprised it’s not a single because it’s so catchy it hurts. The following “She Talks With the Angels” keeps the same formula – short, concise and direct with a don’t bore us, get to the chorus attitude. Just like its predecessor it holds more easy-going verses that helps the chorus explode. Brilliant. The title-track takes a slightly rougher approach with edgier guitars and a heavier rhythm and it holds a a juicy punch. Still, it’s a melodic, classic Springfield pop-rock number albeit with a slight Western flirt and a souly touch. Again, the chorus hook is so sharp it’s impossible not to catch on. Great.
“This Town” takes a bit of a left-turn with its modern pop-vibes. The verse is more of a Pop semi-ballad whereas the chorus is more upbeat and uptempo. It’s a pretty good song but it’s arranged as a modern radio-pop song and except for Springfield’s personal vocal melodies it really doesn’t sound like a Rick Springfield tune. The upbeat and rhythmically distinct “Love Ain’t Cool” continues the modern Pop flirts albeit with an underlying Funk twist and it also holds a punchier rhythm that’s really in-your-face. The whole song is quite uplifting and every melody sticks, especially the chorus that’s a damn catchy one. Good one.
“Come Said The Girl” has Springfield reliving his 80’s. It’s a slick pop-rock tune complete with a danceable rhythm and some swinging horns. It’s a positive and uplifting number, quite happy-go-lucky with an enormous Pop meets AOR chorus so catchy it’s ridiculous. Fantastic. On a more serious matter lyrically “Broke House” is still a fat-grooved pop-rock stomper with melody-hooks to die for. it’s a crowd-friendly tune with striking melodies and another refrain that catches on right from go, classic Springfield style. Great. Slower in pace yet still quite rhythmic, “When God Forgets My Name” blends smoother vocal-melodies with a more driving and crunchy guitar and it brings along a distinct catchiness and another spot-on chorus. Very good.
“Heroes” takes the bouncy road with its big, fat and poundy rhythm section with almost tribal drumming. The riff is distinct and firey and the whole number is lively and crowd-pleasing perfect for the stage. Add some hooky melodies and a a massive chorus with lots of hit-potential and we have a winner on our hands. Hot and energetic “Works For Me” is a distinct ass-kicker that holds a bluesier vibe and a saxophone which makes it sniff around the corner of Classic Rock. It’s a live-inviting rocker that holds a dynamite rhythm, lots of sweat and big grooves with a rowdy chorus that grabs a hold right from hello. Splendid.
The bouncy “Fake It ‘Til You Make It” comes off as a dance-pop-AOR number with an 80’s twist but also with modern vibes. The whole thing sounds like something you could hear in the pop-charts in the mid 80’s, very danceable but with strong melodies and big vocal-hooks, especially in the chorus which holds some big hit-potential for mainstream radio. A decent tune. “The Cure For Loneliness” is a glossy pop-rocker with more 80’s vibes. It’s upbeat, direct and holds easily embraced melodies all over with a juicy party-vibe. The synth horns brings on another level to the party-stomp and the huge chorus is nothing but addictive. Very good.
“Invisible World” walks in the footprints of its predecessor with synths at the front with a pumping and upbeat rhythm. There’s an underlying melancholy here but at the same time it’s upbeat and quite driving. Where the verses hold back just some the chorus rises to the occasion with classic Springfield catchiness. Good one. On a deeper mode, the slow and stripped down “Make Your Move” is a mellow piano ballad with a saddening arrangement and a darker soundscape. The addition of Windy Wagener who duets with Springfield brings the kind of dynamics only a great female singer can bring. The emotional melodies and arrangements really grab a hold and the tune is a phenomenal breather here.
“In Case Of Fire Break Glass” is a song that starts out as a slow-burner on a softer note with a stripped down arrangement. However the song takes on a groovier stomp and holds a chorus that brings out a dance beat. It’s a glossy pop-tune with a distinct melody hook that’s catchy enough. That said, the usage of drum-machines that takes the song into dance-music territory isn’t really my bag. And more of that comes along with “Did I Just Say It Out Loud” – dance beats, synthesizers, sampled drums. Sure it’s upbeat, dance-friendly and pop hooky but it’s way too light-weight and dance-pop for my taste.
“Sometimes I Will Fly” is a semi-ballad of sorts albeit upbeat and holds a chunky rhythm with a slight Reggae flirt. Even though it’s a bit on the mellow side it’s also uplifting with a strong main melody and a catchy enough refrain even though it doesn’t stick as direct as most of the songs here. “Neutron Star” opens a bit more held-back with laid-back and sparse vocal-lines. The chorus however is energetic and fatter and brings on a smell of heavy Pop. There’s a rockier outlook to the song with a beefy and fat bass but on the other hand the drum machine is back and the synthesizers rules the song. A good enough track.
More dance-pop structures comes along when “Feed Your Soul” arrives. It’s upbeat, stompy and danceable with a big party-feel following. It’s an 80’s flirting pop-tune on a juicy groove with some horns kicking in. It’s distinct, concise and easily embraced on a straight forward rhythm and a catchy chorus that will get in your head no matter if you want it to or not. This is good stuff. Closing track “We Are Eternal” brings back the classic Springfield we all know and love. After a catchy pop-riff opens the song with a down-beat verse the tune gets going with a stompy and lively beat and lots of pop-AOR-west coast melodies and the chorus is massively catchy with an affable slickness. Very good.
I used the word overkill in my foreword and that’s exactly how it feels after a couple of spins. 20 songs in one take is a bit overmuch. This would have been a perfect opportunity for Springfield and do what Rival Sons did – split the album in half and have two separate releases a few months apart. That would make the record easier to digest – especially as this album almost seems to come from two different writing sessions style wise. At one side we have the classic sounding Springfield numbers and on the other side we have the ones where he leans towards a more modern Pop sound with dance-beats. To review this album is a bitch because the more traditional Springfield stuff is awesome whereas the other half isn’t really what tick my boxes. Two separate records would have been ideal here. But the way it’s released I can only state that Springfield just don’t write bad songs so there are none here but that said I’m not sure how often I will spin this album back to back in the future.
6/10
More Rick Springfield reviews:
Songs For The End Of The World
Rocket Science
The Snake King
Tracklist:
1. Exit Wound
2. She Walks With The Angels
3. Automatic
4. This Town
5. Love Ain’t Cool
6. Come Said The Girl
7. Broke House
8. When God Forgets My Name
9. Heroes
10. Works For Me
11. Fake It ‘Til You Make It
12. The Cure For Loneliness
13. Invisible World
14. Make Your Move
15. In Case Of Fire Break Glass
16. Did I Just Say That Out Loud?
17. Someday I Will Fly
18. Neutron Star
19. Feed Your Soul
20. We Are Eternal
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