There are some artists who have a hit that’s so big it eclipses all of the other great work they’ve done. The No. 1 smash “Jessie’s Girl” by Rick Springfield is one of those (in)famous examples. It’s a highly hummable and relatable ode to the unfortunate position of desiring a buddy’s girlfriend and knowing it’s a hopeless quest. The song is so popular it’s been streamed 30 more times on Spotify than any of his next most popular songs. Coheed and Cambria even wrote a 2020 sequel, “Jessie’s Girl 2,” for which Springfield made an appearance. It turns out our tortured protagonist won her over, married her, had three kids, and learned she was a nightmare. Bummer.
For some longtime fans who know of Springfield’s other classic songs, it’s annoying how this one hit overshadows them all. He did have four other Top-10 hits, three additional Top-20 hits, and eight more tracks that made the Top 40. Here is a collection of hit singles and deeper cuts for listeners to either learn more about the ‘80s icon or be reminded of his more varied talents as a musician and songwriter. Springfield has his memorable rockers and ballads, but he often works best when combining the emotional volatility within both formats.
“I’ve Done Everything for You” from Working Class Dog (1981)
This frustration dissertation is actually a cover of a Sammy Hagar concert staple from the 1970s, but Springfield gives it a little more gusto, especially thanks to a revved-up appearance by Pat Benatar’s guitar-slinging husband Neil Giraldo. There was a riff-heavy bent to some of Springfield’s early work, and this is the best example. Hagar said Springfield did his song a little more punk—check out the duo jamming on it acoustically last year.
“Don’t Talk to Strangers” from Success Hasn’t Spoiled Me Yet (1982)
Here’s an anxious ballad that’s not about adoration or heartbreak—it’s about the fear of being left for someone else. Taking a strong melody from an unused song (“Spanish Eyes”), Springfield penned scared sentiments about a potential affair his girlfriend might be having. His real-life inspiration was his future wife, whom he was afraid was cheating on him while he was on the road. But he later copped to doing that to her. Bonus points for a few French lyrics, but deductions for hypocrisy. Don’t try pinning it on Jessie’s Girl.
“Human Touch” from Living in Oz (1983)
As the ‘80s progressed, the modern keyboard sounds and programming of synth-pop and then dance-oriented pop-rock seeped into Springfield’s music. This song eerily predates the emotional and physical isolation of our social media age. It’s expressed perfectly in the lyrics, as well as in the combination of synth-pop and rock sounds fighting for dominance in this kinetic track. Idea to ponder: Does the chorus recall the Prince-penned “The Glamorous Life” by Sheila E.? (It’s really the reverse—the latter single came out a year later.)
“Souls” from Living in Oz (1983)
While it was a single and video, “Souls” did not gain the same momentum as some of Springfield’s other songs. But as mentioned above, this is an example of a song that opens like a ballad then transforms into an angsty pop-rock track with big choruses. Springfield liked songs that felt both larger than life and relatable. This is one of his less-appreciated tracks, and it’s quite good. Tim Pierce lets rip with some expressive six-string soloing.
“Love Somebody” from Hard to Hold Soundtrack (1984)
Although Rick Springfield’s attempt at movie stardom with the romantic 1984 film Hard to Hold fizzled at the box office, the soundtrack gave him another hit album. Good enough. This feisty track played over the closing credits of the film after the romantic triumph at the end. It trumpets sentiments about the fear of being in a close relationship and how that could drive away a great partner. It’s a very ‘80s sentiment.
“Don’t Walk Away” from Hard to Hold Soundtrack (1984)
Continuing with the theme of the previous song, “Don’t Walk Away” is a romantic protest about not throwing in the towel too easily, regardless of one’s uncertainty. At the end of the day, you’re probably not going to convince somebody to get or stay involved if they don’t want to, but you can always give it your best shot. The video has a darker slant—a couple of different women leaving Rick behind (one by plane, one by train), and then he attends a funeral at the end. That’s hammering home the point.
“Our Ship’s Sinking” from Songs for the End of the World (2012)
Let’s fast-forward 29 years to this driving anthem of desperate optimism, of knowing a relationship is simply going underwater, but still wanting to fight as hard as one can to keep it afloat. Not only was it impressive that Springfield was showing this kind of energy in his early 60s, but he incorporated a 2000s type sound into what he normally does. It’s always nice when veteran rockers can serve up a song like this that feels just like the old days, yet has a modern bent.
“One Way Street” from Songs for the End of the World (2012)
The closing track to Springfield’s 18th studio album is one of the more hard-driving cuts in his catalog. There are chords that evoke Cheap Trick and a little Springsteen attitude, and a morose lyrical vibe as he sings about our increasingly disconnected world. But as the song builds so does the angst and the hope, right up to a rousing finale. Bassist Matt Bissonette played on the album and co-wrote the music. He and Springfield make a good team.
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