In the summer of 1981, Rick Springfield achieved his first and only No. 1 single with the iconic track “Jessie’s Girl.” While many artists express surprise at their sudden success, Springfield had a different mindset. He approached songwriting with a strong belief in his work, confident that his creations would resonate with audiences and achieve commercial success.

In a recent interview on the UCR Podcast, Springfield shared, “I always thought every song I wrote is going to be a hit. You have to think that, otherwise, I won’t finish the song.” This determination fueled his songwriting process, and he expressed that any song he deemed as mere album filler would not be completed. During that period, he focused on crafting songs he himself would eagerly hear on the radio.

Springfield attributes his relentless work ethic to the clear vision he had for his music career. “I love to write and play,” he reflects, noting that while he aimed for a commercial appeal in his music, he believed there were even stronger tracks on his album Working Class Dog than “Jessie’s Girl.”

As Springfield was preparing material for the album that would become 1981’s Working Class Dog, his manager, Joe Gottfried, who owned the legendary Sound City studio, suggested collaborating with producer Keith Olsen on a few tracks. The two had previously worked together, as Olsen had produced Springfield’s earlier album, Beginnings, released in 1972, which laid the groundwork for their future collaboration.

Unveiling the Creative Process Behind ‘Jessie’s Girl’

Springfield recalls the early stages of creating “Jessie’s Girl“: “He listened to all of my demos. I do very thorough demos, and back then, I was using cushions for drums.” Springfield’s innovative approach involved using an old bass he purchased for just $20 from a pawn shop, which fit perfectly into his Teac four-track recorder. After presenting 10 songs he was proud of to Olsen, Springfield was surprised when Olsen selected “Jessie’s Girl.” “I thought there were much more commercial songs on there. But he was right, and you can’t fault that,” Springfield admits, acknowledging Olsen’s keen insight.

Watch Rick Springfield’s Video For ‘Jessie’s Girl’

The genesis of “Jessie’s Girl” dates back to the late ’70s, with Springfield initially crafting a lengthy guitar solo for the demo. However, when he recorded the track with Olsen, the producer suggested significant changes. “There was a big long solo in the middle of the song on the demo. I’d vamp on A and play a two-minute solo,” he recalls. “As Keith was listening to it, he was making a cutting motion. I learned from him to be very concise in my writing. That’s probably the main thing I learned from him: make it short and sweet, hitting the good spots and leaving out the parts that might cause listeners to lose interest.” This lesson has influenced Springfield’s songwriting throughout his career.

Springfield is gearing up for a summer tour, headlining alongside John Waite, Wang Chung, Paul Young, and John Cafferty. The concerts will feature tracks from his latest album, Big Hits: Rick Springfield’s Greatest Hits, Vol. 2, which showcases standout material from his past 25 years in music. This collection includes several previously unreleased tracks, including a new song titled “Lose Myself.”

READ MORE: Rick Springfield and John Waite Announce ‘I Want My ’80s Tour’

In addition to new music, Springfield revisited “Jessie’s Girl” for inclusion on Big Hits. He described the experience as an adventure, particularly in replicating the original guitar sound from the early ’80s. “The initial guitar sound was a tough one to [replicate],” he shares. “It was created using two amps?two old Marshalls?with an Eventide between them. Lowering the pitch of one amp produced a truly unique sound that, once heard on the radio, is instantly recognizable. Matching that was pretty tough.” This dedication to his craft underscores Springfield’s commitment to delivering authentic music experiences to his fans.

Listen to Rick Springfield on the ‘UCR Podcast’