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Richard Marx recently moved to his home in Hollywood Hills, but the place is already proud of its fully functioning bar. It is here that the pop singer, best known for his late 1980s ballads such as "Here Here Waiting" and "Stay Nights", took the chair a few days ago with some of his songs and songs. for a number of high-level conversations. -you tequila.

This month, Marx, who separated from his wife Cynthia Rhodes last year, released a "Beautiful Farewell" studio album inspired by the emotional rhythms of electronic dance music. Marx still doesn't spend all his time on club land More than his melodies, perhaps, is the songwriter he recently performed in Nashville: For A-list countries, including Keith Urban and Jennifer Nettles, it holds its shelves well. .

Let's start where we need to be with Right Here Waiting. One of the interesting things about this song is that it survived not only through your recording but also because people continue to learn how to play the piano.

I'll say why, because it's painfully simple. First of all, it's the key of C, the simplest of all keys. There are no scarves or flats. And its meter – it's a slow pace. It is so simple that I thought I had to tear it apart. But I haven't found it anywhere.

Didn't that simplicity make the musician say to you, "I can't record it?"

I almost didn't. The harp felt too personal. It was a love letter to my daughter who was filming in Africa at the time. I did a little demonstration of it and sent it to me and the mission accomplished for me. But the songwriter and the businessman in me say, "I'll cause this song" (to other artists). During all that time Barbra Streisand had asked me to write her a song, so I sent it to her. Somewhere I am still calling him the recording mail. "Richard, it's Barbara. I got the song. Great, but I need you to rewrite the words. I'm not going to be right here, I'm waiting for someone. "

Did the song go away at some point, was it coming back at some point, or did it just never go away?

The royalty announcement says it has never left. But, you know, it has had many lives. This was a thematic song for the two Gulf wars. When I sang it a few weeks ago on American Idol, it might have been one of the times when I realized the power of staying with it. The audience was young that night, and these children were not just waving their hands; They sang every word. Kids who weren't even like that idea when I wrote the song.

Tell me about putting your foot in the door in Nashville.

One of Cynthia's friends, Gary Harrison. He worked with her when they were in high school, and now she's a successful songwriter. So he comes to his parents' house (in Nashville) when I'm there one day. this is 1998 or so. I forget how it even came about, but we start talking about I'm coming to town to write, and he says, "I would write a song with you tomorrow." So we do, and it's cut and released on the album. this guy is Shane Minor. It wasn't a hit, but it was the first song I wrote for a man in a country, and it was recorded.

You and Enn Enfield Nettles wrote "Know You Wanna Know" about the magic of the famous gossip for its soloist of the last days.

Sara Barales told me en, and I had to write together. So I spent a couple of days at her house and we wrote four songs. And I'll tell you now that "I know you want to know" is the least favorite. It's funny, and I love the fact that it's literally the last song on the record that you think I've written.

You are waiting …

… one of the ballads, of course. So very good. But for me it is apricot. It's not a song that anyone will remember for a couple of years from now.

What happened to the other three songs?

That's a really good question. When you invest in another artist as a co-author, you diminish your ability to sell that song. It has nothing to do with the song but with other people's minds. It could be the perfect song for Faith Hill, the song that blows itself up on the radio. But I guarantee that either Faith Hill, or Faith Hill's manager, or Faith Hill's publicist will go away at some point, "Yes, but he wrote it with enn eniffer nettles, so if it's good, why it did not cut the cut. "

It's stained glass.

Sometimes I'll send a song and not say who the co-author is. I have a song I wrote with Keith Urban. He wouldn't mind saying this where he went. "This is a smash hit." Two weeks later. "I'm not breaking that song." But I understand that. So now I've sent it to other songs, some A&R guys, and every time it's one. It's just a matter of time.

The last song, "What We Started", from your new recording. It's about a complicated sexual encounter and it's quite sad.

That's it for me. It's definitely between me and someone who knows it's our song. He was a complete muse. But that's a topic that I thought was really interesting. When you perform this dance with someone, in some cases the trajectory is: Man meets man; there is instant chemistry; they are intimate; they build relationships, and it lasts as long as it lasts. But more often than not. One encounters personality, chemistry, intimacy, then fears and turns and understands what that is.

And what was that?

It was a case of stopping and trying to resuscitate. Then came this point when I realized that it was bigger than two people. We may not work on it and there can be no future in it. But we were joking ourselves to think we could turn it off.

Twitter: @mikaelwood:

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