Richard Marx dominated pop radio in the late eighties and late 90s, releasing his first seven singles, including "We Need to Know Better," Endless Summer Nights, and the mother of all piano driving ballads "Right Here Waiting." Five of the Billboard charts. Years before the release of his debut album, though, he was paying homage to Chicago as a composer, as did Kenny Rogers' heavy-pay bills, which in 1984 took Marx's two songs number one. Marcos, who was only 19 at the time, was too young. legally accepting the drinks that Rogers bought him during the celebration.
"Of course I could have faked it," she says from her early days in songwriting. "I didn't have enough life to write songs that were devoid of huge clichés, but I was listening to enough songs, and I had enough fantasy, and maybe even a little nausea to get through."
Marx grew up with commercial music, literally. His father, the late Dick Mark, was a jazz musician who created his own jingle company in the 1960s, writing music for Kellogg's Raisin Bran, Nestle Crunch and Doublemint Gum. His crunches were brief and catchy, often transmitting their hooks in five seconds or less. Richard, who began singing on the ad as a teenager, learned his father's trading skills from an early age, becoming a studio veteran, while most of his classmates were involved in scattering balls on the ground in Little League practice. Launching a solo concert career in 1987, he also became a songwriter-based songwriter.
Like many stars in the Eighties, Marx's solo career began like this. The best gun A fighter jet, traveling at maximum altitude for several years and eventually falling offshore, drifting into the dirt with the advent of a scrap (and later a pop of teenagers). Good grip is good grip any the genre, however, Marx kept his career going back to the thing that started it. songwriting. In the 20th Century, he relinquished the charts in the 2000s, painted chart charts with N Sync and Josh Groban, won a Grammy Award for Luther Vandrosian "Dancing With My Dad" and strengthened a long and successful relationship with country music.
Marx, who released a new album, Goodbye, last week, we had a chat recently Rolling Stone Country: about the stories behind his more timid hits.
Keith Urban, "Better Life" (Marx, Urban)
“Nose was doing it Be here! The album and it was burning a little bit, so he came to my Chicago Super Bowl weekend just to leave. I don't think we even had the intention to write. We ate food and watched the Super Cup, then walked to my studio where there are guitars everywhere. I have a ganjo, which is like a guitar. Keith took it and started playing this riff, and the next thing I knew, I was singing this tune. We wrote "Better Life" that day. We went in my car and wrote the words. I think it's still tied as his biggest hit. It's been six weeks for number one or something. "
Kenny Rogers, Crazy (Marx, Rogers)
“For the first solos of Lionel Richie I had prepared background vocals, and he suggested me as a background singer to Kenny. On the first day of the recording session, I heard Kenny tell his producer that they were still two or two songs short, and he described what he felt he needed. When I went home that night, I wrote "Crazy" in my apartment. I came back the next day, and I didn't record the song, so I did something that really needed to get me fired. It wasn't really cool. What I did was go up to Kenny and say, "Hey, I've heard what you said yesterday, and I'm a songwriter, and I've written this song, and I'd like you to hear it." For Kenny's confidence and kindness. rather than calling for security to accompany me, he said: "Well, let's hear it." We entered this room, and I sat down at the piano, and I played it for him, and he loved it. He asked to change two words and took a co-author (credit) that we are still joking about, and he said: "I'd like to cut this song." I was so excited. Kenny was still swimming at the time, you know? He was still selling millions of records. That was huge for me. My first cut was a song "One Country One". I think I was 19 years old. "
Keith Urban, "A Long Hot Summer" (Marx, Urban)
“Writing music with a nose is the most effective. We come up with all these parts. Backgrounds, vans, guitar strips, even bass lines. Writing words with a nose, on the other hand, is one of the sad things. There is always a moment, and I am sure he feels the same way – where I am ready to kill myself and him by suicide. Before we started writing "Long Hot Summer" (Tennessee 2010) floods. Kate called me and said that she had to pick up the guitar as all her belongings were still in storage. We met at a rehearsal in Nashville. I don't quite remember who started playing that rock, but I immediately thought that 'Bottle Message is the country version for the country'. I started singing the melody of the song, and the chorus came really fast. However, we didn't have the words in the passage, and we didn't have a bridge. About a week later, Keith took a tour of Chicago. He opened for the Eagles at a football stadium. I got out and we got on his tour bus and wrote the words to the passages. Oe Walsh, who played the guitar solo in my first single ever, came on the bus to say hello to me, and to this day Keith and I say that Long Who spoiled the fairy dust on "Long Hot Summer" right there on the bus. We couldn't reach the bridge because Keith had to go on screen. Some time later, I traveled to Brazil to do a screening in Rio. The Yesterday I had a little time, so I sat down and wrote the song bridge. I just sang it in my notebook and sent it to her and she said, 'Done: We have done. This song done! I'm cutting it tomorrow. " And it was so. We wrote it in Nashville, Chicago and Brazil. "
Jennifer Nettles. "You Know You Want to Know" (Nettles, Marx)
"We were created by Sara Barales, who said, 'You don't just have to write together. you must know one another. ” He knew that Enn and I were going together. In two days we wrote four songs in his Nashville home. The "I know you want to know" quartet is the least choice, but she absolutely loved it. He kept saying: 'This is me song need for this album. " The pace of this album is halfway down, so he really needed a bar burner. ("Do you know what you want to know") is actually funny. I just started playing blues on acoustic guitar, and the melody started to form. He jumped into it and said: "You know, this song is supposed to be about gossip, about people who talk a lot." And then it was really fun, as we were writing about a very special topic. Writing with Enn Enifer is a blast because everything she sings sounds like a hit record. He's just got a crazy sound. This week's record-breaking work at his home is filled with record-breaking vocals. Even before the vocals were over, everything he sang was stellar. "
Vince Gill, Someday (Gill, Marx)
“(Da Vinci) has been such a great friend to me, especially since my divorce. He sang background vocals on one of my records years ago, and when I came to Nashville to work or record, we would always try to go for breakfast or something. On one trip he said: 'When you come back. Why don't we give a pencil a day and try to write two or two songs? " So I went to his house and we wrote "Someday" really fast. I loved the recording of that song. I thought the string composition was amazing. His solo performance, as always, was amazing. I would like a bigger blow. It really does feel good in that pop-opera, osh, Groban, Il Divo-ish camera. As Vince wrote, it's a country song, but the melody and the lyrics like this classic. I'm going to try and do a new demo and record it in a more classical-crossword format. I bet we'll get somebody to record it. "
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