![]() I said to him, “I’m going to ask you to play, but you have to promise me that if you don’t love the song or if you’re not into it, don’t do it as a favor to me. You know what? Fuck it, I’m going to ask Taylor. Jesse and I had written that song and he’s really good at drum programming, so he programmed a really great performance, but I said: “This needs a real player. ![]() ![]() I moved into a gated community last year where he lives, so we started talking more. He made some comment, “We’ve got to work together on something sometime.” I was like, “Yeah? Okay, great.” Then, we would just run into each other here and there. I mean, I love the Foo Fighters and I love Dave, but I was a huge, huge Taylor fan. Yeah, he was just so sweet – and I was a huge fan, a major fan. Production Creditsĭetails of that information has not been made available.Marx discussed his kinship with Taylor in an interview with Ultimate Classic Rock about the Songwriter record. This project is a triumph! An accomplishment that should be valued for what it is: a victory of vision and execution. “Songwriter” is a bold and ambitious undertaking that could only have been accomplished by a writer with Richard Marx’s level of expertise, experience, and familiarity with the workings of the music business. The final part of the album is made up entirely of ballads, including the Burt Bacharach and co-written song “Always,” as well as the songs “Maybe,” “Never After,” “Still in My Heart,” and “As If We’ll Never Love Again.” Tracklist NO A moodier, darker tune that seems like it may be the sister song to Marx’s very own classic hit, “Hazard,” is “We Had It All,” which contrasts with the chugging guitars and sadness of “Breaking My Heart.” All of these songs are excellent. The melody and structure of “One Day Longer,” which Keith Urban co-wrote, have a distinctly Urban-esque cadence. Additionally, it serves as a reminder to those of us who have lived through the last five decades that the distinctions between genres and styles have clearly become more hazy recently.Ī catchy chorus and a guitar line that sounds a lot like Florida Georgia Line’s “Cruise” can be heard in “Misery Loves Company,” which Marx and his son Lucas co-wrote. The song “Everything I’ve Got” has a somewhat southern guitar tone and cleaner vocals than Marx used on the rock songs, but it would have passed for Hard Rock and was played frequently on Headbanger’s Ball back in the day. Thankfully, the songs in the Country area are exactly as wonderful as their Rock counterparts, so when that changeover takes place, there is absolutely no drop in quality. ![]() While ‘We Are Not Alone’ begins in classic Sum41 fashion with a monster riff from the early 2000s, it develops into an extended chorus about resiliency and solidarity. ![]() Marx’s vocals on this song are dripping with a sarcastic smirk that perfectly complements the song. The chorus of “Shame On You” has a distinct Evanescence vibe, and the post-chorus riffage is very delightful and perfect for headbangers! The Vertical Horizon song “My Love, My Enemy,” which Matt Scannell and I co-wrote, is drenched in massive voices, large harmonies, and massive backing vocals. Marx’s vocals have a grizzled snarl to them, the guitars are ramped up, and the drums are louder. The introduction of the Rock quarter is a little unexpected given the polished, silky Pop of the first five songs. The disco influence is present in “Only a Memory,” but the standout track for this section of the album is “Moscow Calling.” A very upbeat, European-sounding song is supported by heavy beats. With its driving pace, keys, and production elements, Marx’s current single “Same Heartbreak, Different Day” harkens back to their 80s heyday, while “Anything” is a polished guitar-based heartbreak song with an anthemic undercurrent. Songs in the “Pop” category range from mature, adult Pop that meets AOR to disco-tinged selections. ![]()
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