Review: Richard Marx “Stories To Tell”

80s balladeer Richard Marx is back with a new CD of sorts. On “Stories To Tell”, Marx doesn’t really present us with any new material, but rather acoustical reinterpretations of his earlier works. Some of the tracks are stripped down and/or tweaked versions of well known hits like “Endless Summer Nights”, “Should’ve Known Better”, and “Hazard”. Others are tunes Marx wrote that were made famous by other artists that range from boy bands like N’SYNC to country superstars like Keith Urban and Travis Tritt to modern rockers like Lifehouse and Daughtry. Since Marx dropped out of the spotlight, many people don’t realize he’s still been a very active and successful songwriter for other artists.

Marx still sounds great (a standout vocal is delivered on “One Thing Left”) and the unadorned acoustic guitar removes the 80s sound from his classics, leaving us with a fresh and more timeless sound. In short, his material sounds less dated. The production is immaculate with glistening piano, crisp fingerpicking, and radiant strumming on those acoustic guitars. My favorites on “Stories To Tell” include “Over My Head”, “Angelia”, “Loved”, and “Should’ve Known Better”, but the other tracks produce mixed feelings. His ill-fated venture into R&B territory with “Keep Coming Back” still sounds pretty drab when unplugged. And some of the songs included here were acoustic and slow to begin with, such as “Now and Forever” or “Right Here Waiting”, so there isn’t anything really new or surprising about them.

The seven bonus tracks that follow the eleven unplugged songs are those that were written by Marx and performed by others – a unique opportunity for fans to finally hear their beloved singer perform his own tunes. These songs are not unplugged and typically feature a powerful backing band – the arrangement is so close to the original that it often sounds like Richard Marx covering another artist. Nonetheless, these tracks are interesting to hear. While no Josh Groban, Marx does turn in a rather stunning vocal on “To Where You Are”. And hearing him do “Had Enough” and “On The Inside” builds confidence that Marx could be a viable modern rocker if he wanted to.

Devoted fans of Richard Marx are clearly going to appreciate this CD, but the more casual fan will probably wish he’d present something new. As for me, I think the first eleven tracks will get plenty of spins on those lazy Sunday mornings and I will hold out hope that he’ll comeback with an infectious modern rock sound next time.

iPOD-worthy: 2, 4, 5, 9, 10, 13

Richard Marx on MySpace. Official site.

Listen to “Over My Head”

Review: Lifehouse "Smoke & Mirrors"

Lifehouse is back with a new record, "Smoke & Mirrors", the follow up to the strong "Who We Are". "Smoke & Mirrors", their fifth album, has already earned distinction as being the highest charting Lifehouse record yet, debuting at #6 on the BillBoard charts.

It is hard to believe that their smash debut, "No Name Face", landed in 2000. After ten years, you would expect a band to have perfected their chemistry and know exactly who they are - such is true for Lifehouse. If anything, the band has been steady and consistent, always delivering a batch of succinct, radio-friendly rockers and acoustic driven ballads. Why would a band want to risk screwing around with a formula that has been so good to them? Bearing that in mind, "Smoke & Mirrors" has no new tricks up its sleeve and is yet another CD full of more of the same. Like Collective Soul, the latest Lifehouse albums are largely indistinguishable. There is only one moment of deviation in the 'trying too hard to make you dance' "Here Tomorrow Gone Today", and its miserable failure is strong evidence why Lifehouse should do nothing but what made them famous in the first place.

Producer and AOR star Jude Cole is back on board to lend his expertise on "Smoke & Mirrors" - he also plays, sings, and co-writes extensively on this record, so they should just make him a fifth member of the band. Other guests include Daughtry on "Had Enough", which was co-written by Richard Marx. The infectious first single, "Halfway Gone" is the clear stand out on the record, but other notables include "All In", "Falling In", "By Your Side", and the title track. "Wrecking Ball" marks bassist Bryce Soderberg's first lead vocal with the band - his style and tone is very similar to Jason Wade, so most listeners may not even notice the switch. Lifehouse seemed to struggle in writing a compelling ballad like "You and Me" this time around, but the introspective mid-tempo closer, "In Your Skin", is quite good and ends the record on a high note.

The "deluxe" version features a second disc with 4 extra songs that were probably not deemed strong enough to make the original release. I despise this shameless tactic of milking fans for more of their money while being wasteful in making an entire second CD to hold a paltry 4 tracks that would easily fit on the main release. Even worse is that the only track on the deluxe version worth hearing more than once is "Crash and Burn".

In short, "Smoke & Mirrors" is another solid, by-the-book effort from Lifehouse, a band that is consistent but opening themselves to criticism that too many of their albums all sound alike. The 'deluxe' version is not worth the extra money - curse the record labels that engage in this greedy and wasteful practice!

iPOD-worthy: 1, 3, 4, 7, 8, 11, 12

Lifehouse on MySpace. Official site.

Check out the video for the first single, "Halfway Gone":

Review: Vertical Horizon "Burning the Days"

After a near 6 year break, Vertical Horizon has quietly crept back with a new CD entitled, "Burning the Days". The record picks up right where "Go" left off, serving up light rock with a punch, made more interesting thanks to the signature delivery of capable vocalist Matt Scannell.

Vertical Horizon gets a little help from friends on this offering. Neil Peart (Rush drummer) lends a hand on "Save Me From Myself", "Welcome To The Bottom", and "Even Now", which he also co-wrote. Richard Marx tickles the ivories on the schmaltzy ballad, "Here", a song that would sound right at home on one of his recent CDs. Marx also lends a hand producing some of Scannell's vocals. In case you missed it, Marx and Scannell have been quite the collaborators recently; Scannell helped Marx remember what it is like to rock on his CD "Emotional Remains" (see review here).

Fans of the last two Vertical Horizon records should delight in "Burning the Days". Nothing is as intensely radio-friendly as their hits "Everything You Want" or "You're a God" - it takes a couple spins, but great rewards await as the hooks begin to reveal themselves. Like many of Scannell's songs, the verses can be a bit quiet and mundane, but he more than makes up for that with a soaring and memorable chorus. No song really races past mid-tempo, so listening to the album all the way through can be a chore, especially towards the end where the songs get significantly longer but less interesting. But in isolation, many of these songs are terrific, and to hear Scannell's voice back in action is a real treat. Highlights for me include "All Is Said and Done", "The Lucky One", "The Middle Ground", and "Carrying On".

iPOD-worthy: 1, 2, 3, 4, 6, 9

Vertical Horizon on MySpace. Official site.

Review: Richard Marx "Sundown" and "Emotional Remains"

Richard Marx has not fallen off the face of the earth - he is busy in Chicago quietly cranking out new music available through his web site. Like many fans of his initial work in the late 80s and 90s, I became increasingly disenchanted with his more recent output of sleepy ballad after ballad. 2004's "My Own Best Enemy" was supposed to be a return to form of sorts, but did not capture my attention like past masterpieces including his self-titled debut, "Repeat Offender" and "Paid Vacation".

Now Richard Marx is back with three (!) new releases for 2008. The first is a collection of acoustic recordings done with Matt Scannell of Vertical Horizon. I am sure they are nice, but there is only one new tune - the rest are covers of their respective past works. I was much more interested in the new studio material from Marx.

"Sundown" was no surprise. Another batch of big zzzzz from Marx. The first few notes and I shook my head in disappointment, knowing I would have to brew a big pot of coffee to get through this one. Nothing against his balladry - the guy has penned some timeless classics that I still give me goosebumps at times. But the ones on "Sundown", much like those on flops like "Flesh and Bone" or "Days in Avalon", seem uninspired and forgettable. The record also has a lot of cover tunes, including many that have been overdone already. Seriously, if one more artist tries to cover "First Time Ever I Saw Your Face" again, they will be banned from my iPOD! Besides everyone and their brother re-recording this, no one is going to top Roberta Flack, OK? Also included are uneventful covers of the classics "Wild Horses" and "And I Love Her", sung with Jessica Andrews and Vince Gill, respectively. Finally, there is a head scratching rendition of Sade's "Ordinary Love". The original Marx tunes don't mean nothin' with exception of "Can't Stop Crying".

iPOD-worthy: 7

Now the pleasant surprise. "Emotional Remains" is the Richard Marx CD I know that many fans like me have been waiting for...largely up-tempo, engaging, catchy, and - what it this? - a lot of loud, electric guitars! Marx cashes in on some favors from old friends and collaborators like Fee Waybill (The Tubes), Kenny Loggins, and new pop rockers like the talented Graham Colton and the aforementioned Matt Scannell. These winning grooves have awakened Richard's inner child - Ricky, if you will, genuinely rocks out and his characteristic rasp is a thrill to hear once again. The production is top notch with a modern rock feel that has the potential to attract a whole new generation of fans, including kids who like Vertical Horizon, Lifehouse, or even 3 Doors Down. Who would have thought? Unlike "Sundown", "Emotional Remains" is full of excellent, melodic tracks. And yes there is a ballad - but it is a return to the kind that made Marx famous. "Through My Veins" is a touching piece written in the memory of his father - it starts with gentle piano and climaxes in a rousing swirl of crashing guitars. In addition to this track, I'd pick "Over My Head", "From The Inside", and "Done To Me" as the standouts in this batch of very strong songs.

"Emotional Remains" is unlike any other CD he's released and in a perfect world would make Richard Marx a viable artist heard all over the radio once again.

iPOD-worthy: 1, 2, 3, 4, 5, 8, 9, 10, 11

Richard Marx on MySpace. Official site.

Trivia Corner: Mr. Mister Cher

In the mid to late 80s, Cher was cranking out a healthy dose of pop rock and AOR with the help of some big league players in game at the time. Her 1991 effort "Love Hurts", for example, features songs by Diane Warren and Desmond Child and production by Richie Zito and Bob Rock, staples of many a hairband.

Other familiar guests to melodic rockers will recognize the work and backing vocals of Richard Page (Mr. Mister) on the hit track "Save Up All Your Tears" and her duet, "One Small Step". "World Without Heroes" has songwriters as diverse as Paul Stanley and Gene Simmons (Kiss) and Lou Reed, with Steve Lukather on guitar (Toto) and Richard Marx on backing vocals - can you imagine all those folks in the same studio at the same time? Steve actually lends his guitar talents to many tracks on this CD. AOR master Kevin Chalfant is also credited for the track "Who You Gonna Believe".

Finally, we have a cover of the Nazareth classic, "Love Hurts" featuring Gunnar Nelson on backing vocals and Jeff Porcaro on drums. If you were a fan of Heart or any other artist/songwriter here, this CD might be worth a second listen.

Trivia Corner: Kenny the Wet Sprocket

Back in 2003, a lot of people were picking up the phone and replying, "Kenny who? Loggins? No kidding? Sure I'll meet you halfway and do a song with you!"

Soundtrack god and AOR mastermind Kenny Loggins released "It's About Time" later that year, trying to redeem himself from the gut-wrenchingly awful "The Unimaginable Life" from 1997. Not quite the return to form that would be "How About Now" (read our review here), "It's About Time" ain't half bad and boasts a surprising number of diverse collaborators of songwriters and performers I have enjoyed over the decades.

First up, 70s singer/songwriter Michael McDonald joins in on the title track, trying to recapture a little of the soulful feel of their previous work together, 1979's "This Is It" and 1982's "Heart To Heart".

Then enter 80s singer/songwriter Richard Marx, who works with Loggins on plenty of the ballads (surprise). They actually sound good harmonizing together, and I did not need the linear notes to tell me that Marx was doing back up vocals. His distinctive rasp sounds great on these tracks - I just wish he could remember how to write an uptempo song.

Next up we have 90s singer/songwriter Glen Phillips of Toad the Wet Sprocket helping out with a track called "This Is How My Song Goes". I would never have guessed this match up, but it was a pleasant surprise to see them working together. I don't like the song too much, though.

And appropriately, we have Clint Back helping out with the country-flavored track, "Alive N' Kickin'".

Curiously, all of these guests are thanked in the linear notes EXCEPT Glen Phillips. What's up with that, Ken?

Trivia Corner

Richard Marx was one of the backing vocalists on this 1985 release by Christopher Cross, "Every Turn of the World". Watch for the long awaited reissue out October 7, which will be available as a 2CD set with 1988's "Back of My Mind": get it here.