Richard Marx talks to Bobby Bones about his incredible career and how he feels like he has two versions: one has a singer-songwriter, and one writing hit songs for artists like NSYNC, Keith Urban and more! He talks about how he got his start in music, moving to LA right after high school to chase his dreams, and the adversity has he faced. He also shares the time he became a backup singer for Kenny Rogers and went up to him in the studio and pitched him a song he wrote. Richard also reveals the song he was told would never work but ended up becoming a huge hit and more!
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Episode Transcript
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Speaker 1 (00:06):
David Foster, the producer who was a hero of mine
when I met him. I'm incredibly talented guy, but he
told me I shouldn't sing because he's just you don't
have it, like you don't oh like you got it.
Speaker 2 (00:17):
You should just write songs.
Speaker 3 (00:20):
Welcome to episode four oh four. It's a Bobby cast
with Richard Marx. Been a big star for a long time.
For example, a number one song from nineteen eighty nine,
right here Waiting Wherever you Go, also hold On to
the Nights, hold On Endless Summer Nights.
Speaker 4 (00:42):
Tells Ollie had.
Speaker 5 (00:47):
Satisfied.
Speaker 3 (00:50):
And then he's written a bunch of songs too, like this,
I promise you that he wrote for in Sync Better Live,
Keith Urban, Colmont's Summer Keith Urban. We could keep going on.
He got fourteen number one songs, so listen. He's awesome,
super funny, super nice. Met him on the phone a
long time ago. And then and we're gonna feature some
(01:12):
of this on the radio show. But the great thing
about this podcast is we can do an hour I want.
If they call him Richards, his friends, I think I'm.
Speaker 5 (01:18):
Rich Richard, Dick Oby, Richard. Do you think Richard Hey Richard.
Isn't he super nice?
Speaker 2 (01:22):
Yeah, he's awesome, like.
Speaker 3 (01:23):
Funny and like dry but not so dry. You're confused
if he doesn't like you or.
Speaker 2 (01:28):
Not casually funny ynh.
Speaker 5 (01:30):
Yeah, so really enjoyed. It.
Speaker 3 (01:31):
Talks about his parents, how he got into songwriting, moving
to la It's just really cool. We're super pumped that
this happened because kind of accidentally, Abby just messaging and
was like, will he call it to the studio.
Speaker 5 (01:44):
The lunchboxs had to go pick him up. Is all weird.
That's the deal.
Speaker 3 (01:48):
Here he is episode four oh four follow him at
the Richard Marx m A r X and he's doing
a whole show Richard Marx dot com. He was here
in Nashville. He's doing all the hits, full band, thank you,
and away we go. I'm a massive fan, so just
I'll geek out and say thank you. I was telling
the show that if either one of the versions of
your career it would just be isolated, you'd be a
(02:10):
Hall of Famer, either the artist part or even just
the song.
Speaker 2 (02:14):
Because there's two, there's no chance.
Speaker 5 (02:15):
It's you know, it's like I would say, You're like,
it's like splitting the vote.
Speaker 3 (02:20):
So so yes, No, I don't think so. I think
it's like Tom Brady, Okay, there you go.
Speaker 2 (02:25):
I'm gonna go with that.
Speaker 3 (02:26):
Because if you take the first half of his career,
he's still in the Hall of Fame. True, take the
back half his career, he's still in the Hall of Fame.
Speaker 2 (02:32):
I've been really lucky, actually, but.
Speaker 5 (02:36):
Luck? Do you even believe in luck?
Speaker 2 (02:38):
Yeah? I think you make your own.
Speaker 5 (02:39):
Okay, fair, what's the luckiest thing to ever happened to
you then in your career.
Speaker 1 (02:46):
The luckiest thing that ever happened in my career would
be being born to the parents I was born to
who were not only super supportive, but musically talented. So
I think I got some genetics, So that was luck.
Speaker 5 (02:58):
Did they play or they just have a lot of
music in the house.
Speaker 1 (03:00):
My dad was just a badass musician, but like best
piano player I ever heard, jazz piano player, classical jazz,
and then he became a jingle composer, producer, and orchestrator, conductor.
He was like the most talented musician I ever knew.
And my mom was a great singer. Outwardly publicly, she
(03:21):
sang on all the commercials that my dad did.
Speaker 3 (03:22):
Do you think that you kind of acquired that through
being around it as a child, or were you drawn
to it because you wanted to impress or have that
closeness with your parents.
Speaker 2 (03:33):
I don't.
Speaker 1 (03:34):
I started singing before I could talk, I think, so
it was something I always did. It wasn't like a
conscious decision. And then when I was probably like five
or six, I was singing monkey songs around the house
enough that my dad said, you know, we're doing a
candy bar commercial. I wonder and he put me behind
the microphone in the studio and that was it, and
(03:55):
I just went to it, you know, I just it
was like the most natural thing. And then the songwriting
thing was natural in high school in that I was
just trying to pick up girls, you know, like I
didn't have game.
Speaker 3 (04:08):
So you were like super I mean, because you've been
super good looking as long as I've known you.
Speaker 5 (04:14):
No, but I mean I used to like know't know me.
You know you were.
Speaker 3 (04:19):
You Were you the awkward kid or were you the
guy that says you were the awkward kid?
Speaker 6 (04:22):
Now?
Speaker 5 (04:22):
But you're always the.
Speaker 1 (04:23):
Oh fact, I know you know no if you asked,
In fact, tomorrow night, my first crush is coming to
the show. Her name is Lynn, and she would if
she were here, she would probably tell the truth, which
was that I was I just didn't have girls wanted
to be my friend, you know what I mean, Like
(04:44):
that's the last thing you want to hear when you're
a sophomore in high school. But I I just thought,
you know, well, I got to do something that sets
me apart in order to create game. And so I
started writing songs and playing.
Speaker 3 (04:58):
And you know, when parents have a career, especially an art,
A lot of the folks that I know are like
my parents did not want me to do this because
they saw exactly how hard it was.
Speaker 5 (05:08):
What was your relationship like with.
Speaker 3 (05:09):
Your parents whenever you say, thank you, thanks for exposing
me to this, but now I want to go do
it for real?
Speaker 2 (05:15):
There was no There was no pushback.
Speaker 1 (05:18):
The fact that I went to my parents in my
senior year of high school and said, you know what,
I'm actually not going to go to college next year.
I'm going to go out to LA and try to
make it out there. The first thing they said was, go,
do you know you can always go back to school.
Speaker 2 (05:32):
Wow?
Speaker 1 (05:33):
And they said, you know, even my dad was like,
don't have a backup plan. This is your only plan.
Just go make it happen. And so to have parents
who were both so supportive was key. And again it
goes back to luck because you know, you don't pick
your parents.
Speaker 5 (05:49):
Did you do the band thing in high school? Did
you go with a group of buds?
Speaker 7 (05:52):
Oh?
Speaker 2 (05:52):
Man, I tried.
Speaker 1 (05:53):
I tried to put bands together left and right, and
nobody took it here. I came from a suburb of
Chicago where the idea of being in the arts, the
idea of being a rock star or any of that
was such a pipe dream. You were going to be
an accountant, you were going to be a lawyer. Where
I grew up that there was nobody from there really
(06:14):
that had done that. So nobody really took it seriously.
So I just dove into songwriting, which was actually great
because a few years later when I did go out
to LA that's kind of how I started to get
going as a writer for other people.
Speaker 5 (06:28):
But were there songwriters where you were a nobody?
Speaker 2 (06:33):
So I was the only kid in school?
Speaker 3 (06:34):
How did you learn to write songs by yourself at
a place where no one else is really writing songs
like you were writing songs.
Speaker 1 (06:42):
I went to the school of Elton John and Billy
Joel and the Eagles, and that's all I did. When
I wasn't doing math homework, when I wasn't doing the
school work that I was forced to do, I was
just listening to music and memorizing every nuance of every record.
I was paying attention to production and arranging, and I went.
Speaker 2 (07:03):
To like I just studied it like out of love.
Speaker 1 (07:07):
So when I ended up in LA at eighteen, I
got my first job was singing background vocals on a
Lionel Richie record.
Speaker 2 (07:15):
He was really the catalyst.
Speaker 1 (07:16):
He was the guy he heard my demo tape of
my first couple of songs and actually called my parents' house.
This is when he was like leaving the Commodorees and
maybe next to Michael Jackson, arguably the biggest star in
the music business. This guy took the time to call
some kid in Chicagi didn't know, and he just encouraged me.
(07:37):
He said, you know, I really like your voice and
these are your first songs. Man should have heard my
first songs. So I when I moved out to LA
he had me sing some background vocals and then he
recommended me as a singer to Kenny Rodgers, his buddy,
and that's how I started writing songs.
Speaker 2 (07:52):
I wrote songs for Kenny Rogers. That's how my songwriting
career started.
Speaker 3 (07:55):
It's funny that Lionel, because I know Lionel pretty well
from working with him. I went through some stuff and
he pulled me aside and like give me advice. He's awesome.
Speaker 5 (08:02):
But it's funny. He's always been that way.
Speaker 1 (08:04):
He's always been that way. He's a class act, and
he's so generous with his time.
Speaker 2 (08:09):
He's a little bit. I really don't know anybody else.
Speaker 1 (08:13):
I've never known anybody else who has that level of
grace about themselves and who go out of their way
to be encouraging of people where there's going to be
nothing paid back.
Speaker 2 (08:24):
He's just that good a guy.
Speaker 3 (08:26):
And so I recommend you to Kenny Rodgers and you
go to sing background vocals for Kenny.
Speaker 5 (08:32):
So are you the guy?
Speaker 2 (08:33):
Yeah?
Speaker 5 (08:33):
Are there three behind? And you're doing the dances at
the same that.
Speaker 1 (08:37):
No, I'm only in the studio, just work, Yeah, got it.
I get hired to work for two days on this
Kenny Rodgers album and it was in them like towards
the end of the making of that album, and so
I go in and I've sang some bat some harmonies
and stuff on this one track or two tracks, and
then I knew I was coming back the next day.
And during the session I overheard Kenny say, was producer
(09:00):
that they still needed one more song, and he even
described it.
Speaker 2 (09:03):
He says, man, we still need one more ballad. We
need that like sort of lion ash ballad. We got
to find it.
Speaker 5 (09:08):
You hear this conversation happening.
Speaker 1 (09:10):
I overhear this conversation. I go home to my apartment
in La I write a song. I come back the
next day and I do exactly what the background singer
should never do, which is go up to the.
Speaker 2 (09:25):
Artist and say, I'm a songwriter. I've got a song.
Speaker 1 (09:29):
And again Grace, Kenny Rodgers could have immediately called security
and had me escort it to my car, and instead said, well,
let me hear it. And we sat down at the
piano and I played it. My hands are shaking, and
he liked it.
Speaker 5 (09:44):
And you knew it. You can remember it. Did you
memorize it from that?
Speaker 2 (09:46):
No? Yeah? Really?
Speaker 1 (09:47):
Oh yeah, yeah yeah. And it was a number one
country song and the.
Speaker 5 (09:51):
Song was craze.
Speaker 2 (09:56):
Crazy for you kids. You see that's.
Speaker 1 (10:00):
My Kenny Rodger's like eighty five or so eighty crazy
eighty four maybe, Yes, I was nineteen when I wrote it.
Speaker 3 (10:07):
Did that song fall out of you that night? Did
you feel like do you feel like they just come
from special places or were you just.
Speaker 5 (10:12):
So get it?
Speaker 1 (10:12):
Most of them do, Yeah, especially when you're inspired by opportunity.
Like to me, that was I thought, Okay, I'm going
to be able to hand a song. Well, you know,
I'd made a little cassette tape of it. He didn't
want to hear that. He just wanted me to play
it on the piano. I wouldn't have had that opportunity
had I not been in there as a background singer.
Speaker 2 (10:31):
So I looked at all of I look at all
of these.
Speaker 1 (10:34):
Things historically as being you know, writing to an opportunity.
Speaker 2 (10:39):
Do you know what I mean?
Speaker 5 (10:39):
I do?
Speaker 3 (10:40):
And so you found the opportunity, you shot your shot. Yeah,
that one happened to work. Yeah, but you went from
being a background singer to now you're a writer that
has a song, a song went number one?
Speaker 5 (10:50):
So then what do you do?
Speaker 3 (10:52):
You do you then focus on songwriting more or do
you still want to sing instant it because you have
got two paths now you can choose from.
Speaker 1 (10:59):
Yeah, well, I mean all along, I'm writing pop rock songs,
so you got to get a deal. I'm getting rejected
by every.
Speaker 5 (11:04):
Right, but now you have you have door that's been opened, right.
Speaker 1 (11:07):
Yeah, And then I started getting a lot of work
as a background singer and then writing songs for different people.
But you know, along the way, I like David Foster,
the producer who was a hero of mine when I
when I met him, and incredibly talented guy. But he
told me I shouldn't sing because he's just you don't
have it, like you don't, oh.
Speaker 5 (11:27):
Like you got it.
Speaker 2 (11:28):
You shouldn't. You should just write songs. You're not you're
not an artist. You're not.
Speaker 1 (11:32):
You shouldn't make records. You shouldn't even try for a
record deal. And luckily I didn't listen to him.
Speaker 5 (11:39):
Did you? Did you think for a while maybe you
should listen to.
Speaker 1 (11:42):
Him only because we had at the time, we had
a pretty close friendship. And it kind of killed me.
It's like your dad saying, you know, you're kind of unattractive.
But I then it sort of just turned a little
bit into fire in my belly like to prove him wrong,
which was in a sort of big brother kind of way.
Speaker 2 (12:04):
We joke about it.
Speaker 5 (12:05):
Now, so you guys are cool now.
Speaker 2 (12:06):
Yeah, we hardly see each other, but when we do, you.
Speaker 5 (12:09):
Don't want to, you don't we joke about it.
Speaker 2 (12:10):
When you see him, No, I punched him a long
time ago.
Speaker 3 (12:13):
So from eighty four or eighty five, when that song
comes out and before eighty nine is right Here Waiting?
Speaker 5 (12:20):
When that fian when that hits number one?
Speaker 2 (12:21):
Right, some of my years are yeah, well the first
album was eighty seven.
Speaker 3 (12:25):
So when does right Here Waiting become a massive hit?
When I would see you on TV?
Speaker 1 (12:31):
Well that was like my fifth top five single or
so what really? Because we had don't mean nothing? Should
have known better and the summer nights.
Speaker 5 (12:39):
I'm a massive Cubs fan, so my first memory of you.
Speaker 1 (12:41):
Oh was the Cubs video That was like a couple
of years after Right Here Waiting.
Speaker 3 (12:46):
Because I knew right Here Waiting for hearing on the radio.
But you didn't always know what people look like.
Speaker 2 (12:51):
Right.
Speaker 3 (12:51):
It's way different than now where you just easily get
on Instagram see people's faces.
Speaker 5 (12:55):
Right, But what I kind of put it all together
was me.
Speaker 3 (12:58):
I mean, listen, I was a massive Cubs fan, you know,
Mark Gray, Samberg, Vance Laws, Sean Dunstan mad All.
Speaker 5 (13:04):
I mean it was diehard.
Speaker 2 (13:05):
Yeah. And I had Greg Maddox in my video that
that video.
Speaker 3 (13:09):
Yeah, well I don't remember that, but I just remember thinking,
that's my guy.
Speaker 5 (13:12):
I don't know what that's him. He's a coup.
Speaker 2 (13:13):
That guy with that big fluffy mullet. That's my guy.
Speaker 5 (13:16):
Yeah, that that's my guy right there.
Speaker 3 (13:18):
So your first as an artist who gave you the
first shot there to go, Hey, we'd like for you
to make a record as an artist as you.
Speaker 1 (13:25):
Oh, there was a guy we just lost him a
few years ago, but he was sort of a kind
of a Clive Davis esque executive named Bruce Lundball and man,
he heard the same songs that every other label had
rejected for years and he just loved them and he
he's like, I love what you do. Go let's go
make a record. And I got signed to a one
album deal with this little subsidiary em I, and the
(13:49):
first single just blew up and that was it. We
were off to the races for you know me, nothing
day Joe Walls should played guitar on it, like so
many things fell into place so quickly and easily that
it was a little like is this really happening? And
I had Timothy Schmidt and Randy Meisner singing back, So
(14:09):
I had three Eagles on my first single. You think
that helped get on rock radio?
Speaker 5 (14:14):
Little bit Schmidt he's a soprano.
Speaker 1 (14:17):
Yeah, he's the guy that sang I can't tell you
what yeah, yeah, yeah dang.
Speaker 3 (14:23):
So you're like baptized into greatness right there with your yeah.
Speaker 5 (14:27):
And do you think, like you just said, man, is
this all going to be so easy? And does it
get easier?
Speaker 6 (14:32):
Like?
Speaker 3 (14:32):
When was the first When was the first adversity you
had as an artist? Because you come out and you
got a big song? When does that first?
Speaker 2 (14:38):
Better?
Speaker 4 (14:38):
Way?
Speaker 1 (14:39):
I had adversity in that I never had success because
or because of or with the support of my record company.
After the guy that signed me, I did one album
and then he got booted, So then I had to
deal with guys who didn't who hadn't signed me, and
it was just everything was a battle. The song choices,
the single choices. I was told by the label that
(15:03):
right here Waiting would never be a hit. Because it
had no drums like stuff like that, and we would
just sort of you have to bet on yourself and
you have to have a level of non compromise in
order to see your Like, I'm fine to fail on
my own, like if it's my fault, it's my fault.
(15:24):
But I don't want to fail because you screwed.
Speaker 3 (15:25):
Up, you know what I mean, because I'll never forget
that I screw up a lot and you'd want to
punch me. Yeah, yeah, it's my fault.
Speaker 5 (15:30):
Yeah yeah.
Speaker 6 (15:31):
Let's take a quick pause for a message from our
sponsor and we're back on the Bobby Cast right.
Speaker 5 (15:44):
Here, waiting. Song you're known for most, would you say?
Is that the one?
Speaker 2 (15:47):
It's probably?
Speaker 4 (15:48):
Yeah.
Speaker 5 (15:48):
Do you play it last?
Speaker 2 (15:50):
Yes?
Speaker 1 (15:51):
Because you can't follow it because it's one of those
songs where, like you know, you can't like once you
play that. I mean, I've done that before and it
has worked, But there's just something about that song around
the world, you know. I remember, you know, not that
long ago, I took a while I was in Australia
and touring, and I had the morning off to myself
(16:11):
and I was walking through this little off the beaten
path of this little town and it was early in
the morning, and this woman that she owned a flower
shop and she was setting up the display, so the
door was opened to the store and she was she
had her back to the street, and as I passed,
she was singing right Your Waiting. As I walked by.
(16:32):
Of course, I was tempted to go, hey, that's me,
but I just stood there and got the biggest smile
on my face because it's the other side of the world,
you know, And I'll go to Sri Lanka and I'll
start playing that song on the audience, start singing it.
You know, it doesn't matter where in the world. So
I even though I've had other number one songs, there's
(16:56):
nothing that sort of compares to that's almost like, right
Your Waiting has sort of become like yah, you know,
like the kids know it.
Speaker 5 (17:02):
Did you ever have a phase where you're like, I
don't want to play that anymore?
Speaker 4 (17:05):
No?
Speaker 5 (17:05):
Ever, No, of course not. I could feel a lot
of obviously, you know.
Speaker 1 (17:11):
I know I don't get that like and maybe it's
I think it's less with the people who wrote their hits,
because if you if we're lucky enough to have written
and created these songs, that people really love? Why would
you not want to play it? I mean I don't.
I haven't lost any love for I mean some I
like more than others. But there's none in the setlist
that I ever go, oh God, not that one again,
(17:33):
because I wouldn't have recorded it if I didn't think
it was a good song.
Speaker 3 (17:36):
Do you play that one on guitar? You have a
guitar with Did you play right here wedding on guitar
or just piano?
Speaker 2 (17:39):
I can I play it on the piano and my show?
Speaker 5 (17:41):
Can you give us a little bit on guitar?
Speaker 3 (17:43):
Sure?
Speaker 1 (17:45):
Oceans apart, day after the day?
Speaker 2 (17:52):
Investingly see he you lo.
Speaker 4 (18:00):
On the life, but it just stop the pain?
Speaker 2 (18:09):
Fascytever. How can we say.
Speaker 4 (18:17):
Forever, wherever you go, whatever you do, boun, We'll be
right here wait for you, whatever it changes, for how
my heart breaks, bown will be right here waiting.
Speaker 5 (18:44):
For you.
Speaker 3 (18:47):
Reginald Key thinks, so yeah, yeah, awesome, it gets still
singing original Key?
Speaker 2 (18:52):
No thanks, yeah, dang.
Speaker 5 (18:54):
You know sometimes it's like, well.
Speaker 1 (18:58):
I'm almost sixty's talk to me in ten years and maybe,
well that's awesome.
Speaker 2 (19:02):
Maybe I'll be.
Speaker 3 (19:02):
Like, so you ever do one of the bad one
of the bad deals that we see like TLC or
Backstreet Boys. You ever signed one of those crazy deals
and you're like, now I owed seventy two records and.
Speaker 1 (19:12):
Oh no, no, no, no, no. I luckily, you know. The
other thing to talk about luck and my parents. My
father was a not only a really brilliant musician and
you know, creatively brilliant, but he was a really good businessman.
So he kind of taught me that it was the
music business. So I always I don't think I've ever
really made a bad deal. You know, kept my stuff,
(19:37):
and I think I'm pretty I've been pretty smart with
the business of music.
Speaker 3 (19:42):
Yeah, did you ever get to a stage creatively where
you thought, you know, I really love the music I've
been writing, but I think now I want to do
like a metal record or put a hip hop I
just just wanted to change something.
Speaker 5 (19:52):
Did you ever have that feeling?
Speaker 1 (19:56):
Not to that degree, but you know, I actually, during
the pandemic, I did a you know, the band Trivium.
Matt Heathy, the guy, the guitar player, singer, the screamer
really from that group reached out to me and said,
I got this idea for a metal version of radio waiting,
and we did it and it's it's actually pretty cool.
Speaker 5 (20:15):
What did you do on it?
Speaker 1 (20:17):
I sang it and then he screamed, yeah he did that,
but I sang it really differently. I sang it in
a way that it kind of didn't sound like, well,
you know, it wasn't.
Speaker 2 (20:27):
I was like with a lot of edge to it.
Speaker 1 (20:29):
Yeah, it was pretty cool. And I'm you know, as
a songwriter. You know, I've been able to write for
all these different artists, from country artists and R and
B artists and rock bands and stuff like that. So
I feel pretty comfortable jumping genre to genre, but like
to do a to do a hip hop record or something,
(20:50):
it would just be inauthentic.
Speaker 5 (20:52):
Did you ever want to put a rapper on any
of your songs in the nineties.
Speaker 1 (20:56):
No, that wasn't the music that I was making. I
loved it, but it wasn't what I was doing.
Speaker 3 (21:01):
Pop music is really wild because it's it's so global.
I would imagine you've had your hits in countries where
you have no idea what the language is being.
Speaker 1 (21:11):
Yeah, and they sing it in yeah, broken English, they
just like right here waiting, And then it's not just
that one. They're a handful of songs that were no
matter where I go. You know, I wrote this song
years ago called Hazard that's like this murder mystery set
to music. That was a big hit for me in
like early nineties, and I've played in It's a story
(21:31):
song with characters and a plot, and I'll have people
in Germany and like, the song was a hit in
all these kind like it was. It was number one
in like fourteen different countries, and most of them were
non English speaking countries, and it just baffles me that
people could be into it like that, you know what
I mean, Like I understand a really catchy, poppy song,
(21:53):
but this is like this minor key dark. I never
thought it would be a hit. I just wrote it
as a sort of like as an exercise because I'd
never written a story song before. And the song just
blew up around the world. And to this day, I
have people ask me about it, and I play it
and people sing it, and it still blows my mind.
Speaker 3 (22:11):
You have all these number one songs as a performer,
as a songwriter, did you ever get to a stage where,
like I'm tired of touring, Like you're just literally physically tired,
And did you ever focus in on songwriting, like I
need to get this creative out of me. I'm going
to do it this way, or did you just have
all these songs that's what you did anyway?
Speaker 1 (22:29):
No, I definitely like at the end of about ten
years where everything just fired on all cylinders, nothing but hits,
nothing but big tours and all that. I finally, after
like ten years, I put out a record that went
double plywood instead of double Plattin and it was sort
of like it was the end of the nineties. It
(22:49):
wasn't just me, it was all the guys sort of
lumped in with me, Brian Adams and Michael Bolton and
Billy Joel and like all of us, all the white
male singerswriters kind of stopped getting played on pop radio.
And I thought, Okay, do I contort myself into something
to try to or do I just write songs? And
(23:12):
I thought, you know what, if this is it, this
is it. I've had a great ten years, but I've
got a lot of music in me. And so I
really then stopped touring, stopped making records for a while
for years, and just focused on writing and producing. And
luckily that career immediately sort of blossomed, and so then
I got to write. I wrote songs in Sync and
(23:33):
Josh Grobin and a bunch of country artists and like
all over the map.
Speaker 3 (23:38):
The in sync song this, I promise you we were
talking about it before you came in.
Speaker 2 (23:42):
When you wrote that.
Speaker 3 (23:43):
Did you write that for you or was it for
in Sync or was it for I'm writing this and
we'll see who fits.
Speaker 1 (23:50):
I got the call to see if I had a
song for Instinct right after I had written it, and
I had written it for this girl trio, this all
sister trio that I had seen at a friend's wedding,
and I was going to help try to get them
a record. They were amazing, and I tried to get
them a record deal, but their father was a real
sort of he had to be involved in everything and
(24:12):
he wanted to be part of the group, and it
was just it got kind of funky. So I kind
of backed out of the whole thing. But I had
written they didn't write songs, so I thought, I need
a really great three part harmony song for this girl group,
and I swear to God man, once I bailed out
of that deal, I think it was like within a week,
I get a call do you have a song for
in Sync? I was like, why, yes, I do, And
(24:35):
luckily they loved it, and then I went and produced
it and worked with those guys and it was a
big hit.
Speaker 3 (24:39):
In the early two thousands when CDs are being bought
and that's a massive hit. Is that real money?
Speaker 2 (24:45):
Oh man? Because it was no compare.
Speaker 1 (24:48):
You know, I have three sons and they're all musicians,
songwriters and singers. My middle son, Lucas has had somewhat
of a he's getting there, you know. He had a
Katie Perry cut like a year and a half ago,
and works his ass off and really talented. But we
were all sitting around, a bunch of us were sitting around,
Lucas was there, and we're talking about just this how
(25:09):
the music business has changed, especially in terms of like
when a big hit, what does a really big hit
mean for you? And he said to his friends in
front of me. So, you know, back in the day,
if dad wrote a number one song, he could buy
a house. And if I'm part of a number one
song now I might be able to buy a case
(25:32):
of nut rageous bars. It's kind of not that big
an exaggeration.
Speaker 3 (25:38):
Right. So the Keith urban stuff I think is always
interesting to people that know country music because too Keith's
most famous long lasting songs. Yeah, you know, there were
hits and last because there are hits that don't last.
Speaker 5 (25:52):
There are songs that aren't hits to do last, right,
But these are two that were hits and he still
plays and people still love like Long Hot Summer. Yeah,
when you wrote that song again, who were you writing
it for?
Speaker 2 (26:05):
Oh? No, The songs that I've had hits with Keith
we wrote together.
Speaker 3 (26:09):
So okay, so those were Keith specifically written songs. Does
Keith come to you and go, hey, Richel, I want
to write with How does that even come together?
Speaker 2 (26:15):
Yeah?
Speaker 1 (26:15):
We were put together right after his first album. There
was a guy here in Nashville, a publisher who knew
how to reach me. Somehow knew I was coming to
town more and more. I had written with a couple
of people here, and they sent me Keith's first record,
which I thought was great, And then we got together
and we tried writing. We wrote together for maybe a
(26:38):
year or two and never finished anything, like it didn't
really click. And then I was living in Chicago at
the time. And he he came to my house and
stayed with me for a few days. And it wasn't
it was just through sort of to hang out.
Speaker 2 (26:53):
He wasn't.
Speaker 1 (26:53):
He was just sort of like trying to take a
break from the pace of his career, and he kind
of came and hit out at my house. It was
over a Super Bowl Sunday, I remember, and during I
think it was during halftime, we just went down to
my studio and we picked up guitars and within like
ten minutes, Sunday You and I gonna be the ones
(27:17):
that was better life. It was like, that's how it happened.
It wasn't like, hey, let's get together and write a song.
But because that song became so big, you know, he
would then every couple of years he'd say, hey, let's
try it again.
Speaker 7 (27:31):
The Bobby Cast will be right back. This is the
Bobby Cast.
Speaker 5 (27:44):
Do you play the Keith and you your songs? When
you play your shows?
Speaker 2 (27:48):
I do long hot Summer, sometimes you do.
Speaker 5 (27:50):
Yeah, you play a little bit of that you care.
Speaker 1 (27:51):
Yeah, it's gonna be a long hot summer.
Speaker 2 (27:58):
We should be.
Speaker 4 (27:59):
Together with feet upon the gesh board now singing.
Speaker 2 (28:03):
Along with the radio. It's such a beautiful person.
Speaker 4 (28:10):
Sweet you see my name is mele Love, dear, swear,
I see the stars come.
Speaker 1 (28:18):
Old man head and oh my swear it looks black.
You're waiting on the sound of gold. Damn the sunder God.
Speaker 5 (28:29):
Dam that's awesome.
Speaker 2 (28:40):
That's a fun one.
Speaker 5 (28:41):
Luther Vandre song danceing my father. I remember hearing it
not knowing who wrote it because I was just listening
to it. That's that's like, that's the that's a song. Yeah,
that's a song that I really proud to be. Yeah,
that one that even writing it.
Speaker 3 (28:53):
Like this, that's gotta come from something, right, There's gotta
be some emotion there.
Speaker 2 (28:57):
Yeah.
Speaker 1 (28:57):
Well, Luther and I were really like he was one
of my best friends, and we'd written a handful of
songs together over the years. He'd sung back on vocals
on some of my records, and I'd written a couple
of songs with him that he'd recorded up before then.
And I lost my dad in nineteen ninety seven, like
really tragically and suddenly, and Luther Vandross was one of
(29:22):
the only people who sort of knew what to say
to me.
Speaker 2 (29:25):
Who look.
Speaker 1 (29:26):
I remember we had this two hour phone call and
he really helped me. I was spiraling, I was with
my dad. We were really really close. And then like
six years later he called me and he said, I
got an idea for a song. I just have a title,
and I have to write it with you, and it's
danced with my father. And that's all we had was
(29:47):
just the title, and so as we had done before,
I went off and wrote some music and then sent
it to him and he came up with this whole
story that was just I mean, that's really the meat
of the song. I mean, And he wrote that song
about his own father, So I knew why he wanted
to write it with me, because he knew the connection
I had to my dad. But that song, you know,
(30:07):
like it was ten days after he mixed that song
that he had a stroke. It was the last thing
he ever did. But he lived long enough for us,
you know, to see us win the Song of the
Year and see the success of the song. He was
so proud of it. But I remember him saying like,
this is going to be the biggest song in my career,
and I was like, don't say things like that, don't
(30:28):
jinx it.
Speaker 3 (30:28):
But if he only knew every NCAA tournament at the
end of it one shining moment. Yeah, you know right,
it's got two that it made me feel completely different,
but both made me feel.
Speaker 1 (30:37):
I mean, sometimes it's like I've never written a song
that I thought was a hit. I have never had
that experience. I know, other song like Diane Warren, every
interview she goes, I knew that was a hit the minute.
I good for you because I have. I just write
songs that I like, but I've never been able to
determine what is a hit and what's not. So they
(31:00):
all been surprises to me, but some more than others.
And I really was shocked that dance with my father
has become so beloved, you know.
Speaker 2 (31:09):
But that's the there's just just magic in it, you know.
Speaker 1 (31:13):
It's all like writing a song to this day is
still a piece of magic to me. If I finish
another song, and I've written thousands of songs, and every
time I finish another song, I go.
Speaker 2 (31:25):
I can't believe that. I can't believe we just did that,
or I just did that.
Speaker 5 (31:30):
Do you like to write by yourself?
Speaker 1 (31:32):
Yeah, I do collaborate quite a bit, but my favorite
thing is to write by myself, and most of my
hits I've written by myself most of them.
Speaker 3 (31:41):
That's awesome for other reasons, you know, that's awesome.
Speaker 5 (31:46):
Okay, So a couple things here.
Speaker 1 (31:47):
One by the way, I really love the I don't
know if you guys know, but there was a real
dance this morning with the transportation, which was hilarious, which
was because when you guys asked me to come in, okay,
my wife and I get in last night. Yeah, and
they said, somebody said it's ten ten am. Yeah, as
long as it's not too early. And they said, and
(32:07):
they want to know, is it okay if they send
like an uber ax or I was like, yeah, no problem.
So then early this morning I get a text from
my guy in La saying Bobby was like, I'm not
sending an uber for him, so Abby is going to
pick him up in a Lexus and I was like, oh,
that's so nice. That's okay, great, thanks. Then like ten
minutes later, nope, dance coming in a black Porsche, and
I swear to god, I texted back, Okay, now I
(32:28):
want a bent Link and you know what.
Speaker 2 (32:31):
Do I hear it roles?
Speaker 5 (32:32):
Next time you will get just that. Okay.
Speaker 3 (32:35):
So you and a lot of the markets that our
show is in. You're doing shows all over the country,
so I definitely want to let all of our listeners
know all through October and we could roll through some
of them. Chicago, Saint Louis, Memphis, We're huge in Osaka, Japan.
So you're doing this what is this tour? What are
you doing at these shows? It is like a full well,
(32:56):
like what's the what's the show?
Speaker 1 (32:58):
Most of the shows that you just listened will be
full band shows. I do a lot of solo acoustic shows.
I played three or four nights at the Franklin Theater
last year. That was such a blast.
Speaker 2 (33:07):
It's just me.
Speaker 1 (33:08):
It's a storyteller show, and I tell jokes and if
somebody yells out a song, if I can remember it,
I'll do it. But for these for this next uh
next couple of years, I've decided I'm only gonna do
songs live that were songs that were not good enough
to make the actual albums. So the whole set list,
I'm kidding.
Speaker 3 (33:28):
I'd about to say, I'm not I'm not coming anymore.
It's all B sides that we've been Wow. Okay, all right,
first of all, all demos, all all show along.
Speaker 1 (33:37):
Can I tell you a really funny story. I'm gonna
name drop, but it's but I don't know him. I
just met him in an elevator.
Speaker 4 (33:44):
Uh.
Speaker 1 (33:44):
The one and only time I ever met Bono. And
it was a few years ago and I was my
son and I were leaving this restaurant and we're getting
in the elevator and these guys went, okay, can you
hold the elevator, And so we held the elevator and
one of the guys they walk in and it's.
Speaker 2 (33:56):
One of them's Bono. I was like, oh man, he goes, Richard, Hey, it'
nice to me.
Speaker 1 (34:00):
I couldn't believe he knew who I was. And so
we had this little chat and as the elevator was
about to open, he said, so are you on tour?
And I said, nah, I just do shows. And he
cracked it. He goes, oh my god, we need to
start doing that. And I said, well, you guys have
a different situation. But what I mean by that is
(34:22):
for years and years it would be like I'm touring.
I'm on tour to promote this thing. No, when you
get to a certain point, if you're lucky enough to
have had a catalog of songs. It's just I go
out and play the songs people want to hear, and
I pepper it with two or three new songs here
and there, but it's hits because that's what I would
(34:42):
want to go see. If I go see a band play,
I don't want to hear a bunch of songs from
the new album.
Speaker 3 (34:48):
I saw rim once. They only played their new album
and not a single hit.
Speaker 2 (34:51):
Well that's a dick move.
Speaker 5 (34:52):
That was tough. That's tough.
Speaker 2 (34:54):
That's a dick move to the audience.
Speaker 5 (34:55):
It is tough. Yeah, and I was really upset.
Speaker 3 (34:59):
Yeah, I was like, maybe they'll play what's the frequency,
Kenneth anything, Just give me one hit the very end
and they finished the final track of this new album
and good night. Yeah.
Speaker 5 (35:08):
I thought Richard Marks would never do that.
Speaker 3 (35:09):
I would never do that, Like he may play a
night full of demos, but he will never do that.
Speaker 2 (35:13):
But that's fun.
Speaker 5 (35:14):
That sounds like something I signed up for.
Speaker 3 (35:17):
So yeah, all the shows go to Richard Mars dot
com and what we had you on the songwriter album?
Speaker 5 (35:22):
Yeah, a songwriter was called right yeah, and it.
Speaker 3 (35:25):
Was different elements like it was five element.
Speaker 2 (35:29):
It was twenty songs.
Speaker 1 (35:30):
It was five pop songs, five rock songs, five country songs,
five ballads.
Speaker 5 (35:34):
How do people react to that? They like it?
Speaker 2 (35:36):
Yeah, it did really well.
Speaker 5 (35:37):
I was really showing that kind of project.
Speaker 2 (35:39):
It was really fun for me.
Speaker 1 (35:40):
And you know, I just said that I like to
write by myself, but that was the most collaborative album
I ever did as a songwriter in that there were songs.
There were handful of songs I wrote by myself. But
I wrote a song with Keith, that old song that
he didn't want to do anymore that I always loved.
(36:00):
There was a song that I co wrote with Darius.
There was a song I co wrote with Chris Daughtry.
There was a song I co wrote with Burt Backrock
like just a couple of years before he passed.
Speaker 2 (36:13):
It's just like.
Speaker 1 (36:13):
A crazy array of collaborators and different genres.
Speaker 2 (36:18):
It was a blast.
Speaker 5 (36:19):
I hope you guys go see Richard massive fan all seriousness.
Thank you.
Speaker 3 (36:23):
You're very generous with your time and to come up here.
And which car would you like to go back in?
We've got a few options for you here.
Speaker 2 (36:28):
Well I was sot a helicopter was available.
Speaker 3 (36:31):
But Richard, thank you. You guys Richard marks dot com
go to the shows.
Speaker 2 (36:37):
Thanks for listening to a Bobby Cast production
David Foster, the producer who was a hero of mine
when I met him. I'm incredibly talented guy, but he
told me I shouldn't sing because he's just you don't
have it, like you don't oh like you got it.
Speaker 2 (00:17):
You should just write songs.
Speaker 3 (00:20):
Welcome to episode four oh four. It's a Bobby cast
with Richard Marx. Been a big star for a long time.
For example, a number one song from nineteen eighty nine,
right here Waiting Wherever you Go, also hold On to
the Nights, hold On Endless Summer Nights.
Speaker 4 (00:42):
Tells Ollie had.
Speaker 5 (00:47):
Satisfied.
Speaker 3 (00:50):
And then he's written a bunch of songs too, like this,
I promise you that he wrote for in Sync Better Live,
Keith Urban, Colmont's Summer Keith Urban. We could keep going on.
He got fourteen number one songs, so listen. He's awesome,
super funny, super nice. Met him on the phone a
long time ago. And then and we're gonna feature some
(01:12):
of this on the radio show. But the great thing
about this podcast is we can do an hour I want.
If they call him Richards, his friends, I think I'm.
Speaker 5 (01:18):
Rich Richard, Dick Oby, Richard. Do you think Richard Hey Richard.
Isn't he super nice?
Speaker 2 (01:22):
Yeah, he's awesome, like.
Speaker 3 (01:23):
Funny and like dry but not so dry. You're confused
if he doesn't like you or.
Speaker 2 (01:28):
Not casually funny ynh.
Speaker 5 (01:30):
Yeah, so really enjoyed. It.
Speaker 3 (01:31):
Talks about his parents, how he got into songwriting, moving
to la It's just really cool. We're super pumped that
this happened because kind of accidentally, Abby just messaging and
was like, will he call it to the studio.
Speaker 5 (01:44):
The lunchboxs had to go pick him up. Is all weird.
That's the deal.
Speaker 3 (01:48):
Here he is episode four oh four follow him at
the Richard Marx m A r X and he's doing
a whole show Richard Marx dot com. He was here
in Nashville. He's doing all the hits, full band, thank you,
and away we go. I'm a massive fan, so just
I'll geek out and say thank you. I was telling
the show that if either one of the versions of
your career it would just be isolated, you'd be a
(02:10):
Hall of Famer, either the artist part or even just
the song.
Speaker 2 (02:14):
Because there's two, there's no chance.
Speaker 5 (02:15):
It's you know, it's like I would say, You're like,
it's like splitting the vote.
Speaker 3 (02:20):
So so yes, No, I don't think so. I think
it's like Tom Brady, Okay, there you go.
Speaker 2 (02:25):
I'm gonna go with that.
Speaker 3 (02:26):
Because if you take the first half of his career,
he's still in the Hall of Fame. True, take the
back half his career, he's still in the Hall of Fame.
Speaker 2 (02:32):
I've been really lucky, actually, but.
Speaker 5 (02:36):
Luck? Do you even believe in luck?
Speaker 2 (02:38):
Yeah? I think you make your own.
Speaker 5 (02:39):
Okay, fair, what's the luckiest thing to ever happened to
you then in your career.
Speaker 1 (02:46):
The luckiest thing that ever happened in my career would
be being born to the parents I was born to
who were not only super supportive, but musically talented. So
I think I got some genetics, So that was luck.
Speaker 5 (02:58):
Did they play or they just have a lot of
music in the house.
Speaker 1 (03:00):
My dad was just a badass musician, but like best
piano player I ever heard, jazz piano player, classical jazz,
and then he became a jingle composer, producer, and orchestrator, conductor.
He was like the most talented musician I ever knew.
And my mom was a great singer. Outwardly publicly, she
(03:21):
sang on all the commercials that my dad did.
Speaker 3 (03:22):
Do you think that you kind of acquired that through
being around it as a child, or were you drawn
to it because you wanted to impress or have that
closeness with your parents.
Speaker 2 (03:33):
I don't.
Speaker 1 (03:34):
I started singing before I could talk, I think, so
it was something I always did. It wasn't like a
conscious decision. And then when I was probably like five
or six, I was singing monkey songs around the house
enough that my dad said, you know, we're doing a
candy bar commercial. I wonder and he put me behind
the microphone in the studio and that was it, and
(03:55):
I just went to it, you know, I just it
was like the most natural thing. And then the songwriting
thing was natural in high school in that I was
just trying to pick up girls, you know, like I
didn't have game.
Speaker 3 (04:08):
So you were like super I mean, because you've been
super good looking as long as I've known you.
Speaker 5 (04:14):
No, but I mean I used to like know't know me.
You know you were.
Speaker 3 (04:19):
You Were you the awkward kid or were you the
guy that says you were the awkward kid?
Speaker 6 (04:22):
Now?
Speaker 5 (04:22):
But you're always the.
Speaker 1 (04:23):
Oh fact, I know you know no if you asked,
In fact, tomorrow night, my first crush is coming to
the show. Her name is Lynn, and she would if
she were here, she would probably tell the truth, which
was that I was I just didn't have girls wanted
to be my friend, you know what I mean, Like
(04:44):
that's the last thing you want to hear when you're
a sophomore in high school. But I I just thought,
you know, well, I got to do something that sets
me apart in order to create game. And so I
started writing songs and playing.
Speaker 3 (04:58):
And you know, when parents have a career, especially an art,
A lot of the folks that I know are like
my parents did not want me to do this because
they saw exactly how hard it was.
Speaker 5 (05:08):
What was your relationship like with.
Speaker 3 (05:09):
Your parents whenever you say, thank you, thanks for exposing
me to this, but now I want to go do
it for real?
Speaker 2 (05:15):
There was no There was no pushback.
Speaker 1 (05:18):
The fact that I went to my parents in my
senior year of high school and said, you know what,
I'm actually not going to go to college next year.
I'm going to go out to LA and try to
make it out there. The first thing they said was, go,
do you know you can always go back to school.
Speaker 2 (05:32):
Wow?
Speaker 1 (05:33):
And they said, you know, even my dad was like,
don't have a backup plan. This is your only plan.
Just go make it happen. And so to have parents
who were both so supportive was key. And again it
goes back to luck because you know, you don't pick
your parents.
Speaker 5 (05:49):
Did you do the band thing in high school? Did
you go with a group of buds?
Speaker 7 (05:52):
Oh?
Speaker 2 (05:52):
Man, I tried.
Speaker 1 (05:53):
I tried to put bands together left and right, and
nobody took it here. I came from a suburb of
Chicago where the idea of being in the arts, the
idea of being a rock star or any of that
was such a pipe dream. You were going to be
an accountant, you were going to be a lawyer. Where
I grew up that there was nobody from there really
(06:14):
that had done that. So nobody really took it seriously.
So I just dove into songwriting, which was actually great
because a few years later when I did go out
to LA that's kind of how I started to get
going as a writer for other people.
Speaker 5 (06:28):
But were there songwriters where you were a nobody?
Speaker 2 (06:33):
So I was the only kid in school?
Speaker 3 (06:34):
How did you learn to write songs by yourself at
a place where no one else is really writing songs
like you were writing songs.
Speaker 1 (06:42):
I went to the school of Elton John and Billy
Joel and the Eagles, and that's all I did. When
I wasn't doing math homework, when I wasn't doing the
school work that I was forced to do, I was
just listening to music and memorizing every nuance of every record.
I was paying attention to production and arranging, and I went.
Speaker 2 (07:03):
To like I just studied it like out of love.
Speaker 1 (07:07):
So when I ended up in LA at eighteen, I
got my first job was singing background vocals on a
Lionel Richie record.
Speaker 2 (07:15):
He was really the catalyst.
Speaker 1 (07:16):
He was the guy he heard my demo tape of
my first couple of songs and actually called my parents' house.
This is when he was like leaving the Commodorees and
maybe next to Michael Jackson, arguably the biggest star in
the music business. This guy took the time to call
some kid in Chicagi didn't know, and he just encouraged me.
(07:37):
He said, you know, I really like your voice and
these are your first songs. Man should have heard my
first songs. So I when I moved out to LA
he had me sing some background vocals and then he
recommended me as a singer to Kenny Rodgers, his buddy,
and that's how I started writing songs.
Speaker 2 (07:52):
I wrote songs for Kenny Rogers. That's how my songwriting
career started.
Speaker 3 (07:55):
It's funny that Lionel, because I know Lionel pretty well
from working with him. I went through some stuff and
he pulled me aside and like give me advice. He's awesome.
Speaker 5 (08:02):
But it's funny. He's always been that way.
Speaker 1 (08:04):
He's always been that way. He's a class act, and
he's so generous with his time.
Speaker 2 (08:09):
He's a little bit. I really don't know anybody else.
Speaker 1 (08:13):
I've never known anybody else who has that level of
grace about themselves and who go out of their way
to be encouraging of people where there's going to be
nothing paid back.
Speaker 2 (08:24):
He's just that good a guy.
Speaker 3 (08:26):
And so I recommend you to Kenny Rodgers and you
go to sing background vocals for Kenny.
Speaker 5 (08:32):
So are you the guy?
Speaker 2 (08:33):
Yeah?
Speaker 5 (08:33):
Are there three behind? And you're doing the dances at
the same that.
Speaker 1 (08:37):
No, I'm only in the studio, just work, Yeah, got it.
I get hired to work for two days on this
Kenny Rodgers album and it was in them like towards
the end of the making of that album, and so
I go in and I've sang some bat some harmonies
and stuff on this one track or two tracks, and
then I knew I was coming back the next day.
And during the session I overheard Kenny say, was producer
(09:00):
that they still needed one more song, and he even
described it.
Speaker 2 (09:03):
He says, man, we still need one more ballad. We
need that like sort of lion ash ballad. We got
to find it.
Speaker 5 (09:08):
You hear this conversation happening.
Speaker 1 (09:10):
I overhear this conversation. I go home to my apartment
in La I write a song. I come back the
next day and I do exactly what the background singer
should never do, which is go up to the.
Speaker 2 (09:25):
Artist and say, I'm a songwriter. I've got a song.
Speaker 1 (09:29):
And again Grace, Kenny Rodgers could have immediately called security
and had me escort it to my car, and instead said, well,
let me hear it. And we sat down at the
piano and I played it. My hands are shaking, and
he liked it.
Speaker 5 (09:44):
And you knew it. You can remember it. Did you
memorize it from that?
Speaker 2 (09:46):
No? Yeah? Really?
Speaker 1 (09:47):
Oh yeah, yeah yeah. And it was a number one
country song and the.
Speaker 5 (09:51):
Song was craze.
Speaker 2 (09:56):
Crazy for you kids. You see that's.
Speaker 1 (10:00):
My Kenny Rodger's like eighty five or so eighty crazy
eighty four maybe, Yes, I was nineteen when I wrote it.
Speaker 3 (10:07):
Did that song fall out of you that night? Did
you feel like do you feel like they just come
from special places or were you just.
Speaker 5 (10:12):
So get it?
Speaker 1 (10:12):
Most of them do, Yeah, especially when you're inspired by opportunity.
Like to me, that was I thought, Okay, I'm going
to be able to hand a song. Well, you know,
I'd made a little cassette tape of it. He didn't
want to hear that. He just wanted me to play
it on the piano. I wouldn't have had that opportunity
had I not been in there as a background singer.
Speaker 2 (10:31):
So I looked at all of I look at all
of these.
Speaker 1 (10:34):
Things historically as being you know, writing to an opportunity.
Speaker 2 (10:39):
Do you know what I mean?
Speaker 5 (10:39):
I do?
Speaker 3 (10:40):
And so you found the opportunity, you shot your shot. Yeah,
that one happened to work. Yeah, but you went from
being a background singer to now you're a writer that
has a song, a song went number one?
Speaker 5 (10:50):
So then what do you do?
Speaker 3 (10:52):
You do you then focus on songwriting more or do
you still want to sing instant it because you have
got two paths now you can choose from.
Speaker 1 (10:59):
Yeah, well, I mean all along, I'm writing pop rock songs,
so you got to get a deal. I'm getting rejected
by every.
Speaker 5 (11:04):
Right, but now you have you have door that's been opened, right.
Speaker 1 (11:07):
Yeah, And then I started getting a lot of work
as a background singer and then writing songs for different people.
But you know, along the way, I like David Foster,
the producer who was a hero of mine when I
when I met him, and incredibly talented guy. But he
told me I shouldn't sing because he's just you don't
have it, like you don't, oh.
Speaker 5 (11:27):
Like you got it.
Speaker 2 (11:28):
You shouldn't. You should just write songs. You're not you're
not an artist. You're not.
Speaker 1 (11:32):
You shouldn't make records. You shouldn't even try for a
record deal. And luckily I didn't listen to him.
Speaker 5 (11:39):
Did you? Did you think for a while maybe you
should listen to.
Speaker 1 (11:42):
Him only because we had at the time, we had
a pretty close friendship. And it kind of killed me.
It's like your dad saying, you know, you're kind of unattractive.
But I then it sort of just turned a little
bit into fire in my belly like to prove him wrong,
which was in a sort of big brother kind of way.
Speaker 2 (12:04):
We joke about it.
Speaker 5 (12:05):
Now, so you guys are cool now.
Speaker 2 (12:06):
Yeah, we hardly see each other, but when we do, you.
Speaker 5 (12:09):
Don't want to, you don't we joke about it.
Speaker 2 (12:10):
When you see him, No, I punched him a long
time ago.
Speaker 3 (12:13):
So from eighty four or eighty five, when that song
comes out and before eighty nine is right Here Waiting?
Speaker 5 (12:20):
When that fian when that hits number one?
Speaker 2 (12:21):
Right, some of my years are yeah, well the first
album was eighty seven.
Speaker 3 (12:25):
So when does right Here Waiting become a massive hit?
When I would see you on TV?
Speaker 1 (12:31):
Well that was like my fifth top five single or
so what really? Because we had don't mean nothing? Should
have known better and the summer nights.
Speaker 5 (12:39):
I'm a massive Cubs fan, so my first memory of you.
Speaker 1 (12:41):
Oh was the Cubs video That was like a couple
of years after Right Here Waiting.
Speaker 3 (12:46):
Because I knew right Here Waiting for hearing on the radio.
But you didn't always know what people look like.
Speaker 2 (12:51):
Right.
Speaker 3 (12:51):
It's way different than now where you just easily get
on Instagram see people's faces.
Speaker 5 (12:55):
Right, But what I kind of put it all together
was me.
Speaker 3 (12:58):
I mean, listen, I was a massive Cubs fan, you know,
Mark Gray, Samberg, Vance Laws, Sean Dunstan mad All.
Speaker 5 (13:04):
I mean it was diehard.
Speaker 2 (13:05):
Yeah. And I had Greg Maddox in my video that
that video.
Speaker 3 (13:09):
Yeah, well I don't remember that, but I just remember thinking,
that's my guy.
Speaker 5 (13:12):
I don't know what that's him. He's a coup.
Speaker 2 (13:13):
That guy with that big fluffy mullet. That's my guy.
Speaker 5 (13:16):
Yeah, that that's my guy right there.
Speaker 3 (13:18):
So your first as an artist who gave you the
first shot there to go, Hey, we'd like for you
to make a record as an artist as you.
Speaker 1 (13:25):
Oh, there was a guy we just lost him a
few years ago, but he was sort of a kind
of a Clive Davis esque executive named Bruce Lundball and man,
he heard the same songs that every other label had
rejected for years and he just loved them and he
he's like, I love what you do. Go let's go
make a record. And I got signed to a one
album deal with this little subsidiary em I, and the
(13:49):
first single just blew up and that was it. We
were off to the races for you know me, nothing
day Joe Walls should played guitar on it, like so
many things fell into place so quickly and easily that
it was a little like is this really happening? And
I had Timothy Schmidt and Randy Meisner singing back, So
(14:09):
I had three Eagles on my first single. You think
that helped get on rock radio?
Speaker 5 (14:14):
Little bit Schmidt he's a soprano.
Speaker 1 (14:17):
Yeah, he's the guy that sang I can't tell you
what yeah, yeah, yeah dang.
Speaker 3 (14:23):
So you're like baptized into greatness right there with your yeah.
Speaker 5 (14:27):
And do you think, like you just said, man, is
this all going to be so easy? And does it
get easier?
Speaker 6 (14:32):
Like?
Speaker 3 (14:32):
When was the first When was the first adversity you
had as an artist? Because you come out and you
got a big song? When does that first?
Speaker 2 (14:38):
Better?
Speaker 4 (14:38):
Way?
Speaker 1 (14:39):
I had adversity in that I never had success because
or because of or with the support of my record company.
After the guy that signed me, I did one album
and then he got booted, So then I had to
deal with guys who didn't who hadn't signed me, and
it was just everything was a battle. The song choices,
the single choices. I was told by the label that
(15:03):
right here Waiting would never be a hit. Because it
had no drums like stuff like that, and we would
just sort of you have to bet on yourself and
you have to have a level of non compromise in
order to see your Like, I'm fine to fail on
my own, like if it's my fault, it's my fault.
(15:24):
But I don't want to fail because you screwed.
Speaker 3 (15:25):
Up, you know what I mean, because I'll never forget
that I screw up a lot and you'd want to
punch me. Yeah, yeah, it's my fault.
Speaker 5 (15:30):
Yeah yeah.
Speaker 6 (15:31):
Let's take a quick pause for a message from our
sponsor and we're back on the Bobby Cast right.
Speaker 5 (15:44):
Here, waiting. Song you're known for most, would you say?
Is that the one?
Speaker 2 (15:47):
It's probably?
Speaker 4 (15:48):
Yeah.
Speaker 5 (15:48):
Do you play it last?
Speaker 2 (15:50):
Yes?
Speaker 1 (15:51):
Because you can't follow it because it's one of those
songs where, like you know, you can't like once you
play that. I mean, I've done that before and it
has worked, But there's just something about that song around
the world, you know. I remember, you know, not that
long ago, I took a while I was in Australia
and touring, and I had the morning off to myself
(16:11):
and I was walking through this little off the beaten
path of this little town and it was early in
the morning, and this woman that she owned a flower
shop and she was setting up the display, so the
door was opened to the store and she was she
had her back to the street, and as I passed,
she was singing right Your Waiting. As I walked by.
(16:32):
Of course, I was tempted to go, hey, that's me,
but I just stood there and got the biggest smile
on my face because it's the other side of the world,
you know, And I'll go to Sri Lanka and I'll
start playing that song on the audience, start singing it.
You know, it doesn't matter where in the world. So
I even though I've had other number one songs, there's
(16:56):
nothing that sort of compares to that's almost like, right
Your Waiting has sort of become like yah, you know,
like the kids know it.
Speaker 5 (17:02):
Did you ever have a phase where you're like, I
don't want to play that anymore?
Speaker 4 (17:05):
No?
Speaker 5 (17:05):
Ever, No, of course not. I could feel a lot
of obviously, you know.
Speaker 1 (17:11):
I know I don't get that like and maybe it's
I think it's less with the people who wrote their hits,
because if you if we're lucky enough to have written
and created these songs, that people really love? Why would
you not want to play it? I mean I don't.
I haven't lost any love for I mean some I
like more than others. But there's none in the setlist
that I ever go, oh God, not that one again,
(17:33):
because I wouldn't have recorded it if I didn't think
it was a good song.
Speaker 3 (17:36):
Do you play that one on guitar? You have a
guitar with Did you play right here wedding on guitar
or just piano?
Speaker 2 (17:39):
I can I play it on the piano and my show?
Speaker 5 (17:41):
Can you give us a little bit on guitar?
Speaker 3 (17:43):
Sure?
Speaker 1 (17:45):
Oceans apart, day after the day?
Speaker 2 (17:52):
Investingly see he you lo.
Speaker 4 (18:00):
On the life, but it just stop the pain?
Speaker 2 (18:09):
Fascytever. How can we say.
Speaker 4 (18:17):
Forever, wherever you go, whatever you do, boun, We'll be
right here wait for you, whatever it changes, for how
my heart breaks, bown will be right here waiting.
Speaker 5 (18:44):
For you.
Speaker 3 (18:47):
Reginald Key thinks, so yeah, yeah, awesome, it gets still
singing original Key?
Speaker 2 (18:52):
No thanks, yeah, dang.
Speaker 5 (18:54):
You know sometimes it's like, well.
Speaker 1 (18:58):
I'm almost sixty's talk to me in ten years and maybe,
well that's awesome.
Speaker 2 (19:02):
Maybe I'll be.
Speaker 3 (19:02):
Like, so you ever do one of the bad one
of the bad deals that we see like TLC or
Backstreet Boys. You ever signed one of those crazy deals
and you're like, now I owed seventy two records and.
Speaker 1 (19:12):
Oh no, no, no, no, no. I luckily, you know. The
other thing to talk about luck and my parents. My
father was a not only a really brilliant musician and
you know, creatively brilliant, but he was a really good businessman.
So he kind of taught me that it was the
music business. So I always I don't think I've ever
really made a bad deal. You know, kept my stuff,
(19:37):
and I think I'm pretty I've been pretty smart with
the business of music.
Speaker 3 (19:42):
Yeah, did you ever get to a stage creatively where
you thought, you know, I really love the music I've
been writing, but I think now I want to do
like a metal record or put a hip hop I
just just wanted to change something.
Speaker 5 (19:52):
Did you ever have that feeling?
Speaker 1 (19:56):
Not to that degree, but you know, I actually, during
the pandemic, I did a you know, the band Trivium.
Matt Heathy, the guy, the guitar player, singer, the screamer
really from that group reached out to me and said,
I got this idea for a metal version of radio waiting,
and we did it and it's it's actually pretty cool.
Speaker 5 (20:15):
What did you do on it?
Speaker 1 (20:17):
I sang it and then he screamed, yeah he did that,
but I sang it really differently. I sang it in
a way that it kind of didn't sound like, well,
you know, it wasn't.
Speaker 2 (20:27):
I was like with a lot of edge to it.
Speaker 1 (20:29):
Yeah, it was pretty cool. And I'm you know, as
a songwriter. You know, I've been able to write for
all these different artists, from country artists and R and
B artists and rock bands and stuff like that. So
I feel pretty comfortable jumping genre to genre, but like
to do a to do a hip hop record or something,
(20:50):
it would just be inauthentic.
Speaker 5 (20:52):
Did you ever want to put a rapper on any
of your songs in the nineties.
Speaker 1 (20:56):
No, that wasn't the music that I was making. I
loved it, but it wasn't what I was doing.
Speaker 3 (21:01):
Pop music is really wild because it's it's so global.
I would imagine you've had your hits in countries where
you have no idea what the language is being.
Speaker 1 (21:11):
Yeah, and they sing it in yeah, broken English, they
just like right here waiting, And then it's not just
that one. They're a handful of songs that were no
matter where I go. You know, I wrote this song
years ago called Hazard that's like this murder mystery set
to music. That was a big hit for me in
like early nineties, and I've played in It's a story
(21:31):
song with characters and a plot, and I'll have people
in Germany and like, the song was a hit in
all these kind like it was. It was number one
in like fourteen different countries, and most of them were
non English speaking countries, and it just baffles me that
people could be into it like that, you know what
I mean, Like I understand a really catchy, poppy song,
(21:53):
but this is like this minor key dark. I never
thought it would be a hit. I just wrote it
as a sort of like as an exercise because I'd
never written a story song before. And the song just
blew up around the world. And to this day, I
have people ask me about it, and I play it
and people sing it, and it still blows my mind.
Speaker 3 (22:11):
You have all these number one songs as a performer,
as a songwriter, did you ever get to a stage where,
like I'm tired of touring, Like you're just literally physically tired,
And did you ever focus in on songwriting, like I
need to get this creative out of me. I'm going
to do it this way, or did you just have
all these songs that's what you did anyway?
Speaker 1 (22:29):
No, I definitely like at the end of about ten
years where everything just fired on all cylinders, nothing but hits,
nothing but big tours and all that. I finally, after
like ten years, I put out a record that went
double plywood instead of double Plattin and it was sort
of like it was the end of the nineties. It
(22:49):
wasn't just me, it was all the guys sort of
lumped in with me, Brian Adams and Michael Bolton and
Billy Joel and like all of us, all the white
male singerswriters kind of stopped getting played on pop radio.
And I thought, Okay, do I contort myself into something
to try to or do I just write songs? And
(23:12):
I thought, you know what, if this is it, this
is it. I've had a great ten years, but I've
got a lot of music in me. And so I
really then stopped touring, stopped making records for a while
for years, and just focused on writing and producing. And
luckily that career immediately sort of blossomed, and so then
I got to write. I wrote songs in Sync and
(23:33):
Josh Grobin and a bunch of country artists and like
all over the map.
Speaker 3 (23:38):
The in sync song this, I promise you we were
talking about it before you came in.
Speaker 2 (23:42):
When you wrote that.
Speaker 3 (23:43):
Did you write that for you or was it for
in Sync or was it for I'm writing this and
we'll see who fits.
Speaker 1 (23:50):
I got the call to see if I had a
song for Instinct right after I had written it, and
I had written it for this girl trio, this all
sister trio that I had seen at a friend's wedding,
and I was going to help try to get them
a record. They were amazing, and I tried to get
them a record deal, but their father was a real
sort of he had to be involved in everything and
(24:12):
he wanted to be part of the group, and it
was just it got kind of funky. So I kind
of backed out of the whole thing. But I had
written they didn't write songs, so I thought, I need
a really great three part harmony song for this girl group,
and I swear to God man, once I bailed out
of that deal, I think it was like within a week,
I get a call do you have a song for
in Sync? I was like, why, yes, I do, And
(24:35):
luckily they loved it, and then I went and produced
it and worked with those guys and it was a
big hit.
Speaker 3 (24:39):
In the early two thousands when CDs are being bought
and that's a massive hit. Is that real money?
Speaker 2 (24:45):
Oh man? Because it was no compare.
Speaker 1 (24:48):
You know, I have three sons and they're all musicians,
songwriters and singers. My middle son, Lucas has had somewhat
of a he's getting there, you know. He had a
Katie Perry cut like a year and a half ago,
and works his ass off and really talented. But we
were all sitting around, a bunch of us were sitting around,
Lucas was there, and we're talking about just this how
(25:09):
the music business has changed, especially in terms of like
when a big hit, what does a really big hit
mean for you? And he said to his friends in
front of me. So, you know, back in the day,
if dad wrote a number one song, he could buy
a house. And if I'm part of a number one
song now I might be able to buy a case
(25:32):
of nut rageous bars. It's kind of not that big
an exaggeration.
Speaker 3 (25:38):
Right. So the Keith urban stuff I think is always
interesting to people that know country music because too Keith's
most famous long lasting songs. Yeah, you know, there were
hits and last because there are hits that don't last.
Speaker 5 (25:52):
There are songs that aren't hits to do last, right,
But these are two that were hits and he still
plays and people still love like Long Hot Summer. Yeah,
when you wrote that song again, who were you writing
it for?
Speaker 2 (26:05):
Oh? No, The songs that I've had hits with Keith
we wrote together.
Speaker 3 (26:09):
So okay, so those were Keith specifically written songs. Does
Keith come to you and go, hey, Richel, I want
to write with How does that even come together?
Speaker 2 (26:15):
Yeah?
Speaker 1 (26:15):
We were put together right after his first album. There
was a guy here in Nashville, a publisher who knew
how to reach me. Somehow knew I was coming to
town more and more. I had written with a couple
of people here, and they sent me Keith's first record,
which I thought was great, And then we got together
and we tried writing. We wrote together for maybe a
(26:38):
year or two and never finished anything, like it didn't
really click. And then I was living in Chicago at
the time. And he he came to my house and
stayed with me for a few days. And it wasn't
it was just through sort of to hang out.
Speaker 2 (26:53):
He wasn't.
Speaker 1 (26:53):
He was just sort of like trying to take a
break from the pace of his career, and he kind
of came and hit out at my house. It was
over a Super Bowl Sunday, I remember, and during I
think it was during halftime, we just went down to
my studio and we picked up guitars and within like
ten minutes, Sunday You and I gonna be the ones
(27:17):
that was better life. It was like, that's how it happened.
It wasn't like, hey, let's get together and write a song.
But because that song became so big, you know, he
would then every couple of years he'd say, hey, let's
try it again.
Speaker 7 (27:31):
The Bobby Cast will be right back. This is the
Bobby Cast.
Speaker 5 (27:44):
Do you play the Keith and you your songs? When
you play your shows?
Speaker 2 (27:48):
I do long hot Summer, sometimes you do.
Speaker 5 (27:50):
Yeah, you play a little bit of that you care.
Speaker 1 (27:51):
Yeah, it's gonna be a long hot summer.
Speaker 2 (27:58):
We should be.
Speaker 4 (27:59):
Together with feet upon the gesh board now singing.
Speaker 2 (28:03):
Along with the radio. It's such a beautiful person.
Speaker 4 (28:10):
Sweet you see my name is mele Love, dear, swear,
I see the stars come.
Speaker 1 (28:18):
Old man head and oh my swear it looks black.
You're waiting on the sound of gold. Damn the sunder God.
Speaker 5 (28:29):
Dam that's awesome.
Speaker 2 (28:40):
That's a fun one.
Speaker 5 (28:41):
Luther Vandre song danceing my father. I remember hearing it
not knowing who wrote it because I was just listening
to it. That's that's like, that's the that's a song. Yeah,
that's a song that I really proud to be. Yeah,
that one that even writing it.
Speaker 3 (28:53):
Like this, that's gotta come from something, right, There's gotta
be some emotion there.
Speaker 2 (28:57):
Yeah.
Speaker 1 (28:57):
Well, Luther and I were really like he was one
of my best friends, and we'd written a handful of
songs together over the years. He'd sung back on vocals
on some of my records, and I'd written a couple
of songs with him that he'd recorded up before then.
And I lost my dad in nineteen ninety seven, like
really tragically and suddenly, and Luther Vandross was one of
(29:22):
the only people who sort of knew what to say
to me.
Speaker 2 (29:25):
Who look.
Speaker 1 (29:26):
I remember we had this two hour phone call and
he really helped me. I was spiraling, I was with
my dad. We were really really close. And then like
six years later he called me and he said, I
got an idea for a song. I just have a title,
and I have to write it with you, and it's
danced with my father. And that's all we had was
(29:47):
just the title, and so as we had done before,
I went off and wrote some music and then sent
it to him and he came up with this whole
story that was just I mean, that's really the meat
of the song. I mean, And he wrote that song
about his own father, So I knew why he wanted
to write it with me, because he knew the connection
I had to my dad. But that song, you know,
(30:07):
like it was ten days after he mixed that song
that he had a stroke. It was the last thing
he ever did. But he lived long enough for us,
you know, to see us win the Song of the
Year and see the success of the song. He was
so proud of it. But I remember him saying like,
this is going to be the biggest song in my career,
and I was like, don't say things like that, don't
(30:28):
jinx it.
Speaker 3 (30:28):
But if he only knew every NCAA tournament at the
end of it one shining moment. Yeah, you know right,
it's got two that it made me feel completely different,
but both made me feel.
Speaker 1 (30:37):
I mean, sometimes it's like I've never written a song
that I thought was a hit. I have never had
that experience. I know, other song like Diane Warren, every
interview she goes, I knew that was a hit the minute.
I good for you because I have. I just write
songs that I like, but I've never been able to
determine what is a hit and what's not. So they
(31:00):
all been surprises to me, but some more than others.
And I really was shocked that dance with my father
has become so beloved, you know.
Speaker 2 (31:09):
But that's the there's just just magic in it, you know.
Speaker 1 (31:13):
It's all like writing a song to this day is
still a piece of magic to me. If I finish
another song, and I've written thousands of songs, and every
time I finish another song, I go.
Speaker 2 (31:25):
I can't believe that. I can't believe we just did that,
or I just did that.
Speaker 5 (31:30):
Do you like to write by yourself?
Speaker 1 (31:32):
Yeah, I do collaborate quite a bit, but my favorite
thing is to write by myself, and most of my
hits I've written by myself most of them.
Speaker 3 (31:41):
That's awesome for other reasons, you know, that's awesome.
Speaker 5 (31:46):
Okay, So a couple things here.
Speaker 1 (31:47):
One by the way, I really love the I don't
know if you guys know, but there was a real
dance this morning with the transportation, which was hilarious, which
was because when you guys asked me to come in, okay,
my wife and I get in last night. Yeah, and
they said, somebody said it's ten ten am. Yeah, as
long as it's not too early. And they said, and
(32:07):
they want to know, is it okay if they send
like an uber ax or I was like, yeah, no problem.
So then early this morning I get a text from
my guy in La saying Bobby was like, I'm not
sending an uber for him, so Abby is going to
pick him up in a Lexus and I was like, oh,
that's so nice. That's okay, great, thanks. Then like ten
minutes later, nope, dance coming in a black Porsche, and
I swear to god, I texted back, Okay, now I
(32:28):
want a bent Link and you know what.
Speaker 2 (32:31):
Do I hear it roles?
Speaker 5 (32:32):
Next time you will get just that. Okay.
Speaker 3 (32:35):
So you and a lot of the markets that our
show is in. You're doing shows all over the country,
so I definitely want to let all of our listeners
know all through October and we could roll through some
of them. Chicago, Saint Louis, Memphis, We're huge in Osaka, Japan.
So you're doing this what is this tour? What are
you doing at these shows? It is like a full well,
(32:56):
like what's the what's the show?
Speaker 1 (32:58):
Most of the shows that you just listened will be
full band shows. I do a lot of solo acoustic shows.
I played three or four nights at the Franklin Theater
last year. That was such a blast.
Speaker 2 (33:07):
It's just me.
Speaker 1 (33:08):
It's a storyteller show, and I tell jokes and if
somebody yells out a song, if I can remember it,
I'll do it. But for these for this next uh
next couple of years, I've decided I'm only gonna do
songs live that were songs that were not good enough
to make the actual albums. So the whole set list,
I'm kidding.
Speaker 3 (33:28):
I'd about to say, I'm not I'm not coming anymore.
It's all B sides that we've been Wow. Okay, all right,
first of all, all demos, all all show along.
Speaker 1 (33:37):
Can I tell you a really funny story. I'm gonna
name drop, but it's but I don't know him. I
just met him in an elevator.
Speaker 4 (33:44):
Uh.
Speaker 1 (33:44):
The one and only time I ever met Bono. And
it was a few years ago and I was my
son and I were leaving this restaurant and we're getting
in the elevator and these guys went, okay, can you
hold the elevator, And so we held the elevator and
one of the guys they walk in and it's.
Speaker 2 (33:56):
One of them's Bono. I was like, oh man, he goes, Richard, Hey, it'
nice to me.
Speaker 1 (34:00):
I couldn't believe he knew who I was. And so
we had this little chat and as the elevator was
about to open, he said, so are you on tour?
And I said, nah, I just do shows. And he
cracked it. He goes, oh my god, we need to
start doing that. And I said, well, you guys have
a different situation. But what I mean by that is
(34:22):
for years and years it would be like I'm touring.
I'm on tour to promote this thing. No, when you
get to a certain point, if you're lucky enough to
have had a catalog of songs. It's just I go
out and play the songs people want to hear, and
I pepper it with two or three new songs here
and there, but it's hits because that's what I would
(34:42):
want to go see. If I go see a band play,
I don't want to hear a bunch of songs from
the new album.
Speaker 3 (34:48):
I saw rim once. They only played their new album
and not a single hit.
Speaker 2 (34:51):
Well that's a dick move.
Speaker 5 (34:52):
That was tough. That's tough.
Speaker 2 (34:54):
That's a dick move to the audience.
Speaker 5 (34:55):
It is tough. Yeah, and I was really upset.
Speaker 3 (34:59):
Yeah, I was like, maybe they'll play what's the frequency,
Kenneth anything, Just give me one hit the very end
and they finished the final track of this new album
and good night. Yeah.
Speaker 5 (35:08):
I thought Richard Marks would never do that.
Speaker 3 (35:09):
I would never do that, Like he may play a
night full of demos, but he will never do that.
Speaker 2 (35:13):
But that's fun.
Speaker 5 (35:14):
That sounds like something I signed up for.
Speaker 3 (35:17):
So yeah, all the shows go to Richard Mars dot
com and what we had you on the songwriter album?
Speaker 5 (35:22):
Yeah, a songwriter was called right yeah, and it.
Speaker 3 (35:25):
Was different elements like it was five element.
Speaker 2 (35:29):
It was twenty songs.
Speaker 1 (35:30):
It was five pop songs, five rock songs, five country songs,
five ballads.
Speaker 5 (35:34):
How do people react to that? They like it?
Speaker 2 (35:36):
Yeah, it did really well.
Speaker 5 (35:37):
I was really showing that kind of project.
Speaker 2 (35:39):
It was really fun for me.
Speaker 1 (35:40):
And you know, I just said that I like to
write by myself, but that was the most collaborative album
I ever did as a songwriter in that there were songs.
There were handful of songs I wrote by myself. But
I wrote a song with Keith, that old song that
he didn't want to do anymore that I always loved.
(36:00):
There was a song that I co wrote with Darius.
There was a song I co wrote with Chris Daughtry.
There was a song I co wrote with Burt Backrock
like just a couple of years before he passed.
Speaker 2 (36:13):
It's just like.
Speaker 1 (36:13):
A crazy array of collaborators and different genres.
Speaker 2 (36:18):
It was a blast.
Speaker 5 (36:19):
I hope you guys go see Richard massive fan all seriousness.
Thank you.
Speaker 3 (36:23):
You're very generous with your time and to come up here.
And which car would you like to go back in?
We've got a few options for you here.
Speaker 2 (36:28):
Well I was sot a helicopter was available.
Speaker 3 (36:31):
But Richard, thank you. You guys Richard marks dot com
go to the shows.
Speaker 2 (36:37):
Thanks for listening to a Bobby Cast production
Host
Bobby Bones
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