![]() ![]() ![]() (I am trying so, so hard to restrain myself from making a juvenile and obvious joke about how “Dick Marx” sounds like a reason to go see a doctor. Later on, when his son was already famous, Dick Marx would score the 1992 movie A League Of Their Own. The “double your pleasure” Wrigley’s Doublemint Gum earworm was one of Dick Marx’s. His father Dick Marx had started out as a jazz pianist before becoming a phenomenally successful writer of ad jingles. Richard Marx was born into the music business. Marx’s first three singles had all charted very high, and his self-titled debut was on its way to triple-platinum status. “Hold On To The Nights,” the cheating-hearts ballad that first took Marx to #1, was only Marx’s fourth single, but by the time he released it, a Richard Marx #1 hit was practically an inevitability. He made exactly the music that America’s waiting rooms needed.Īnd Richard Marx really did blow up. Richard Marx was right on top of that adult-contemporary zeitgeist. Instead, Marx blew up by making an even-more-defanged take on the corporate rock that bands like Journey and REO Speedwagon had been cranking out a few years earlier. If Marx had come along a decade earlier, he could’ve taken the Christopher Cross spot before Christopher Cross showed up. Richard Marx is one example: A smart and good-looking young guy who made hit songs that sounded like they were built to become hold music for banks. But all through pop history, plenty of people have become stars without bringing any of that. The entire idea of pop stardom is supposed to be all about excitement - about flash and charisma and general show-business razzmatazz. In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present. ![]()
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