Liverpool Sound and Vision Rating 9/10
After Hours, is that time of the night when a few select friends and unobtrusive onlookers find themselves in the company of the artist at play, comfortable in their surroundings, not being scrutinised by the rabid and the feverishly inclined who pay their money and leave with a little part of the inner soul of those who they have demanded in return for their time.
That time of the night is where the artist of any persuasion may find themselves in a select crowd who want nothing more than to feel a vibe of security and perhaps the grace of the unknown serenading the ears and sitting deep in the knowledge that they will go home happy and enriched by the experience than any of those who brag to social media of their time in the spotlight.
After Hours, is where the sounds performed maybe unexpected, a surprise, a sprinkling of guests add colour and enjoyment to an already packed set; and it is into this that Richard Marx that steps forth, removes the black tie and sits elegantly at the piano, and with friends and an audience at home already enthralled by the sound, releases his first album in four years to what will be assured as great acclaim.
This is the entertainer and songwriter at arguably his most relaxed, pulling the heartstrings of the fan with gentle care, offering insights and pleasures to the multitude with a voice that understands the value of care and love for those that have kept him at the top of his profession for almost 40 years.
After Hours features artists such as Randy Waldman, Chris Botti, the impeccable Kenny G, Drea Tomé, and Tom Scott, with an extra piece of music royalty in the appearance of British singer, the former lead vocalist of The Faces, Rod Stewart. In this adjoining of riches stands songs of sweet genius and memories, of unrelenting panache and style, and in tracks such as the openers of Love Is Here To Stay and All I Ever Needed, the magic of The Way You Look Tonight, Moonlight Serenade, Not Like This, Summer Wind, and the marvellous, effortless emotion of Fly Me To The Moon, all glide with tranquility of spirit, a sense of objective, unflappable drive.
The album, captured astonishingly over three afternoons in February of last year, might not be the album many were expecting, but that is the beauty of After Hours, anything goes as long as its true and relaxed, as long as it keeps the mood alive; and to that end Richard Marx frames enthusiastic hospitability to music with his ever keen ear and soul in place.
A terrific addition to the catalogue of work laid down as the artist comes towards the 40th anniversary of the album that introduced him to the world.
Ian D. Hall