- - Richard Marx says idea for new Rod Stewart duet started in a London pub

Melissa Ruggieri, USA TODAYJanuary 16, 2026 at 6:02 AM

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Richard Marx knows his way around a good martini.

It’s fitting, then, that the melodic maestro behind timeless ballads “Right Here Waiting” and “Hold On to the Nights” – along with 30 other Top 40 songs on the pop and adult contemporary charts – would channel his drink of choice into a suave new album.

“After Hours,” Marx’s first release since 2022’s “Songwriter,” finds him embracing the Great American Songbook, honoring the legacy of Gershwin with longtime Barbra Streisand pianist Randy Waldman (“Love is Here to Stay”) and recasting the ballroom classic made famous by Frank Sinatra (“Young at Heart”) with friend Rod Stewart. But along with his well-produced homages on the album, out now, the chameleonic Marx immersed that classic style to some new songs, swinging with Kenny G and Chris Botti on originals “Big Band Boogie” and “All I Ever Needed.”

Marx, 62, also collaborates with wife Daisy Fuentes, the former MTV VJ who stole his heart a decade ago, on “Magic Hour.” Fuentes helped him pen the lyrics to the sultry blast of big band (pal John Stamos plays percussion on the track) and it’s one of several beguiling offerings on the sleek album.

Chatting recently from his home in Hidden Hills, California, Marx, always a gregarious conversationalist, expounded on his latest musical challenge, shared his affection for Stewart and explained what he loves about doing “Stories to Tell,” his podcast and YouTube series that has welcomed everyone from Bootsy Collins to Rick Springfield, usually with a drink nearby.

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Richard Marx also spearheads the YouTube series, "Stories To Tell," featuring entertainment guests joining him for cocktail-infused conversation at his home bar.

Question: Was the Great American Songbook something you always thought you might tackle?

Richard Marx: It was never on my bingo card. The last time anyone really did it was Rod Stewart (with his “The Great American Songbook” series). I’m a songwriter, so the idea of an album of covers would not be for me. That said, it created a really interesting challenge, which was, what if I do half an album of standards and half new songs that sounded like that? At this point in my career I need to do things that are fun for me.

And then you gave yourself the additional challenge of recording it live in full takes with an orchestra.

I wanted to do something badass. I remember driving to the studio that morning and was really nervous. I love that feeling of being nervous and wanting to impress everybody. I walked in and there were 24 musicians. So many of the horn and string players came to me and said, ‘Dude, nobody does this.’ We did every song (on the album) in three days. There was nothing laborious about it. I even dressed up for the studio.

You have a very sultry version of Frank Sinatra’s “Fly Me to the Moon” on your album. Did you look to any particular crooner for inspiration?

Mostly Frank and Dean (Martin). I’m such a fan of both of those guys. And Tony Bennett. But mostly Frank. If you go back and listen to his songs, talk about a master of phrasing and making it sound effortless. When it came to the songs I wrote, like ‘All I Ever Needed,' I remember thinking, ‘OK, you’re a young songwriter in 1948 and presenting this to Sinatra.’ But there are no comparisons in our voices!

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Richard Marx recorded "After Hours" entirely live with a 24-piece ensemble.

Rod Stewart is with you on a very sweet version of “Young at Heart” and you’re touring with him this summer. What do you love most about the guy?

Everything. I’m a lifelong … not just a fan, but he’s been a hero of mine. I met him in passing a couple of times and whenever I was around him I was always like, ‘I’m not worthy.’ Three years ago I was touring Australia and I ran into him in a restaurant and it was a classic case of manifestation. We ended up talking in a corner for a couple of hours and it was the beginning of a dear friendship. We text, go to dinner, our wives love each other.

So it was an easy sell to get him on the record?

A year ago we were in pub in London and in conversation I told him about the album and he said, ‘We should sing something together.’ It was his idea to do ‘Young at Heart.’ This guy who I worshipped all my life, my friendship with him is so dear to me. He is everything I always wanted him to be.

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Richard Marx's "After Hours" album, out Jan. 16, 2026, is love letter to the Great American Songbook that also includes original songs written in the same era-evoking spirit.

You also cowrote the song “Magic Hour” with your wife, Daisy. What is it like writing with her?

We’ve written a few songs over the years. I always write the music first and sometimes she’ll just talk and I’ll form it into a lyric. With ‘Magic Hour,’ I wrote the music in a matter of minutes. We were in Australia and we went to a beach on the Gold Coast and I'm humming and she said, ‘Seriously, you don’t have words for that?’ At worst, we crack open a bottle of wine and sit over it (to come up with the lyrics).

You and Daisy had your “Tequila Talk” podcast and last year you started “Stories to Tell.” What do you enjoy most about it?

It’s at my house, so it’s painless. It’s over drinks, even though half of my guests are sober, which is a bummer (laughs). I have no expectations, but I love having an interesting conversation over a drink. It’s a great excuse to get together with people.

This article originally appeared on USA TODAY: Richard Marx channels 'master of phrasing' Sinatra on new album

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