Probably one of the mushiest song ever, “Right Here Waiting” created a phenomenon worldwide.
It won the hearts of millions all over the globe. Richard Marx has used his dreamy voice, coupled with (What I claim is) the best piano rift ever, and teary eyed lyrics and blended everything together to create the ultimate drug for romantics.
For those who think it’s a pop song; think again. The genre of the song is actually ‘Soft Rock’ (Falls in the same class of “Jealous Guy” or “Bohemian Rhapsody“). Well, it’s placed at Number 2 on my ‘Top 10 mushiest Love Songs of all time’ list, and I’ll be reviewing this song today. Cheers to all the romantics who longed for this song! Let’s get started!
History: “Right Here Waiting” is actually a ballad composed and sung by Richard Marx, for his second album titled “Repeat Offender” (1989). The song went on, not only to break millions of hearts, but also records all over the world.
It peaked at the Number 1 position on the Billboard Hot 100 charts, and at Number 2 on the U.K. charts. . It was certified Gold by Canada, Silver by U.K., and Platinum by U.S. The music video was censored and considered a bit too ‘steamy’ for the public, because it featured a 42 second “softcore” sex scene. There is just one version of the song, viz. The Studio Version; having a duration of 4 Minutes 24 Seconds. [Source: Wikipedia]
What it tries to convey to us: Richard Marx actually dedicated “Right Here Waiting” for his wife, Cynthia Rhodes, when she was acting in South Africa. For us people, it’s about a loving couple who, unfortunately, break up; and the man tells her, “No matter whom you love in the future, remember this – I’ll always be there for you.” True love, isn’t it?
Review: The theme of the song is really soft – the bass, the vocals, even the piano and the acoustic guitar. The song starts off with a synthesizer rift (bass of the song). The Oh-SO-BEAUTIFUL piano rift (Courtesy Vanston) starts at 00:17, and it REALLY is magnificent. I always feel like crying (Out of joy, or sadness – who knows?). Richard Marx starts off with the vocals at 00:45. You can clearly see how beautifully he has modulated his pitch and tone, for accentuating the song. You can actually feel what he is trying to convey (For example – his “Oh can’t you see it Baby, You’ve got me going crazy”).
He starts off with the first chorus at 01:17, and after a brief 6 second gap, starts off with the second stanza. The thing that keeps all of us hooked to this song is definitely it’s chorus, because..
Let’s just face it.. It’s stupendous! Richard Marx has cleverly added more number of choruses in the song, to keep the feel ‘alive’. Saying thus, the second chorus begins already at 02:16. The song may seem slow in tune and rhythm, but it’s really fast paced in terms of tempo.
The song suddenly shifts all of it’s momentum and starts off with a completely different tune from 02:37, with Marx increasing the pitch by a notch. And then comes the moment we’ve all been waiting for – That epic guitar rift (Courtesy Bruce Gaitsch). Don’t get confused here: It’s not an electric lead, or any type of shredding that I’m talking about here; it’s an acoustic guitar rift. And yet, it’s just so beautiful. The simplicity of the song is the factor which completely won me. The rifts are extremely easy to perform (I learned the guitar 2 years ago, and this was the second rift I could ever play).
It’s soft, subtle, and perfectly suits the song mood. Marx takes over again at 03:21, with starts with the chorus at 03:32. He makes sure to maintain the ‘edge’ in his voice till the very end. The vocals end at 03:52, and the song proceeds into ending mode with a dual of the acoustic guitar and the piano rift, and the ends at 04:24.