Flesh & Bone is an improvement from Paid Vacation, mainly because Richard Marx isn't trying as hard to be contemporary. Marx has accepted, more or less, that he isn't fighting for a position in the Top 40 and has resigned himself to the adult contemporary charts. While that means Flesh & Blood doesn't even rock as hard as, say, "Don't Mean Nothin'," it does mean that is pleasantly and inoffensively melodic, with more memorable moments than its predecessor.
Richard Marx's 1991 release, Rush Street, is a varied album that was billed as "the dark side of Richard Marx," and was also his last true rock & roll album (subsequent releases found him venturing almost exclusively into the adult contemporary domain). Rush Street explores different musical territories, with almost each song emerging as a cautionary tale in some form or another. The album kicks off to a rocking start with the bluesy "Playing With Fire" and the harmonica-enhanced "Love Unemotional." "Superstar" finds Marx in a funky mode, "Big Boy Now" is a catchy ballad that could have been a single, and "Streets of Pain" and "I Get No Sleep" (the latter featuring Billy Joel banging away at a piano) come straight out of '80s arena rock.
Repeat Offender is the second studio album by singer/songwriter Richard Marx. Released in mid-1989, it reached No. 1 on the Billboard Pop Albums chart. The album went on to sell over five million copies in the US alone (several times that worldwide) due to five major singles on the Billboard charts, including two No. 1 hits: "Satisfied" and the Platinum-certified "Right Here Waiting".
Richard Marx's self-titled debut album was a finely crafted record of mainstream pop/rock. Marx understood how the melodies of up-tempo rockers like "Don't Mean Nothin'" are driven by thick power chords, and how arrangements are as important as melody in ballads like "Hold On to the Nights." Filled with carefully constructed radio-ready tracks, it was no surprise that the album became a huge hit.