Luther Vandross

Luther Vandross ranked among the leading R&B performers across the 1980s and 1990s. He not only released multiple albums that sold several million copies each and included numerous singles that reached the top of the charts while headlining sold-out shows throughout the United States and overseas, but he also directed his creative output by writing or co-writing nearly all his own material and taking on arrangement and production responsibilities for his projects. The same expertise extended to fellow musicians, yielding chart successes for them as well. At the same time, he earned widespread recognition for his singular takes on longstanding pop and R&B standards, demonstrating his familiarity with and fondness for the popular sounds of his formative years. Blessed with a fluid and adaptable tenor, he won over millions through his romantic compositions.

Born April 20, 1951, in New York City, Vandross spent his early years in the Alfred E. Smith housing projects in lower Manhattan. His parents—upholsterer Luther Vandross, Sr., and nurse Mary Ida Vandross—both sang and urged their children toward music careers. His father’s older sister, Patricia Van Dross, belonged to the Crests in the mid-1950s, appearing on their earliest singles before exiting prior to their hit “Sixteen Candles.” Vandross himself began playing piano at age three and started lessons at five, though he remained largely self-taught. After his father died in 1959 when Vandross was eight, his mother raised the family following their move to the Bronx. While a student at William Howard Taft High School, he assembled the vocal group Shades of Jade with Carlos Alomar, Robin Clark, Anthony Hinton, Diane Sumler, and Fonzi Thornton. Together with eleven other teenage performers, they joined the Apollo Theater’s Listen, My Brother musical theater workshop in Harlem, which issued the single “Listen, My Brother”/“Only Love Can Make a Better World” and appeared on the first episodes of Sesame Street in 1969. After graduating high school that year, Vandross enrolled at Western Michigan University but left after one year and returned home, spending the next several years in various jobs while attempting to break into music.

In 1973, Delores Hall recorded two of Vandross’s compositions, “In This Lovely Hour” and “Who’s Gonna Make It Easier for Me,” on her album Hall-Mark, and the pair duetted on the latter track. Though uncredited, he supplied background vocals on Maggie Bell’s Queen of the Night in 1974; that August, guitarist Carlos Alomar, now working with David Bowie, invited him to a Bowie session at Sigma Sound Studios in Philadelphia. Vandross quickly moved beyond observation, adding background vocals, arranging vocals, and co-writing “Fascination” with Bowie. The session produced Young Americans, after which Vandross toured with Bowie as both backup singer and opening act. Meanwhile, his song “Everybody Rejoice (A Brand New Day)” appeared in the Broadway musical The Wiz.

Through Bowie, Vandross met Bette Midler, who engaged him to arrange vocals for her Broadway revue Bette Midler’s Clams on the Half Shell. Midler also connected him with Atlantic Records producer Arif Mardin, leading to steady work as a background singer and vocal arranger. He appeared on 1976 releases by Midler, the Brecker Brothers Band, and Judy Collins. He also formed the vocal quintet Luther, which signed to Atlantic’s Cotillion subsidiary; their self-titled debut arrived in June 1976, with “It’s Good for the Soul,” “Funky Music (Is a Part of Me),” and “The Second Time Around” all reaching the R&B Top 40. The title track from the follow-up This Close to You (April 1977) charted on the R&B list, yet Cotillion dropped the group, which subsequently disbanded. Vandross later secured rights to the Luther recordings and ensured they stayed out of print.

Vandross persisted with session work. In 1977 he contributed to albums by Nils Lofgren, the J. Geils Band, the Average White Band and Ben E. King, and Chic. He also entered the commercial jingle market, becoming the voice for products ranging from telephones and fast food to military branches on radio and television. In 1978 he appeared on more than a dozen albums, including those by Carly Simon, Quincy Jones, Roberta Flack, Chic, and Cat Stevens.

Greater notice arrived in 1979. He performed on projects by Sister Sledge, the Average White Band, Chic, and Evelyn “Champagne” King. On jazz and disco sessions he often served as featured vocalist alongside background duties. He received prominent credit for arranging backgrounds on Barbra Streisand and Donna Summer’s duet “No More Tears (Enough Is Enough),” which reached number one on the pop chart in November 1979. Recognition increased further in 1980 through appearances on studio albums by Chaka Khan, Melba Moore, and Mtume. Most significantly, he served as lead vocalist for the studio group Change, singing on “Searching,” a Top 40 R&B hit, and “The Glow of Love,” which also charted R&B. This exposure prompted him to circulate a demo tape seeking a solo contract that would grant full writing and production control. He signed with Epic on April 21, 1981.

Work on his debut album began immediately, though he continued contributing to 1981 releases by Bob James, Bernard Wright, Change, Stephanie Mills, and others. In June his composition “You Stopped Loving Me” appeared on Roberta Flack’s album with Vandross arranging and singing backgrounds; it became a Top 40 R&B hit for her. His own version surfaced on Never Too Much, released in August. He produced the album and wrote six of its seven tracks, the exception being a cover of Burt Bacharach and Hal David’s Dionne Warwick hit “A House Is Not a Home.” The record showcased a smooth neo-soul approach recalling the pop and R&B sounds of his youth, particularly the work of Warwick, Aretha Franklin, softer Motown artists such as Smokey Robinson, and early-1960s girl groups like the Shirelles. The title track “Never Too Much” topped the R&B chart; “Don’t You Know That?” reached the R&B Top Ten; and “Sugar and Spice (I Found Me a Girl)” also charted R&B. The album hit number one on the R&B list in November and earned gold certification in December, later reaching platinum in 1986 and double platinum in 1997. Pop success proved more limited, with the album peaking inside the Top 20 and the single “Never Too Much” only reaching the Top 40. These outcomes established a recurring pattern: consistent stylistic and thematic choices, including a classic cover on each album, strong R&B sales, yet comparatively modest pop support.

Vandross continued background vocal work, appearing on 1982 albums by Michael Franks, Kleeer, and Linda Clifford. His proven skills as songwriter, producer, and arranger simultaneously opened doors to collaborations with childhood idols and peers. He first produced Cheryl Lynn’s R&B Top Ten album Instant Love (June 1982), wrote its title track that became a Top 20 R&B hit, and duetted with her on a revival of Marvin Gaye and Tammi Terrell’s 1968 song “If This World Were Mine,” which reached the R&B Top Five.

He next produced Aretha Franklin’s July 1982 album Jump to It, writing or co-writing four of its eight tracks, including the title song that topped the R&B chart. It marked her first gold album in six years. He simultaneously completed his second solo effort, Forever, For Always, For Love, released in September, again producing and writing or co-writing every track except covers of Smokey Robinson’s 1965 Temptations hit “Since I Lost My Baby” and, in a medley with his own “Bad Boy,” Sam Cooke’s “Having a Party.” Co-writers on several songs included bassist Marcus Miller and keyboardist Nat Adderley, Jr., associates who would collaborate with him throughout his career. The album became another R&B number one, spawning the Top Five “Bad Boy/Having a Party,” the Top 20 “Since I Lost My Baby,” and the charting “Promise Me.” It earned gold certification in two months and platinum in six.

In 1983 Vandross produced Aretha Franklin’s Get It Right, composing the title track, which reached number one R&B, with Marcus Miller, along with its follow-up “Every Girl (Wants My Guy),” a Top Ten R&B hit. He then produced Dionne Warwick’s album How Many Times Can We Say Goodbye; the title duet became Warwick’s first R&B Top Ten hit in eight years and also reached the pop Top 40. Though not until December, he issued his third solo album, Busy Body. “I’ll Let You Slide” and “Superstar/Until You Come Back to Me (That’s What I’m Gonna Do)” reached the R&B Top Ten, while “Make Me a Believer” charted; the album topped the R&B list but only reached the pop Top 40 and went gold in two months and platinum by January 1985.

Vandross reduced his recording pace in 1984, largely because he had become a major touring attraction in North America and Europe. His sole credit that year was composing, arranging, producing, and singing backgrounds on Teddy Pendergrass’s “You’re My Choice Tonight (Choose Me),” a Top 20 R&B hit. He devoted additional attention to his fourth album, The Night I Fell in Love, released in March 1985. It spent seven weeks at number one on Billboard’s R&B album chart, achieving simultaneous gold and platinum certification upon eligibility in May and double platinum in 1990. It also reached number 14 on the pop chart, his strongest showing to date. After completing the album he made selected appearances on other 1985 releases.

Most of 1986 was spent on original material. “Give Me the Reason” first surfaced in June on the Ruthless People soundtrack and became a Top Five R&B single that also charted pop. His fifth album, Give Me the Reason, followed in September. His fifth consecutive R&B chart-topper, it yielded further singles: “Stop to Love,” number one R&B and his first Top 20 pop hit; the duet with Gregory Hines “There’s Nothing Better Than Love,” also number one R&B and a pop chart entry; “I Really Didn’t Mean It,” Top Ten R&B; and “So Amazing.” Simultaneous gold and platinum certifications arrived in December, followed by double platinum in 1990.

Between his fifth and sixth albums Vandross focused on touring and preparation, releasing Any Love in October 1988. It topped the R&B chart and became his first Top Ten pop album, again earning simultaneous gold and platinum status two months after release. The title track reached number one R&B and entered the pop chart. By then an international success, he commemorated a record-breaking ten-night run at London’s Wembley Arena in March 1989 with the home video Live at Wembley. To close the decade, Vandross and Epic issued the two-LP greatest-hits set The Best of Luther Vandross: The Best of Love in October 1989, adding two new tracks, “Here and Now” and “Treat You Right.” These additions produced his long-desired major crossover success: “Here and Now” topped the R&B chart and reached the pop Top Ten, while earning Vandross his first Grammy for Best R&B Vocal Performance, Male.

Before his next studio album, Power of Love, released in April 1991, Vandross contributed to other projects, including Quincy Jones’s Back on the Block. He wrote and produced “Who Do You Love” for Whitney Houston’s I’m Your Baby Tonight. The new album sustained the crossover momentum begun with “Here and Now.” Advance single “Power of Love/Love Power” topped the R&B chart and reached Top Five pop; the album, Vandross’s seventh R&B number one, became his second to enter the pop Top Ten. It sold a million copies by June 1991 and reached double platinum two years later. “Power of Love/Love Power” won Best R&B Song at the 1991 Grammys, and the album earned another Best R&B Vocal Performance, Male trophy.

Despite these accomplishments, Vandross filed suit against Sony Music Entertainment (which had acquired CBS Records) under California Labor Code Section 2855, limiting personal-service contracts to seven years. He had been with CBS/Sony nearly eleven years and still owed three albums on a ten-album deal. Whether he sought to exit the contract over perceived insufficient pop promotion or merely to renegotiate better terms remains unclear, but the company settled quietly. The undisclosed settlement resulted in a vanity label; thereafter his records appeared under the Epic/LV imprint.

Following Power of Love he resumed outside work, appearing on 1991 albums by BeBe & CeCe Winans, Patti LaBelle, and Richard Marx. In 1992 he maintained visibility with the Mo’ Money soundtrack contribution “The Best Things in Life Are Free,” performed with Janet Jackson, Bell Biv DeVoe, and Ralph Tresvant. Released in June, it reached number one R&B and Top Ten pop.

His eighth album, Never Let Me Go, arrived in June 1993. Possibly due to lingering effects of the recent lawsuit or the ascendancy of hip-hop, commercial response proved somewhat softer. The single reached the R&B Top Ten but only charted modestly on pop, and Never Let Me Go peaked at number six on the pop chart—his best showing yet—yet failed to top the R&B list for the first time. An idea from Sony president Tommy Mottola and his then-wife Mariah Carey prompted an all-covers album. Songs appeared in September 1994, preceded by a duet cover of Lionel Richie and Diana Ross’s 1981 hit “Endless Love.” The single peaked at number two pop, a new high; the album reached number two R&B and number five pop, another crossover peak. It sold a million copies immediately and attained double platinum within eighteen months.

With commercial standing restored, Vandross resumed background vocals and touring. For the next project he recorded a holiday collection, This Is Christmas, released in October 1995, which became a perennial seller. He spent most of the year completing Your Secret Love, the final album under his Epic contract. Issued in October 1996, its title track earned him another Grammy for Best R&B Vocal Performance, Male. Simultaneous gold and platinum certifications followed in December.

The following September, Epic/LV released the valedictory One Night with You: The Best of Love, Vol. 2, opening with four new recordings contributed by Diane Warren, R. Kelly, and Jimmy Jam & Terry Lewis. Limited promotion attended this contractual-obligation project, which nevertheless reached the R&B Top 40 and pop Top 50.

While evaluating offers from other labels, Vandross made further guest appearances, performing “Windows of the World” and “What the World Needs Now” at a Burt Bacharach tribute concert at New York’s Hammerstein Ballroom. The event was filmed and yielded the soundtrack album One Amazing Night. He also paid tribute to Patti LaBelle in a PBS special at the same venue. He ultimately signed with Virgin and released I Know in August 1998. It achieved only gold status and produced just one Top 40 R&B hit, “Nights in Harlem,” prompting his departure after a single album.

In 1999 and 2000 he contributed soundtrack and session work while seeking a new label home. He became the first signing to Clive Davis’s J Records. His label debut, “If I Was the One,” appeared on the Dr. Doolittle 2 soundtrack and on the album Luther Vandross, issued two weeks later. Vandross and Davis co-produced, with individual tracks handled by others and new songwriters enlisted for a contemporary sound. The approach succeeded: the album reached the pop Top Ten, nearly topped the R&B chart, and attained platinum status by November.

Revitalized, Vandross toured in early 2002 before beginning a second J album. He co-wrote the title track “Dance with My Father” with Richard Marx as a tribute to his father. The album was completed by spring 2003, but Vandross suffered a serious stroke in his New York apartment while preparing promotional activities. Despite his condition, J released “Dance with My Father,” which became an R&B and pop Top 40 hit and a gold record; the album debuted at number one on both charts, his first such achievement, and sold more than two million copies. At the 2003 Grammys he received sentimental honors, doubling his career total from four to eight trophies: Song of the Year and Best R&B Vocal Performance, Male for “Dance with My Father,” Best R&B Album, and Best R&B Performance by a Duo or Group with Vocals for “The Closer I Get to You.” He accepted via videotape and pledged a swift return. J kept his profile high with the October 2003 concert collection Live Radio City Music Hall 2003. Reports indicated continued recovery through 2004 and into 2005, including an appearance on Oprah Winfrey’s show. On July 1, 2005, it was announced that he had died at age 54, “never really recovered” from the stroke.

Over more than two decades in the volatile music industry, Vandross consistently sold millions of records. Equally significant, he shaped R&B on his own terms. Emerging after disco and during rap/hip-hop’s early development, he championed reverence for recent soul traditions and deliberately recast them in an old-school style. Even as rap dominated early-21st-century charts, he upheld his commitment to romantic and melodic music and brought listeners with him. His death at 54 deprived American popular music of one of its most reliable and engaging voices, though the substantial catalog he left behind offers partial consolation.