Luther Vandross -

Luther Vandross (April 20, 1951 — July 1, 2005) was an American soul singer, songwriter, and producer who emerged as a backing vocalist for Roberta Flack and David Bowie. He fronted the soul-funk combo Luther on two albums in 1976–77 on Cotillion. In 1979, he sang on a soundtrack album by the New York City Band.

As a solo singer, Vandross made eleven albums between 1981 and 1996 on Epic. He landed seven No. 1 hits on the Billboard Hot R&B chart, including “Never Too Much,” “Stop to Love,” “Any Love,” “Here and Now,” and the Gregory Hines duet “There’s Nothing Better Than Love.” Vandross also had hit duets with Cheryl Lynn (“If This World Were Mine”) and Dionne Warwick (“How Many Times Can We Say Goodbye”). In the early 2000s, he made three final discs on J Records.

Background

He was born Luther Ronzoni Vandross Jr. on April 20, 1951, in Manhattan, the fourth child and second son of nurse Mary Ida and singer/upholsterer Luther Vandross Sr. He grew up on the Lower East Side in the Alfred E. Smith housing project, where he taught himself piano by ear. During the mid-1950s, his older sister Patricia (1943–1993) sang with doo-wopsters The Crests, scoring a 1957 hit with “Sweetest One.”

When Vandross was eight, his father died of diabetes. In 2003, two years before his own death at age 54 from diabetes, he wrote the song “Dance with My Father,” drawn from childhood memories and Mary Ida’s accounts of the children singing and dancing with their father. When Vandross was nine, his family moved to the Bronx, where Patricia took him to the Apollo Theater to see concerts by Dionne Warwick and Aretha Franklin.

Early Activity

As a student at William Howard Taft High School, he founded the first fan club for Patti LaBelle, then frontwoman of the Blue Belles. He started his own performing career in Shades of Jade, which once played the Apollo. On several occasions, he did solo showcases there on amateur nights. His first studio presence was on the 1969 single “Only Love Can Make a Better World” (b/w “Listen My Brother”) by the theater group Listen My Brother, which appeared on the first season (1969–70) of Sesame Street. The single was issued on soul-press Maxwell (Faith, Hope & Charity).

In 1972, Vandross sang uncredited backup on a joint album between Roberta Flack and Donny Hathaway. The following year, he contributed two songs (“Who’s Gonna Make It Easier For Me,” “In This Lonely Hour”) to the RCA release Hall-Mark by singer Delores Hall (credited as Van Dross).

Vandross proliferated in 1975 with backing-vocal credits on albums by Gary Glitter (G. G.), Linda Lewis (Not a Little Girl Anymore), and Stephanie Mills (Movin’ In the Right Direction). He also wrote the Mills-sung “Everybody Rejoice,” featured in the Broadway musical The Wiz, in which Mills starred that year in the role of Dorothy. Another song of his, “Funky Music,” got repurposed by David Bowie as “Fascination,” included on Young Americans. That album features Vandross among several notable guests, including John Lennon, David Sanborn, and future collaborator Ava Cherry.

Amid these activities, Vandross secured a deal with Atlantic-subsidiary Cotillion for his own group, Luther, featuring singers Theresa V. Reed, Christine Wiltshire, and former Shades of Jade members Anthony Hinton and Diane Sumler.

Luther

Luther released their self-titled debut album in June 1976 on Cotillion.

Vandross wrote all seven tracks and sang lead throughout, with Anthony Hinton sharing vocal duties on selected cuts. The arrangements, handled by Paul Riser, move between funk-inflected uptempo material, close group-vocal ballads, and one extended near-nine-minute disco construction that closes the record. Guitarists Carlos Alomar, Jeff Mironov, Jerry Friedman, and Lance Quinn share the rhythm and lead work; keyboardists Nat Adderley Jr. and Pat Rebillot anchor the midrange; bassists George Murray and Wilbur Bascomb and drummers Andy Newmark, Darryl Brown, and Andrew Smith divide rhythm duties across the record. Soprano saxophonist George Young appears on selected tracks.

“Funky Music (Is a Part of Me)” opens the album at a fast pace, drawing on Southern soul and gospel textures with Vandross in full-register lead. The track’s history predates the album: Vandross wrote it years earlier and David Bowie reworked it as “Fascination” for Young Americans, with Vandross singing on that recording. “The 2nd Time Around” is a slow ballad running past six minutes, carried by Vandross’ lead and the layered backing vocals.

“I’ll Get Along Fine” is a duet with Sumler at moderate pace. “Everybody Rejoice,” drawn from The Wiz — Vandross sang the opening line on the original cast recording — takes the number at a slower, more measured tempo than the stage version. “Emotion Eyes” opens side two in a dense synthesizer-heavy funk frame. “This Strange Feeling” is a ballad co-led by Hinton. “It’s Good for the Soul (Parts I & II)” closes the album at nearly nine minutes, built on a repeated disco structure with Alomar’s guitar and Adderley Jr.’s keyboards prominent in the layered arrangement.

A1. “Funky Music (Is a Part of Me)” (5:29) — Luther Vandross
A2. “The 2nd Time Around” (6:25) — Luther Vandross
A3. “I’ll Get Along Fine” (4:07) — Luther Vandross
A4. “Everybody Rejoice” (3:22) — Luther Vandross [from The Wiz]

B1. “Emotion Eyes” (5:58) — Luther Vandross
B2. “This Strange Feeling” (4:44) — Luther Vandross
B3. “It’s Good for the Soul (Parts I & II)” (8:42) — Luther Vandross

Sessions occurred at Atlantic, New York City, and Sigma Sound, Philadelphia, during 1975–1976, with producer Luther Vandross. Executive producers: David Krevat and Ceilidh Productions, Inc.

Cotillion issued “It’s Good for the Soul (Pt. 1)” as the lead single in both 7″ and 12″ formats; it reached number 102 on the Billboard Hot 100 and number 28 on the R&B chart. Cotillion followed with “Funky Music (Is a Part of Me)” backed with “The 2nd Time Around”; “Funky Music” reached number 34 R&B.

This Close to You

Luther released their second album, This Close to You, on March 23, 1977, on Cotillion.

Vandross again wrote all nine tracks and led the majority of the vocals, with Hinton sharing lead duties. Paul Riser returned for arrangements, with strings and horns contracted by Alfred Brown. Guitarists Jeff Mironov, Cornell Dupree, and Nile Rodgers divide the rhythm and lead parts; bassists Will Lee and Wilbur Bascomb and drummers Rick Marotta and Dennis Davis share rhythm duties; keyboardists Nathaniel Adderley Jr. and Don Grolnick anchor the midrange alongside electric pianist Fred Gripper.

Vibraphonist and percussionist David A. Friedman and soprano saxophonist George Young II appear throughout; percussionist Pablo Rosario and Michael Pomier on congas round out the rhythm section. The album moves through mid-tempo soul, string-framed ballads, and close vocal-group arrangements, staying clear of the heavier disco structures that close the debut.

A1. “This Is for Real” (4:08)
A2. “A Lover’s Change” (2:58)
A3. “Don’t Take the Time” (5:18)
A4. “Jealousy in Me” (4:32)
A5. “I’m Not Satisfied” (4:43)

B1. “This Close to You” (3:30)
B2. “Don’t Wanna Be a Fool” (3:18)
B3. “Come Back to Love” (5:08)
B4. “Follow My Love” (5:11)

Luther recorded This Close to You at Atlantic, New York City, during 1976–1977, with producer Luther Vandross. Executive producer: David Krevat.

Cotillion issued “This Close to You” as a single; it reached number 93 on the R&B chart.

Never Too Much

Luther Vandross released his debut solo album, Never Too Much, on August 12, 1981, on Epic.

The album divides seven tracks between uptempo soul constructions, mid-tempo material, and a single extended ballad — the Burt Bacharach and Hal David standard “A House Is Not a Home,” which runs past seven minutes. Bassist Marcus Miller anchors six of the seven tracks, with bassist Anthony Jackson stepping in for the closing number. Drummer Buddy Williams plays throughout; guitarists Georg Wadenius and Steve Love share the fretwork across the record.

“Never Too Much” opens the album at a brisk pace, Vandross moving between full voice and rapid-delivery verse phrasing with Miller’s bass prominent in the mix. “Sugar and Spice (I Found Me a Girl)” keeps a bright, fast arrangement with Vandross in close interplay with the backing singers. “Don’t You Know That?” pulls back to a more measured pace with careful, deliberate phrasing. “I’ve Been Working” extends past six minutes in a sustained funk frame. “She’s a Super Lady” drives on a pulsing, bass-forward rhythm with an active horn section. “You Stopped Loving Me” — written by Vandross and previously recorded by Roberta Flack — moves in a minor-key ballad setting. “A House Is Not a Home” slows the tempo considerably against Leon Pendarvis’ string and horn arrangements, with Jackson on bass replacing Miller for the track.

A1. “Never Too Much” (3:50) — Luther Vandross
A2. “Sugar and Spice (I Found Me a Girl)” (4:57) — Luther Vandross
A3. “Don’t You Know That?” (4:01) — Luther Vandross
A4. “I’ve Been Working” (6:35) — Luther Vandross

B1. “She’s a Super Lady” (5:04) — Luther Vandross
B2. “You Stopped Loving Me” (5:16) — Luther Vandross
B3. “A House Is Not a Home” (7:07) — Burt Bacharach, Hal David

Keyboardist Nat Adderley Jr. handles rhythm arrangements on five tracks. The backing vocal ensemble rotates across Cissy Houston, Tawatha Agee, Yvonne Lewis, Michelle Cobbs, Brenda White King, Phillip Ballou, and Fonzi Thornton. Arrangers Paul Riser and Leon Pendarvis contribute horn and string writing on separate tracks.

Vandross recorded Never Too Much at Media Sound, New York City, between April and July 1981, with producer Luther Vandross. Recording and mixing by Michael Brauer; mastered by Greg Calbi at Sterling Sound, New York. Executive producer: Larkin Arnold.

Never Too Much reached number 19 on the Billboard 200 and number 1 on the Top R&B/Hip-Hop Albums chart. It was certified double platinum by the RIAA.

Epic issued “Never Too Much” backed with “You Stopped Loving Me” in July 1981; “Never Too Much” reached number 1 on the Billboard R&B chart, number 33 on the Hot 100, and number 4 on the dance chart. A remixed version reached number 13 on the UK Singles Chart in 1989. Epic issued “Don’t You Know That?” backed with “I’ve Been Working” in December 1981; it reached number 10 on the R&B chart.

Forever, for Always, for Love

Luther Vandross released his second solo album, Forever, for Always, for Love, on September 21, 1982, on Epic.

The eight-track album moves between fast, celebratory soul, mid-tempo arrangements, and extended ballads, with a substantial orchestral presence across most of the record. Bassist and co-arranger Marcus Miller and keyboardist Nat Adderley Jr. anchor the rhythm section, joined by drummer Yogi Horton on six tracks and drummer Buddy Williams on two. Guitarists Doc Powell and Georg Wadenius divide the fretwork. The album includes two covers: the Temptations’ 1965 single “Since I Lost My Baby,” written by Smokey Robinson and Warren Moore, and a medley built around Sam Cooke’s 1962 “Having a Party.”

“Bad Boy/Having a Party” opens at a fast, celebratory pace, Vandross building the track around his own “Bad Boy” lyric before the bridge pivots to the chorus of Cooke’s “Having a Party.””You’re the Sweetest One” is a mid-tempo number with active horn scoring. “Since I Lost My Baby” takes a slow, mournful pace against full string and horn arrangements. “Forever, for Always, for Love” is the album’s central ballad, extending past six minutes with a flute solo by Lawrence Feldman woven into the arrangement. “Better Love” opens side two as a slow number over a precise, high-hat-driven rhythm. “Promise Me” and “She Loves Me Back” are mid-length soul constructions with layered backing vocal stacks. “Once You Know How” closes the album with Vandross on acoustic piano.

A1. “Bad Boy/Having a Party” (5:16) — Luther Vandross, Marcus Miller, Sam Cooke
A2. “You’re the Sweetest One” (4:46) — Luther Vandross, Marcus Miller
A3. “Since I Lost My Baby” (5:28) — Smokey Robinson, Warren Moore
A4. “Forever, for Always, for Love” (6:23) — Luther Vandross

B1. “Better Love” (6:26) — Luther Vandross, Nat Adderley Jr.
B2. “Promise Me” (4:43) — Luther Vandross
B3. “She Loves Me Back” (6:09) — Luther Vandross
B4. “Once You Know How” (4:35) — Luther Vandross

Percussionists Ralph MacDonald, Paulinho da Costa, and Sammy Figueroa rotate across the record. Arrangers Paul Riser and Leon Pendarvis contribute brass and strings separately; a large string and brass ensemble fills the orchestral parts. The backing vocal ensemble draws on Cissy Houston, Tawatha Agee, Brenda White, Yvonne Lewis, Fonzi Thornton, Phillip Ballou, Paulette McWilliams, and Norma Jean Wright.

Vandross recorded Forever, for Always, for Love at Mediasound Studios, New York City, the Record Plant, Los Angeles, and The Village Recorder, Los Angeles, between February and June 1982, with producer Luther Vandross. Recording and mixing by Michael H. Brauer; mastered by Greg Calbi at Sterling Sound, New York. Executive producer: Larkin Arnold.

Forever, for Always, for Love reached number 20 on the Billboard 200 and number 1 on the R&B Albums chart, where it spent three weeks. It was certified platinum by the RIAA.

Epic issued “Bad Boy/Having a Party” in August 1982; it reached number 3 on the R&B chart and number 55 on the Hot 100. Epic issued “Since I Lost My Baby” backed with “You’re the Sweetest One” in early 1983; it reached number 17 on the R&B chart.

Earlier in 1982, Epic issued “If This World Were Mine,” a duet with Cheryl Lynn, as a single; it reached number 4 on the R&B chart. The track does not appear on Forever, for Always, for Love.

Busy Body

Luther Vandross released his third solo album, Busy Body, on December 6, 1983, on Epic.

Co-produced with Marcus Miller — Miller producing four of the seven tracks — the album sustains the dense rhythm-section and vocal-ensemble approach of the previous records while extending the synthesizer presence throughout. Bassist and synthesizer player Marcus Miller and keyboardist Nat Adderley Jr. anchor the midrange; synthesizer players John “Skip” Anderson and Ed Walsh add additional programming. Guitarists Doc Powell and Georg Wadenius share the fretwork; drummer Yogi Horton plays throughout; percussionists Paulinho da Costa and Steve Kroon divide congas and bongos across the tracks. The album closes with a medley combining the Carpenters’ “Superstar” and Aretha Franklin’s “Until You Come Back to Me (That’s What I’m Gonna Do).”

“I Wanted Your Love” opens in an uptempo frame with Miller’s synthesizer and bass interlocked. “Busy Body” keeps a similar pace at shorter length. “I’ll Let You Slide” builds across five minutes with a mobile rhythmic structure. “Make Me a Believer” is a slower construction with sustained string and horn arrangements from Adderley Jr. “For the Sweetness of Your Love” extends past seven minutes in the album’s most expansive ballad form. “How Many Times Can We Say Goodbye” is a close duet with Warwick running under three and a half minutes. The closing medley runs past nine minutes, moving from the Carpenters number into the Franklin track with Adderley Jr.’s string arrangements bridging the two.

A1. “I Wanted Your Love” (5:42) — Luther Vandross, Marcus Miller
A2. “Busy Body” (4:45) — Luther Vandross, Marcus Miller
A3. “I’ll Let You Slide” (5:21) — Luther Vandross, Marcus Miller
A4. “Make Me a Believer” (5:26) — Luther Vandross, Nat Adderley Jr.

B1. “For the Sweetness of Your Love” (7:28) — Luther Vandross, Marcus Miller
B2. “How Many Times Can We Say Goodbye” (3:25) — Steve Goldman [duet with Dionne Warwick]
B3. “Superstar/Until You Come Back to Me (That’s What I’m Gonna Do)” (9:18) — Leon Russell, Bonnie Bramlett, Morris Broadnax, Clarence Paul, Stevie Wonder

The backing vocal ensemble is the album’s largest, drawing on Tawatha Agee, Brenda White King, Robin Clark, Phillip Ballou, Fonzi Thornton, Alfa Anderson, Cissy Houston, David Lasley, Darlene Love, Cheryl Lynn, Paulette McWilliams, and Yvonne Lewis. Dionne Warwick appears as co-lead on the duet “How Many Times Can We Say Goodbye,” arranged by Jimmy Webb.

Vandross recorded Busy Body at Mediasound Studios, New York City; Minot Sound, White Plains; Warner Bros. Studios, Burbank; and Westlake Studios, Los Angeles, between February and August 1983, with producers Luther Vandross and Marcus Miller. Recording and mixing by Ray Bardani; mastered by Greg Calbi at Sterling Sound, New York. Executive producer: Larkin Arnold.

Busy Body reached number 32 on the Billboard 200 and number 1 on the R&B Albums chart. It was certified platinum by the RIAA.

Arista issued “How Many Times Can We Say Goodbye” — a Dionne Warwick and Luther Vandross duet — in September 1983; it reached number 27 on the Hot 100 and number 7 on the R&B chart. The song also appears on her 1983 album, How Many Times Can We Say Goodbye.

Epic issued “I’ll Let You Slide” in December 1983; it reached number 9 on the R&B chart. “Superstar/Until You Come Back to Me” followed in early 1984, reaching number 5 R&B. “Make Me a Believer” issued in May 1984, reached number 48 R&B.

The Night I Fell in Love

Luther Vandross released his fourth solo album, The Night I Fell in Love, on April 19, 1985, on Epic.

Co-produced with Marcus Miller — Miller producing three tracks — the album sustains the synthesizer-forward, bass-driven texture of Busy Body while expanding the orchestral writing on selected tracks. Bassist Marcus Miller anchors seven of the eight tracks; bassist Eluriel Barfield steps in for the opener.

“‘Til My Baby Comes Home” opens the album at a fast, driving pace with Preston’s organ prominent in the mix alongside the rhythm section. “The Night I Fell in Love” extends past six minutes in a slower, atmospheric frame with sustained synthesizer textures. Brenda Russell’s “If Only for One Night” is a mid-tempo ballad built around harp, violin, and electric guitar, with a shift in the second half when the fuller vocal ensemble enters. Stevie Wonder’s “Creepin'” runs just over four minutes in a quiet, understated setting. “It’s Over Now” combines elements from several of the album’s earlier textures across six minutes. “Wait for Love” is a sentimental mid-tempo number. “My Sensitivity (Gets in the Way)” pulls back in length and arrangement to a compact ballad frame. “Other Side of the World” closes the album in a broad, orchestral texture jointly arranged by Vandross and Adderley Jr.

A1. “‘Til My Baby Comes Home” (5:31) — Luther Vandross, Marcus Miller
A2. “The Night I Fell in Love” (6:06) — Luther Vandross, Marcus Miller
A3. “If Only for One Night” (4:15) — Brenda Russell
A4. “Creepin'” (4:04) — Stevie Wonder

B1. “It’s Over Now” (6:09) — Luther Vandross, Marcus Miller
B2. “Wait for Love” (5:16) — Luther Vandross, Nat Adderley Jr.
B3. “My Sensitivity (Gets in the Way)” (4:10) — Luther Vandross
B4. “Other Side of the World” (5:58) — Luther Vandross, Nat Adderley Jr.

Drummer Yogi Horton plays throughout; percussionists Paulinho da Costa and Steve Kroon divide congas and bongos. Keyboardist Nat Adderley Jr. handles synthesizers and string arrangements on five tracks; synthesizer programmers John “Skip” Anderson and Ed Walsh contribute additional textures. Guitarists Doc Powell and Georg Wadenius divide the fretwork across the record. Organist Billy Preston plays on the opening track. The alto vocal section — Michelle Cobbs, Darlene Love, Paulette McWilliams, and Brenda White King — and soprano section — Alfa Anderson, Lisa Fischer, Cissy Houston, and Yvonne Lewis — contribute separately across the record, alongside Phillip Ballou and Fonzi Thornton.

Vandross recorded The Night I Fell in Love at AIR Studios, Montserrat; Mediasound Studios and the Power Station, New York City; Minot Sound, White Plains; and Westlake Recording Studios, Los Angeles, between June and October 1984, with producers Luther Vandross and Marcus Miller. Engineer and mixing by Ray Bardani; mastered by Greg Calbi at Sterling Sound, New York. Executive producer: Larkin Arnold.

The Night I Fell in Love reached number 19 on the Billboard 200 and number 1 on the R&B Albums chart. It reached number 19 on the UK Albums chart. It was certified double platinum by the RIAA.

Epic issued “‘Til My Baby Comes Home” in January 1985; it reached number 4 on the R&B chart and number 29 on the Hot 100. “It’s Over Now” followed, reaching number 4 R&B. “If Only for One Night” was issued in March 1985. “Wait for Love” was issued in August 1985, reaching number 11 R&B.

Give Me the Reason

Luther Vandross released his fifth solo album, Give Me the Reason,on September 24, 1986, on Epic.

Co-produced with Marcus Miller — Miller producing seven of the nine tracks — the album continues the synthesizer-and-bass framework of the two preceding albums while pulling the vocal ensemble toward a more stratified arrangement. Bassist and synthesizer player Marcus Miller and keyboardist Nat Adderley Jr. anchor the sound; synthesizer programmer Jason Miles contributes additional textures.

Guitarists Paul Jackson Jr. and Doc Powell share the fretwork across all but one track; guitarist Ira Siegel plays on “I Really Didn’t Mean It.” The album includes a Vandross cover of the Burt Bacharach and Hal David standard “Anyone Who Had a Heart.” Actor and dancer Gregory Hines appears as co-lead on one track.

“Stop to Love” opens the album at a fast tempo with subtle pace shifts through the arrangement and Vandross improvising through the chorus sections. “See Me” keeps a similar pace in a Miller-produced frame. “I Gave It Up (When I Fell in Love)” is mid-tempo with a more restrained texture. “So Amazing” — originally written by Vandross and Miller for Dionne Warwick’s 1983 recording — runs under four minutes in a compact arrangement. “Give Me the Reason,” featured on the soundtrack to the film Ruthless People, is an uptempo number. “There’s Nothing Better Than Love” is a medium-paced duet with Hines. “I Really Didn’t Mean It” is an uptempo construction. “Because It’s Really Love” extends past six minutes in a slower ballad frame. The Bacharach-David cover “Anyone Who Had a Heart” closes the album with Whalum’s saxophone integrated into the string arrangement.

A1. “Stop to Love” (5:19) — Luther Vandross, Nat Adderley Jr.
A2. “See Me” (5:29) — Luther Vandross, Marcus Miller
A3. “I Gave It Up (When I Fell in Love)” (4:45) — Luther Vandross, Marcus Miller
A4. “So Amazing” (3:41) — Luther Vandross, Marcus Miller
A5. “Give Me the Reason” (4:45) — Luther Vandross, Nat Adderley Jr.

B1. “There’s Nothing Better Than Love” (4:42) — Luther Vandross, Skip Anderson [duet with Gregory Hines]
B2. “I Really Didn’t Mean It” (5:43) — Luther Vandross, Marcus Miller
B3. “Because It’s Really Love” (6:13) — Luther Vandross
B4. “Anyone Who Had a Heart” (5:45) — Burt Bacharach, Hal David

Drummer Yogi Horton plays throughout; percussionist Paulinho da Costa handles congas and percussion. Saxophonist Kirk Whalum takes solos on two tracks. Arranger Paul Riser contributes horn and string writing on one track; Adderley Jr. handles string and horn arrangements on others. The alto vocal section — Ava Cherry, Charlotte Crossley, Michelle Cobbs, and Paulette McWilliams — and soprano section — Alfa Anderson, Lisa Fischer, Cissy Houston, Cheryl Lynn, and Myrna Smith-Schilling — contribute separately.

Vandross recorded Give Me the Reason at AIR Studios, Montserrat; Minot Sound, White Plains; and Westlake Studios, West Hollywood, between June 1985 and June 1986, with producers Luther Vandross and Marcus Miller. Engineer and mixing by Ray Bardani; mastered by Greg Calbi at Sterling Sound, New York. Executive producer: Larkin Arnold.

Give Me the Reason reached number 14 on the Billboard 200 and number 1 on the R&B Albums chart. It reached number 3 on the UK Albums chart. It was certified double platinum by the RIAA.

Epic issued “Give Me the Reason” in 1986; it reached number 5 on the R&B chart and number 57 on the Hot 100. “Stop to Love” followed in August 1986, reaching number 1 on the R&B chart and number 15 on the Hot 100. “I Really Didn’t Mean It” was issued in April 1987, reaching number 6 R&B and number 16 on the UK Singles Chart. “There’s Nothing Better Than Love” was issued in June 1987, reaching number 1 R&B. “So Amazing” was issued in September 1987, reaching number 94 R&B and number 33 on the UK Singles Chart.

Any Love

Luther Vandross released his sixth solo album, Any Love, on October 4, 1988, on Epic.

Co-produced with Marcus Miller, the album draws on a slightly broader pool of arrangers and synthesizer programmers than its predecessors while maintaining the same vocal-ensemble density. Bassist Marcus Miller and synthesizer programmer Jason Miles anchor the production across most of the record; keyboardist Nat Adderley Jr. contributes arrangements on two tracks, and keyboardist David Gamson handles arrangements on two others.

“I Wonder” opens the album in a mid-tempo frame with Adderley’s string arrangements giving the production a fuller orchestral weight. “She Won’t Talk to Me” is an uptempo number with an arrangement by Hubert Eaves III. “I Know You Want to” and “Come Back” are shorter, bright constructions. “Any Love” runs five minutes at a cool, measured pace. “Love Won’t Let Me Wait” expands Major Harris’s 1975 original — already a slow ballad — past seven minutes with soprano saxophone and sustained orchestral color. “Are You Gonna Love Me” and “For You to Love” are mid-tempo soul constructions. “The Second Time Around” closes the album past six minutes, revisiting the Luther group’s 1976 ballad with the original members on backing vocals and Riser’s horn arrangements extending the arrangement.

A1. “I Wonder” (5:12) — Luther Vandross, Nat Adderley Jr.
A2. “She Won’t Talk to Me” (4:37) — Luther Vandross, Hubert Eaves III
A3. “I Know You Want to” (4:30) — Luther Vandross, David Gamson, Porter Carroll Jr.
A4. “Come Back” (4:16) — Luther Vandross, David Gamson
A5. “Any Love” (5:05) — Luther Vandross, Marcus Miller

B1. “Love Won’t Let Me Wait” (7:19) — Bobby Eli, Vinnie Barrett
B2. “Are You Gonna Love Me” (5:10) — Luther Vandross, Marcus Miller
B3. “For You to Love” (5:39) — Luther Vandross, Marcus Miller
B4. “The Second Time Around” (6:21) — Luther Vandross

Guitarist Paul Jackson Jr. plays throughout; guitarist Doc Powell adds to the Major Harris cover. Percussionist Paulinho da Costa plays on seven tracks; drummer Buddy Williams contributes drum overdubs. Saxophonist Kirk Whalum plays soprano saxophone on the Harris cover; soprano saxophonist George Young appears on the closing track. The broader backing vocal ensemble draws on Lisa Fischer, Cissy Houston, Paulette McWilliams, Tawatha Agee, Brenda White King, and others. The final track, “The Second Time Around” — a reworking of the Luther group recording from 1976 — reunites the original Luther members Anthony Hinton, Theresa V. Reed, Diane Sumler, and Christine Wiltshire on backing vocals, with horn arrangements by Paul Riser.

Vandross recorded Any Love at A&M Studios, Hollywood, and Right Track Recording, New York City, between December 1987 and June 1988, with producers Luther Vandross and Marcus Miller. Engineer and mixing by Ray Bardani; mastered by Greg Calbi at Sterling Sound, New York.

Any Love reached number 9 on the Billboard 200, number 1 on the R&B Albums chart, and number 3 on the UK Albums chart. It was certified platinum by the RIAA.

Epic issued “Any Love” on August 1, 1988; it reached number 1 on the R&B chart, number 44 on the Hot 100, and number 12 on the Adult Contemporary chart. “She Won’t Talk to Me” followed on November 1, 1988, reaching number 3 R&B, number 30 on the Hot 100, and number 18 on the dance chart. “For You to Love” was issued February 1, 1989, reaching number 3 R&B.

Epic issued “Here and Now” in September 1989 as the lead single from the compilation The Best of Luther Vandross… The Best of Love; written by David L. Elliott, Terry Steele, and Charles White, it reached number 1 on the R&B chart, number 6 on the Hot 100, and number 3 on the Adult Contemporary chart.

Discography: