Luther Vandross Tribute, Pt 3

continued...

LUTHER VANDROSS: REMEMBERING A SOULFUL FRIEND…

A TRIBUTE TO LUTHER...

Commentary from music journalists and writers

What a day?
What a celebration?
Thank you David Nathan for sharing those wonderful reflections of times you spent with Luther Vandross. To have the entire
WBAI-FM radio audience tune into those stories was my treat.
To hear publicist Simo Doe go back in time to her days at Cotillion Records when the singer dreamt his legacy was nothing
short of vintage.
LaVerne Perry-Kennedy's talk about how Luther Vandross insisted on the yacht party planned for his New York appearance
even though he could not attend was a joy.
"Don't cancel it," Perry-Kennedy said he said, "everyone is expecting a party, let them enjoy themselves."
It was a sad time for the singer as news had just reached him of the passing of Yogi Horton.
Sad as I was about Horton's demise, I must confess, I had a great time partying with the likes of Gwen Guthrie, Mike Tyson
and Kenn Reynolds.
But to hear Kojo Ade talk about Luther during his Taft High School years was simply revealing for listeners to Gary Byrd's
Global Beat Experience on Friday. I felt privileged to host the three-hour tribute.

And David, you seemed elated when Lalah Hathaway called in from Los Angeles, California to pay her condolences to
Luther's family. Her tribute contribution of "Forever, For Always, For Love" seemed to soothe the souls of all tri-state listeners
to the program. I really was on cloud nine when callers flooded the system talking about their favorite Luther song, concert or
encounter. But mostly, I want to thank you for making the show one that i will always treasure. Thanks for the Glow.
Vinette K. Pryce, Freelance radio host/journalist

Like many people, it’s hard for me to put into words just what a sense of loss I feel by the passing of Luther Vandross. I didn’t
know him well. I’d interviewed him twice and found him to be a little cooler, more defensive in person than his affable
‘showbiz persona’ would imply. The last time we spoke, in the Spring of ’98 at his palatial
home in Greenwich, Connecticut, I left with the impression that Luther was a desperately lonely and insecure person. It’s
amazing how our heroes can differ when we meet them in the flesh. I remember that while
Luther showed me around the exquisitely furnished home, set back in a gated area within acres of private land, not a soul
stirred in the place. He was completely alone. He greeted me at the door and saw me leave. As I made my way back to New
York City his signature song, “A House Is Not A Home” played in my head.

Now that he has gone and the tributes and retrospectives of his artistic contribution to our mortal coil come flooding in, in the
words of Gladys Knight, “between each line of pain and glory”, it is I suppose, easy to see that Luther bared his soul for
public consumption, committing his deepest insecurities to some of his most celebrated works. At his best Luther mined a
gaping void that so many have us have felt at one time or another in our lives. Classics such as “Once You Know How”,
“Since I Lost My Baby”, “Better Love”, “Wait For Love”, “My Sensitivity (Gets In The Way)” and “Any Love” exposed in all
their aching melancholy a lonely soul longing to be loved.

I first became aware of Luther back in the early ‘80’s. I was still in school in Norfolk in England. One of my older brother’s
friends, Sergio, who was then known as a “soul boy”. A term in the UK used for people who attended the Caister Soul
Weekend (an event in a neighboring town dedicated to the hordes of soul boys and soul girls across the
U.K.) who adored American soul music. I remember riding around in his Fiat blasting Luther’s “Bad Boy (Having A Party)”. He
had both Luther albums, “Never Too Much” and “For Always Forever For Love”. I was a convert. I committed both of them to
cassette (being at school at the time my record collection had yet to take flight) and played them religiously. Something about
him stood dramatically apart from the rest of the US soul and funk flooding our shores. The tone of his voice, his melodies,
musicianship and sentiment of his lyrics exuded a stylish
kind of soul and sensitivity that only Marvin Gaye, in a different way, had previously suggested.

I obviously wasn’t alone in my feelings. Luther made a triumphant visit to the UK in the early ‘80’s to play the Dominion
Theatre at the junction between Tottenham Court Road and Oxford St. Although I was too still too young to go, in the weeks
that followed I would see numerous car stickers in London and at Soul Weekends, proclaiming proudly, in the same design
format of “We Accept LV (Luncheon Vouchers)” -food stamps- which grocery stores would display, “We’ve Seen LV (Luther
Vandross)”.

The next time Luther came to the UK was a few years later in support of his “The Night I Fell In Love” album. He played a
string of sold out shows at the Hammersmith Odeon. For a bright eyed 16-year old it was a mind blowing experience. To see
Luther in concert his eighties heyday was to witness a polished, sophisticated soul music giant at the top of his game. He
wowed audiences with a captivating blend of high octane glamour, tight production and impeccable, infectious musicianship.
He had the tightest band around – Yogi Horton (drums), Doc Powell
(guitar), Nat Adderly Jnr, (keyboards), Skip Anderson (keyboards), Paulette McWilliams (backing vocals) And what about the
dancer/singers – the sexiest, sassiest, most vivacious duo of soulful divas ever to hit the stage in Alfa Anderson and Ava
Cherry. Rounding out the onstage vocal powerhouse was the dapper Kevin Owens. Luther piled the hits on thick and fast
while the impeccable choreography and musicianship kept the show moving at a lightning fast pace. It was a cross between
an R&B concert and a Broadway show without room to catch our breath.

Once I moved to New York I saw Luther in concert a few times more and while the quality and production value was the same,
it’s true what they say, “the first time’s the best”. In New York, a Luther Vandross show is akin to a giant homecoming. Luther
was a New Yorker and his boisterous audience were his family and not afraid to voice their
appreciation. When he moved back to New York from LA it felt good to have him in the Big Apple again. Though, I’m a
transplant from the UK, somehow, Luther seems intrinsically woven into the musical fabric of New York City.
Along with his contemporaries, Ashford & Simpson, Chaka Khan (in the ‘80’s), Roberta Flack, Chic and others, he is part of
the stylish, sophisticated, soulful old guard. One of a team of ultra talented, trend setting, musicians and singers that set the
exalted musical bar and ignited the pulse of the city during the disco hey-day through to
the emergence of hip-hop. They are part of the glorious Paradise Garage/Frankie Crocker WBLS of late ‘70’s, early ‘80’s New
York. The difference with Luther, unlike his contemporaries, is that he stayed the course.

Despite an acrimonious split with Epic Records, his home for seventeen years and a couple of years in the recording
wilderness after an ill-fated deal with Virgin, Luther, irrespective of his crippling stroke in 2003, would have reveled in his
second coming. The celebration of his legend would have been so sweet to witness as he immersed himself in
the success of his “Dance With My Father” album and single. But then that would have just been too perfect. His tragedy is
worthy of the pathos that surely could only have been scripted for one of our true artistic legends. In a twist of fate worthy of
the Bard himself, Luther’s crowning moment, his most publicly and commercially celebrated
work would be eclipsed by his demise, firstly from a heartbreaking stroke and now two years later his passing.

Luther’s passing is ultimately a fitting homage to his purity of his talent. For that talent to be harnessed as effectively as it was
and to produce the kind of longing, achingly beautiful soulful music he did, meant of course, that he looked deep into the
depths of who he was and what he and ultimately we saw wasn’t the stuff of big hair, sequined suits and all the gloss and fluff
of the clichéd lover man soul singer of the ‘80’s. It was that of a lonely, insecure, very sensitive man who ate because of his
emotional state, then crash dieted because of his depression over his size, before his emotional demons led him back up the
scale again.

A few quotes from my visit to his house in 1998 that cemented my feelings about Luther as detailed in the opening paragraph
are: “I remember I was due to host the Soul Train Music Awards with Dionne Warwick and I had gained a lot of weight. I
thought I had time to lose it but as the awards grew closer I realized there was no way I was
going to lose the weight, so now I’m starting to freak out. I just couldn’t face them saying, 'Ladies and gentlemen to host the
second Annual Soul Train Music Awards are Dionne Warwick and Luther Vandross' and the curtain opens and I’m 90lbs
heavier than the previous year. I’m sorry I just couldn’t face it. I called Dionne and she understood. Don Cornelius eventually
understood. That was a real down period because I sat at home and watched Dionne Warwick host it alone. Whenever my
weight goes up and I get reclusive like that, those are usually low periods.”
“Because of my weight fluctuations I spent half of my career not wanting to be seen. Consequently I wasn’t seen, so
inadvertently there was some mystery about me. Not about my weight but about me. People would say, ‘We don’t see him all
the time. We see the rest on TV all the time. We don’t see him that much.” “I take everything too much to heart. Everything
means something. I wish I wasn’t like that. I’ll stay up in bed, analyzing, thinking, sorting things out. I wish I could tell my mind
off and say, ‘Enough already! Go to sleep!”
Luther, enjoy your rest. You deserve it .
Jeff Lorez

I have just a few personal memories but like to share them with you. The first time I met Luther was around the release of his
'Songs' album. I told him how I received a pre-release tape of the record and listened to it
three times straight, mesmerized by his awesome interpretations of these classic songs. Luther wouldn't hear of it, although
he accepted my enthusiasm. He was very clear that this record was only made as a deal with Epic/Sony to get him an
international million selling record. We talked a lot about one of Luther's favorite subjects, The Sweet
Inspirations, one of his all-time favorite female groups and at the end of the interview Luther gave me the ultimate compliment
any starting music writer could get, by telling me he wished all his interviews were like ours. More compliments would come.
A next interview in London, around the release of 'Your Secret Love' I was totally surprised Luther exactly remembered our
previous meeting and conversation, the place, date, etc. And this man must have met thousands of people each year! Again I
was impressed by his total professionalism, his humor and his kindness. And how hard he could be on his record company
people who never, ever seemed to please him! He obviously felt they never worked as hard on his career as he did himself
and he was probably right. I have very fond memories of seeing Luther live in concert, several times. My strongest feeling
again was his total professionalism. He mastered his craft so well that, aside from all the extremely complicated technical
tricks he played at concerts, he was able to joke with his band members and his audience as well, all the time never losing
sight at the quality of his ever-excellent performance. I never saw any other artist at his level who could do this, be so funny
and professional at the same time. And I remember too how he truly loved his background singers, how he often had them
repeat choruses just because he loved their harmonies sound so much. Thank you Luther, you will be greatly missed.
Kees Smallegange, OOR Magazine, Netherlands

When thinking of Luther, I have always thought of one thing - LOVE. We have the music, but I will probably miss the humor
more than anything. Not many people know how funny his is. I still say “is” because as my friend Lisa so simply put before
her transition; “Energy doesn’t die, it just transforms.” This I know is true. Try to keep bringing that energy around from time
to time. You are a class act and one of a kind – there is no other! Luther, I love you *mooches* and can’t wait to see you again
one sweet day!!! “My name best ta be on da list!” :)
Kristi, daVault.net Magazine & Radio

"Your Love" from 4-CD box set "Forever Diana" is the song David Nathan references (in his tribute) and I don't think the
Luther-produced background made it prominently into the final mix, though the song (as is) is quite lovely. I'd love to hear
what Luther prepared. It's also worth noting that Diana sang prominently on Luther's "Brand New Day" in "The Wiz". Luther
also sang and arranged the background on Diana's "So Close", which was her second single from "Silk Electric" during the
time he was producing albums for Aretha and Dionne. But "It'a Hard For Me To Say" (from her 1987 "Red Hot Rhythm and
Blues" album was IT... and the fans wanted more from Diana and Luthe). It seemed that "Your Love" was to come close to that
comeback... but it wasn't (given what my ears heard in the mix... the background wasn't really there).

Of course, I got the chance to see Diana and Luther together AGAIN (musically) at her final and - incidentally - sold out “Return
To Love – Supremes” show at Madison Square Garden. She called him on stage to join her for the finale of "Best Years of My
Life". He sat on the stage next to her on the stage like a little boy next to his mum - playing excitedly with the fringe at the
ankles of her black, red, yellow, and green dress And although he noted he wasn't all that familiar with the song (which I
doubt), he ad-libbed and weighed in... and he hit the last note of the tour (before it would be announced that the plug was
being pulled on the balance of the ill-fated tour). Luther, too, joined Diana and those “New Suprmes” at their first stop on the
same tour in Philadelphia. This time, he joined her on the finale number, which was "Amazing Grace". Another special
moment.

At Diana's second sold out Liverpool show (on Saturday, July 2nd), she sang “Endless Love” and before it, she reportedly
asked the audience to be in the spirit of the “LIVE 8” concerts that were going on simultaneously Additionally, she reportedly
asked the audience to pray for the family and loved ones of her friend Luther Vandross. I can't go into details, but I had the
chance and privilege to visit Luther on two occasions early last year, and though there was promise and there were miracles
about in his recovery, I got the sense (from my own interaction with him and the situation) -- in my gut --that his return to form
would not be again and that I was saying goodbye to him. This, despite the progress he was making. Also, I got clear that
what Luther was leaving behind was an awesome legacy of music and memories... and possibilities that we can all channel
for our own lives. No life or love is perfect, but standing in the intention creates powerful results. And there is no doubt that
Luther created powerful results in his life, in his love, and in his career. No, he didn't get to produce an entire album for Diana.
No, he didn't "live happily ever after with the love of his life". No, he didn't get dubbed a "pop superstar" in the obits I've been
reading, though he longed for “pop superstar” recognition.

Still, it's clear, his work is most complete... and most renowned! He created intimacy and a friendship with Diana. He took
stabs at love and that counts for something. He is a “pop superstar” despite how he gets couched in the media. And he will
still continue to grow in the consciousness of mankind... and his influence will continue to grow in our minds, hearts, and
spirits... Forever, for always, for Luther... It's hard for me to say... but of course, Diana (and I) will be missing Luther.... but he's
here (and his music lives on... and on.... and on.... and on....)
Patrick L. Riley

As we mourn the loss of Luther Vandross, I thought I would dig up this informal piece I wrote on what might have been his
last concert performance (I'm still checking this). It was a four-night stand at Radio City Music Hall during Valentine's Day
weekend. His fateful stroke happened just a few months later. This piece was just a simple, raw, unpublished, knee-jerk
recap of what happened that magical night. Nothing fancy. Also remember that there is a live album of material culled from
these performances entitled "Live At Radio City Music Hall 2003" which is available in stores. Please join me in remembering
Luther the performer, the vocalist, the SHOW-STOPPER!
When I say goodbye, it is never for long
'Cause I know our love still lives on
It will be again exactly like it was
'Cause I believe in the power of love

=============================================================================================
An Evening with Luther Vandross
Saturday, February 15, 2003
Radio City Music Hall
New York, New York
8:00 p.m.

8:35 p.m.
Power of Love/Love Power
Never Too Much
Here and Now
Goin' Out of My Head
Stop to Love
Love Won't Let Me Wait
Any Day Now
A House is Not a Home
I'd Rather
Take You Out
Say It Now
Superstar/Until You Come Back to Me
<Band Introductions>
(There's Nothing Better Than Love)
KFC Commercial
The Glow of Love
----------------------------------------------------
If Only For One Night
Creepin'
Never Too Much (Reprise)
10:33 p.m.

Tonight was the last of a four-night Valentine's Day week stint at Radio City Music Hall for Luther. Before we go any further,
and before someone else asks me if he is 'big Luther' or 'small Luther,' he is full-bodied and full of the musical spirit which has
enabled him to sing crowds into a frenzy. And that he did tonight, with a full band led by long-time musical director and
musician Nat Adderly Jr.

The backdrop and set were all in a black/white/silver motif. Luther entered first, wearing a black velvet tuxedo and coat,
singing the chords of "Power of Love/Love Power." When the music kicked in, the band and other stage sets rose from the
floor of the stage. Where were his background singers? By the time the first chorus kicked in, the background singers (3
women and 1 man) were lowered from the ceiling of the stage on a platform. Keep in mind, Luther is already on stage, and
this 'grand entrance' is being made by background singers--classic! Not only was their entrance 'all that,' but the female
singers were all wearing silver and black, studded, hoop skirts, adorned with $9 million in diamonds, provided by Harry
Winston just for the occasion. The male singer had on a matching studded tuxedo.

Whew! It was quite a site to behold, and those of you who have seen Luther over the years, the decades, can appreciate this
entrance and these costumes. This is a signature look for Luther's background singers, used frequently in the 1980's and
early 1990's. In the mid-1990's, he didn't always use this look, and it often depended on the venue. I was pleased to see him
back to using this classic stage presence. What's nice about it is that it is almost like an ensemble performance, depending
on the song. And you'll notice the positioning of the singers in relation to Luther--there is always a balance in their stage
placement which is quite effective. And of course, the background singers were on point with choreography, whether seated,
standing, or moving about the stage. And yes, they can sang! Long time background vocalists Lisa Fischer and Ava Cherry
were not in this ensemble (Lisa is on tour with the Rolling Stones). But Cindy Mizelle and Kevin Owens (of Ray, Goodman &
Brown fame) were among these singers. There was also an additional stationary background vocalist positioned amidst the
band, Pat Lacy (of The Sounds of Blackness fame).

They all made their way through the almost 2-hour show with effortless ease. On "Here and Now" and "Love Won't Let Me
Wait," the background singers sang the arrangements from the "Best of Luther Vandross... The Best of Love" versions. On
"Stop to Love," he performed the same arrangement as in previous tours, wherein he sings a few lines from his song "She
Won't Talk to Me" (an album cut from his "Any Love" album). On his classic signature songs, "A House is Not a Home" and
"Superstar/Until You Come Back to Me," Luther did not do his customary walk past his standing microphone while holding a
note. The background singers changed into simple solid black pant and skirt suits about halfway through the show. There
was a large mirror ball which hung from the back of the stage. It was used on songs like "Say it Now" and "Superstar." On
the latter song, Luther sang "Loneliness, take it from me, is such a sad affair..." Hence, 'big Luther!' Also, "There's Nothing
Better Than Love" was sung briefly amidst his band introductions.

Luther's spirits were up. His customary jokes and stage antics were in effect, including a funny recitation of the lyrics to
Missy Elliot's "Work It." He announced that his upcoming album will drop on June 10 of this year. He then launched into his
old KFC commercial before a lively rendition of "The Glow of Love," his big hit as vocalist for the group Change. Amidst a
fitting reprise of "Never Too Much," Luther bid the crowd farewell. He received a well-deserved standing ovation. Celebrity
sightings at tonight's show were Hammer and long-time Luther background vocalist, collaborator and friend Cissy Houston.

Set List Analysis: Clearly after countless albums, one cannot expect him to perform every hit, every single. Basically, he
peformed the greatest hits of his greatest hits. Staple peformance numbers like "A House is Not a Home" and "Superstar"
were complimented by tracks from his most recent album Luther Vandross. The most recent album was represented very
well, with singles "Take You Out" and "I'd Rather," as well as album cuts "Say it Now" and "Any Day Now." Still noticeably
missed were songs like "Searching," "Bad Boy (Having a Party)," "Since I Lost My Baby," "Till My Baby Comes Home," "So
Amazing," "Any Love," "Don't Want to Be a Fool," "The Best Things in Life Are Free," "Your Secret Love," and "Can Heaven
Wait." Probably the most surprising inclusion in this set was an album cut from his Your Secret Love album: the remake of
Little Anthony & the Imperials' "Goin' Out of My Head." THANK YOU!
Michael K. Watts
Freelance Journalist & Music Critic

MY MEMORY OF LUTHER BY JANINE COVENEY
Head Writer/Smooth Jazz Format Manager, LAUNCH Radio Networks

Luther Vandross is gone from us and I find it very hard to believe. Of course we all knew that he was struggling to recover
from the devastating diabetes-induced stroke he suffered in 2003 and we all had hopes that the Luther we knew and loved
would bounce back. But people close to him warned me: Let's not wonder whether he'll sing again, the question is whether
he'll walk and talk again. That was a clue to how serious things were, a clue I didn't want to internalize. In my mind was the
possibility that he might not improve much, but not that he could die.

Though I was the R&B editor at Billboard Magazine in New York at the end of the '80s into the early '90s and interviewed
dozens of R&B artists, I don't recall ever interviewing Luther in person. He was at the height of his powers at the time, having
just released 1988's Any Love and then 1991's Power Of Love album, the title tune of which won him a Grammy. We usually
chatted on the phone about his projects, and he was always cordial but usually very business-like.

On a business trip to Los Angeles in about 1992 (I think), my good friend and fellow journalist David Nathan asked me if I
would like to meet his friend Luther Vandross at the singer's house. David had always spoken highly of his relationship with
Luther, noting that in person he was warm and funny. I was thrilled to get a chance to be let into the singer's world -- after all,
growing up in New York, I knew Luther's voice before I knew who he was. In the '70s, I would listen to the radio or watch TV,
waiting as patiently as if for a favorite hit song or TV show to hear the commercial jungles featuring that supple, soaring,
slightly husky honeyed voice that sounded like no other, pitching fried chicken, chewing gum, a restaurant chain -- anything
at all. Luther sang as easily as breathing, as easily as talking, and that's what made him so effective as a jingle singer. He
really delivered a message, a lyric; you could understand every word and you could feel his every emotion, a skill that made
him so treasured as a solo star. When Change came out with "Glow Of Love" it was I who was enraptured, because there was
that voice again and now it had a name: Luther Vandross. And I became a lifelong fan.

So now I would meet Luther in person. I picked up David one sunny L.A. afternoon in my rental car and we drove to Luther's
Beverly Hills mansion, pulling up in the circular cobblestone driveway. We entered a beautifully appointed living room with a
high ceiling. There were enormous abstract paintings on the walls and a curved, sunken bar at one end of the room. It was
"Thin" Luther who greeted me, wearing a loud hot pink-patterned Versace shirt and a big smile. Our conversation was light
and breezy, with David and Luther teasing each other, the three of us trading bits of music industry gossip, and Luther
sharing the trials and triumphs of his latest successful diet. "Thin" Luther was a happy Luther, it seemed. Though he joked
about hating to exercise and craving fried chicken, he was relaxed and had a glint in his eye.

Luther offered me my choice of something to drink, including champagne, and I opted for the bubbly. He went into the
refrigerator and opened a bottle of Perrier-Jouet and poured me a glass himself, setting it on the marble bar for me. Neither he
nor David drank champagne. At one point I asked David to take a photo of me with Luther, which he did. In the photo, it
appears that Luther is much shorter than me, because he is standing on the lowest step of the sunken bar as we cheesed for
the camera.

It was a short visit, just a friendly hello and a few laughs. We might have spent 45 minutes with him. When I finished my
champagne, David and I thanked our host and prepared to leave. "Oh no, girl," Luther stopped me. "You can't leave this
champagne here, you've got to take it with you."

"What? Why?" I was confused. Getting takeout from a Grammy winning artist's house was unexpected. "Really?"

Luther waved his Versace'd arm, assuring me. "Yes, yes, take it. I can't drink it." His diet, he meant.

"OK, thank you," I said. Was I going to turn down a free, almost-full bottle of my favorite drink from one of my favorite singers?
I thought not.

Luther went into his kitchen and rummaged around, complaining about not being able to fit the cork back into the bottle.
There was more rummaging and clattering as we stood waiting in the living room. I began to feel like I was putting the singer
to some trouble. Finally he emerged with a designer shopping bag with my champagne bottle nestled inside. In the neck of
the bottle was an old rubber pop-bottle stopper, the kind you stick in the bottle and then snap down a metal lever to seal.
"This will have to do," Luther announced. We laughed about the old-school ingeniousness of this solution, and then we said
goodbye.

In the days that followed, I drank the champagne and recycled the bottle. But I still have that old rubber pop-bottle stopper.
Luther Vandross gave it to me.

SPECIAL TRIBUTE BY A. SCOTT GALLOWAY
Those close to me know that in my career as a music journalist and as a lover of music in general, I often lament that I wasn’t
born sooner. The dream is that maybe I could have been a peer of - or interviewed more of - my favorite artists at lightning-rod
times such as Minnie Riperton when she was stealing focus as a member of Rotary Connection, Quincy Jones when he was
easing out of film scoring to grace us with albums like Walking in Space and Smackwater Jack, the Ohio Players when they
were cutting the back-to-back funk blasts Skin Tight, Fire and Honey, or Donny Hathaway when he was touring with the band
that eventually recorded his seminal Live album…and on and on. These are opportunities that I sit back in graceful envy of my
good friend and musical compatriot David Nathan, whose Web space is allowing me this chance to reflect on one of the
greats I did get to encounter…and often: the one and only Luther Vandross.

Since I became a music writer in 1988, I have been privileged and blessed to have precious one-on-one conversations with
many, many wonderful creative people, some of whom are no longer with us. But I can’t think of one “great” that I have
chatted with so many times and always had a wonderful conversation with, than Luther (he made saying his last name
pointless years ago). This was probably because we always talked about song craft, his choices of covers, his incredible
musicians and his incomparable collaborators such as Lisa Fischer, Marcus Miller and Nat Adderley, Jr. I remember scooping
him on Lisa’s starkly breathtaking version of “O Come All Ye Faithful” (from the obscure soundtrack of Home Alone 2) before
HE had heard it and he would have liked to have had a fit! I also remember when I did dare to ask him about some “dirt”
during an interview in Memphis for a radio special – about the brewing drama between he and the girls of En Vogue – and he
responded with a playful yet firm, “Let’s not go there!” Yet, sure enough, when “Show time” arrived, none of En Vogue’s
people could be anywhere near Vandross’ “side of the world” (arena wing, in this case) when it was time for he and his divas
to take their stroll to the stage. For that occasion, seein’ was sho-nuff believin’!

Ultimately, when it comes to Luther, hearing will now and forever be believing. The man made some of the most richly
textured and emotionally riveting recordings of all-time. What I loved about Luther - more than anything - was how he would
take great pains to set a mood in his arrangements, then just marinate the entirety of his being into it. “Play it easy, play it
easy...keep it right there, yeah-yeah-yeah-yeah-yeah...” He never delivered one note to your doorstep until he was feeling it
himself - all up in it! And his fans showered him with their appreciation. “Is that your song,” Luther queries on the intro of the
Live at Radio City Music Hall version of his timeless interpretation of Brenda Russell’s “If Only For One Night.” Via their
response, you can almost count the number of times they wore the grooves out of the tail-end of side 1 of The Night I Fell in
Love (my guess: at least 792).

With certainty, I am in that camp of folks who will always stand by Luther’s first seven or so albums as his finest work –
albums with songs I will enjoy until my final days like “Promise Me,” “Other Side of The World,” “Anyone Who Had a Heart”
(featuring Kirk Whalum on tenor sax), “I Who Have Nothing” (with Martha Wash), “If This World Were Mine” (with Cheryl Lynn),
“You’re The Sweetest One,” “Until You Come Back To Me/Superstar,” “I Can Tell You That,” “Because it’s Really Love,” “You
Stopped Loving Me” and the soundtrack rarity “She’s So Good to Me.” He gave us one of the greatest romantic comeback
lines ever within the chorus of “For You to Love.” He gave us a Christmas album in the `90s (and a few earlier holiday gems in
the `70s), a wedding song classic (“Here and Now”), countless songs to console us on our loneliest of evenings (“Any Love,”
anyone?), and songs of joy to express the rainbow that’s ever-ready to rupture from our hearts. My Mom and my Aunt Pookie
whole-heartedly have my back on this one, right ladies? (Imagine the sound of an Amen Corner sippin’ Crown Royal as they
fan their flushed faces…I think Luther would appreciate that analogy.)

I am sad that I won’t be having any more fireside music chats with my man “Loo-fuh,” but I believe through the power of love,
he is in a more peaceful and less lonely place. He left us 17 magical solo albums to pore over, plus several more classic works
at the service of others - a most generous legacy that most of us have, honestly, only begun to become truly acquainted.
“Everybody Rejoice.”

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