A throwback to the smooth soul stylings of the 1960s, Vandross has been a fixture on the rhythm and blues charts since his solo recording debut in 1981. “Luther: Never Too Much” is a sales title at Sundance.Luther Vandross is a vintage Cadillac among banged-up jalopies in the used car lot of current male pop singers. Ultimately, “Luther: Never Too Much” will have fans dancing in their seats, playing karaoke to some of his best slow songs, or in the mood for love, which is how his friends, family, and Porter want him to be remembered most. Perhaps the only hint of real drama comes from songwriter Richard Marx, who collaborated with Vandross on many songs, including his classic “Dance With My Father,” as he calls out those like Patti LaBelle as being disloyal for publicly addressing Vandross’ sexuality. Only love is acceptable in the fan-pleasing “Luther.” Packing the doc with Vandross’ music and his closest circle-from longtime collaborators bass player Marcus Miller, musical director Nat Adderly, Jr., background singers Lisa Fischer and Ava Cherry, niece Seveda Williams, and the aforementioned lifelong friends Alomar, Clark and Thornton, ensure that his praises are sung. Porter’s collaging of Vandross’ many performances of some of his most popular songs underscores how consistently flawless and precise he was as a live performer. The archival footage is top notch as it documents Vandross’ early work in little-known groups, on “Sesame Street,” in studio sessions with Bowie for the album “Young Americans,” late night appearances with Arsenio Hall, daytime interviews with Oprah Winfrey, and footage of his most popular jingles. What Porter has crafted here, however, is sure to rise above most criticism. Sue Bird Says WNBA Players Are ‘Uniquely Positioned to Go After Everything’ in Next Contract Talks | Video So does his pop breakthrough with his most personal and prized song, “Dance With My Father,” about his father who died when Vandross was just eight. He also penned his other idol, Aretha Franklin’s, top-charting hit “Jump To It,” which served as a personal triumph for him. The backstory behind his cover of The Carpenters’ version of “Superstar” proves his ability to Luther-ify any song, while his cover of idol Dionne Warwick’s version of “A House Is Not a Home” is shared in the doc with a stunning performance of it during an NAACP tribute to Warwick where she’s caught wiping away a tear. Most of “Luther” details his greatest vocal moments on such songs as the title song “Never Too Much,” “Bad Boy Having A Party,” “Give Me the Reason,” “Here and Now,” “Any Love,” and many more. He studied and loved every single aspect of his career. Even before he was a household name, his many jingles for the likes of Miller Beer and Juicy Fruit were familiar ditties.Ī consummate performer and student of the craft, Vandross did it all, from writing, arranging and singing his songs to designing tour costumes for himself and his background singers. André Holland Says ‘The Knick’ Season 3 with Barry Jenkins Is Alive: ‘We're Working Very Hard to Make It Happen' | Videoīeginning with several youth groups to big scores on “Sesame Street” and recognition by David Bowie, who helped boost his career, Vandross’ talent is undeniable, helping him excel in the entertainment industry despite not meeting the superficial requirements of being thin.
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