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Cat Stevens (Back to Earth), David Workin’), the Jess Roden Band gust. The LP was a tour de force for received equal support from pop for Always, for Love, released in Say Goodbye. He and Warwick
Spinozza (Spinozza), Carole Bayer (Stonechaser), and the Michael him; he produced it and wrote six fans. September, again serving as his sang the title song as a duet that
Sager (Too), Sean Delaney (High- Zager Band (Zager), as well as live of its seven songs, the exception be- own producer and writing or co- became her first R&B Top Ten hit
way), the Good Vibrations (I Get albums by Bette Midler (Divine ing a cover of Burt Bacharach and Having successfully launched his writing all the tracks except for in eight years; it also made the pop
Around), and Lemon (Lemon). Madness) and the duo of Roberta Hal David’s Dionne Warwick hit “A solo career, Vandross might have covers of Smokey Robinson’s 1965 Top 40. “Got a Date,” the Vandross/
And he was the uncredited lead Flack and Peabo Bryson (Live & House Is Not a Home.” Vandross been expected to abandon session hit for the Temptations “Since I Miller composition released as
singer on the song “Get on Up (Get More), and on the soundtrack to expressed his musical vision on work; certainly, he had less time Lost My Baby” and, in a medley a second single from the album,
on Down),” by Roundtree, an R&B the film Fame. But the most im- Never Too Much, and that vision for it. But he still enjoyed work- with his own “Bad Boy,” Sam also made the R&B charts. And,
chart entry that fall. portant credit for him that year was of a smooth neo-soul style that ing as a background singer, so he Cooke’s “Having a Party.” Van- although it took until December,
was his work as lead vocalist of recalled the pop/R&B of his youth, still did it selectively. In 1982, for dross’ co-writers on some of the Vandross managed to come up
Vandross began to gain greater the studio group Change. He sang particularly the music of such example, he appeared on albums songs were bassist Marcus Miller with his third solo album, the aptly
attention in 1979. During the year, on the band’s tracks “Searching,” a predecessors as Warwick, Aretha by Irene Cara (Anyone Can See), and keyboard player Nat Adderley, titled Busy Body. On this album, he
he appeared on albums by Sister Top 40 R&B hit, and “The Glow of Franklin, the softer Motown art- Michael Franks (Objects of Desire), Jr. (a former member of Listen, My co-produced several of the tracks
Sledge (We Are Family), the Aver- Love,” which also reached the R&B ists, like Smokey Robinson, and Kleeer (Taste the Music), Bob Brother), musical associates who with Miller, also writing most of
age White Band (Feel No Fret), Chic charts, and his name was listed some of the girl groups of the early James (Hands Down), Linda Clif- would work with him throughout the material with Miller and Nat
(Risqué), Bette Midler (Thighs and prominently on the discs. This in- ‘60s, such as the Shirelles. ford (I’ll Keep on Loving You, and his career. A musical complement Adderley, Jr., the exceptions being
Whispers), Jay Hoggard (Days Like creased his profile even more, and Ullanda McCullough (Watching to Never Too Much, Forever, for “How Many Times Can We Say
These), Revelation (Get in Touch), he began circulating a demo tape To those influences, Vandross add- Me, Watching You). At the same Always, for Love was another R&B Goodbye” and a medley of the Leon
John Tropea (To Touch You Again), to recording companies, seeking ed some contemporary elements time, Vandross’ demonstrated chart-topper for Vandross, throw- Russell/Bonnie Bramlett standard
the Charlie Calello Orchestra a solo deal that would allow him of jazz and disco. But his approach abilities as songwriter, producer, ing off three singles, the Top Five “Superstar” with Stevie Wonder’s
(Calello Serenade), Charme (Let It to write and produce his own re- was steeped in tradition; he was a and vocal arranger opened up to “Bad Boy/Having a Party,” the Top “Until You Come Back to Me (That’s
In), Cher (Prisoner), Roberta Flack cords. On April 21, 1981, he signed stylist, harking back to the past, yet him the opportunity to work in 20 “Since I Lost My Baby,” and the What I’m Gonna Do).” As usual,
(Featuring Donny Hathaway), with the Epic Records subsidiary of pointing to a possible post-disco these capacities with some of the chart entry “Promise Me.” That, there were three singles: “I’ll Let
Delores Hall (Delores Hall, Evelyn the major label CBS Records. future for R&B music. And R&B artists he had grown up idolizing, of course, was as far as the R&B You Slide” and “Superstar/Until
“Champagne” King (Music Box), fans responded warmly. The title as well as his contemporaries. He charts were concerned. On the You Come Back to Me (That’s What
Ben Sidran (The Cat and the Hat), Vandross immediately began work song, “Never Too Much,” topped first turned his attention to Cheryl pop side, the album went Top 20 I’m Gonna Do)” made the R&B Top
and Soirée (Soirée), and on the on his debut album, cutting down the R&B charts; second single Lynn, producing her R&B Top Ten and only “Bad Boy/Having a Party” Ten, and “Make Me a Believer”
soundtracks to the films Sunnyside on sideman sessions, although “Don’t You Know That?” reached album Instant Love (June 1982); charted. Nevertheless, the LP was was a chart entry (of the three,
and The Warriors. Especially on during 1981 he appeared on al- the R&B Top Ten; and third single writing the title song, which be- certified gold in two months and only the medley scraped into the
the jazz and disco recordings, he bums by Bob James (All Around “Sugar and Spice (I Found Me a came a Top 20 R&B hit; and singing platinum in six. pop chart); as usual, the album hit
was just as likely to be a featured the Town), Bernard Wright (‘Nard), Girl)” also charted R&B. The album a duet with her on a revival of the number one R&B, but only the Top
vocalist as a background singer. Change (Miracles), the J. Geils Band hit number one R&B in November 1968 Marvin Gaye and Tammi Ter- Vandross’ multiple career tracks 40 of the pop chart; and as usual,
And he got a prominent credit (Freeze Frame), Hi Gloss (You’ll and was certified gold in Decem- rell hit “If This World Were Mine,” continued apace in 1983. He sang sales certifications poured in, the
when he arranged the background Never Know), the Brooklyn, Bronx ber. (It went platinum five years which reached the R&B Top Five. on albums by David Sanborn album going gold in two months
vocals for Barbra Streisand and & Queens Band (The Brooklyn, later and double platinum in (“Look Before You Leap,” from the (Backstreet), James Ingram (It’s and platinum in January 1985.
Donna Summer’s duet “No More Bronx & Queens Band), Stephanie 1997.) But Vandross encountered album, also made the R&B charts.) Your Night), former Shades of
Tears (Enough Is Enough),” which Mills (Stephanie), and the Spinners more resistance in the pop realm, Jade member Fonzi Thornton (The Vandross finally eased off on his
became a number one pop hit in (Can’t Shake This Feelin’), and in where the album reached only the Next, he turned to Aretha Franklin, Leader), Linda Lewis (A Tear and a recording schedule during 1984, if
November 1979. He gained even June 1981 his composition “You Top 20 and the single “Never Too producing her July 1982 LP Jump Smile), Stephanie Mills (Merciless), only because he was now a major
more recognition in 1980, a year Stopped Loving Me” was sung by Much” only made the Top 40. Ar- to It, and writing or co-writing and Betty Wright (Back at You). He concert attraction and toured in
in which he appeared on studio Roberta Flack, with him arranging tistically and commercially, these four of its eight songs, including produced Aretha Franklin’s next both North America and Europe.
albums by Chaka Khan (Naughty), and singing background vocals, on results set a pattern for Vandross’ the title track, an R&B number one; album, Get It Right, composing the His only credit for the year was his
Melba Moore (Closer), Mtume the soundtrack to the film Bustin’ career. Appearing regularly, his “Love Me Right,” which went Top title song, which hit number one composing (with Marcus Miller),
(In Search of the Rainbow Seek- Loose and became a Top 40 R&B albums showed great consistency 40 R&B; and “This Is for Real,” an R&B, with Marcus Miller, and its arranging, producing, and singing
ers), Dave Valentin (Land of the hit for her. (Damaris revived the in style and content, even to the R&B chart entry. Topping the R&B follow-up, “Every Girl (Wants My background vocals on the song
Third Eye), the Brecker Brothers song for an R&B chart entry in point of featuring a cover of a clas- chart, it was her first gold album Guy),” a Top Ten R&B hit. Then, he “You’re My Choice Tonight (Choose
(Detente), Terumasa Hino (Day- 1984.) Vandross’ own version was sic pop/R&B song on each disc. And in six years. He also sang on Diana turned to another idol of his youth, Me)” for Teddy Pendergrass, a Top
dream), Cissy Houston (Step Aside included on his debut solo album, while they also sold consistently Ross’ October 1982 LP Silk Electric. Dionne Warwick, producing her 20 R&B hit. Vandross thus was able
for a Lady), Jimmy Maelen (Beats Never Too Much, released in Au- to the R&B audience, they rarely Somehow, he found time to make album How Many Times Can We to lavish more time on his fourth
his second solo album, Forever,
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