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18-Oct-2020 07:17
It was this ability to articulate simple human truths, in a voice full of beauty and longing, that kept his huge fanbase so loyal, and secured his place as one of black music's all-time greats.
He formed his own group while still in high school and later worked with the Musical Theatre Workshop.
At the time of our interview in 1998, Vandross had just ended his 17-year relationship with Columbia/Sony Music and joined Virgin Records for the ill-fated I Know album. Vandross claimed he was never promoted as he should have been, that he was never taken seriously artistically and, finally towards the end of his tenure, that executives simply refused to consider his own songs for his own albums. On stage, he presented himself as the affable romantic but on that spring day, I found him defensive, insecure and critical as we discussed his waistline (he was on an upward cycle after a dramatic weight loss a couple of years earlier), health concerns, the music business and his image.
More than anything, though, I left his house feeling that he was a profoundly lonely person.
The gig was a distinctly underground affair, the crowd almost exclusively early-'80s "soulboys" and "soulgirls", arriving in their trademark Ford Escorts.
The look then was to have "Luncheon Vouchers" stickers in the rear windscreen with the slogan doctored from "We accept LV" to "We've seen LV".
His vocal talent was recognized and session credits with Chaka Khan, Ringo Starr, Barbra Streisand, Donna Summer and others prompted Cotillion records to sign him.
After a brief break from the music scene in the 70s, an old friend and workshop colleague, Carlos Alomar, invited him to join him in the studio with David Bowie for the recording of Young Americans.
Driving back to New York, I imagined him by himself in that isolated, exquisitely furnished home, and one of his signature songs kept playing in my head, A House is not a Home.
