Bowie loved the idea, hired Luther, and quickly became a champion for the young singer’s budding career. He visiting a friend in Bowie’s band at the studio, and talking about an idea to improve the hook for “Young Americans,” unaware that the singer was standing within earshot.

In 1974, Luther accidentally landed a gig as a background singer and arranger for David Bowie. Their music was largely social commentary, and they performed in and around New York, including on the very first episode of Sesame Street.

In the late ‘60s and early ‘70s, teenaged Luther was part of youth performing arts group sponsored by the Apollo Theater called Listen My Brother. The world was officially introduced to Luther in 1981, but he was already an established singer’s singer on the professional circuit. The New York Times once described Luther as having an “obsession with the human voice, bordering on clinical.” Some people’s gifts are leagues beyond the old talent-plus-preparation-equals-opportunity equation. He was a writer, producer, and one of the greatest vocal manipulators in the game, as well-known and sought-after from early in his career for his vocal arrangements as his singing. And while his voice is appreciated–he’s featured on every greatest vocalist list of note–the full range and depth of Luther’s vocal craftsmanship are not. Romantic and devoted love, not sex or lust. His first greatest hits compilation was titled The Best of Luther, The Best of Love because his entire catalog was love. He usually sang from a gentle, easy place. Luther sang from a softer space, topically and tonally. The difference informs the distinction between him and most other men of R&B. “I decided at that point that I wanted to do something in music.” ‘Anyone Who Has a Heart’ was a masterpiece,” he told The Washington Post. “She came on stage and just killed me the music was more serious, the song value was more serious. Seeing Dionne Warwick live at the Brooklyn Fox Theater made him realize he wanted to sing.

Aretha Franklin, Diana Ross and Patti Labelle were the voices that fascinated and inspired a young Luther. He was called “the velvet voice” and “the Black Pavarotti,” but there’s not really a male predecessor he compares to because he didn’t pattern himself after the soul men like Sam Cooke, Marvin Gaye, or Teddy Pendergrass. was the preeminent urban pop singer the essence of ‘80s quiet storm R&B.

“There are voices in this world and once they sing, it’s a stamp on everybody.” Bravo producer and personality Andy Cohen was asking Patti Labelle about her dear friend Luther Vandross on talk show Watch What Happens Live.

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