(January 2, 2025). CNN’s long-awaited Luther Vandross documentary, Never Too Much, debuted on New Year’s Day, just months before the 20th anniversary of Vandross’ passing. Known for his silky tenor-baritone voice, timeless love songs, and masterful showmanship, Vandross — long suffering from diabetes and weight issues — tragically died at 53 in July 2005 after complications from a stroke.
The two-hour program was entertaining — especially for diehard fans like yours truly who grew up listening to and loving his music… his own plus the many songs on which he was a backup singer. The retrospective was good, but not groundbreaking.
The documentary succeeded in celebrating Vandross’ unparalleled talent. Any reminder of his music is a joy, and fans will appreciate revisiting his classics. However, the documentary could have replaced prolonged video clips (of his songs plus backup contributions like Chic’s “Le Freak”) with more new insights into the making of the music. Also, it relied heavily on well-trodden territory (much of which is available in earlier YouTube videos): Vandross’ New York upbringing, early career in commercial jingles and groups like Chic and Change, his struggles with weight, and his lifelong quest for pop crossover success.
Sure, that information was essential to Luther’s story, but much of the content — including interviews and archival footage — felt like a polished rehash of material already available online. Some moments stood out, such as updated interviews with friends and collaborators like singer Fonzi Thornton, producer/bassist Marcus Miller, ‘80s pop star Richard Marx, backup singer Lisa Fischer, plus legends like Valerie Simpson and Dionne Warwick. Rare video footage of Vandross’ contributions to David Bowie’s Young Americans album, particularly his role in creating the classic “young Americans, young Americans, we were the young Americans” vocal hook, was a highlight.
The documentary pieced together a delightful montage of Vandross’ early jingle work and explored the challenges he faced at an early age, including being practically sidelined as a young teenage singer on Sesame Street due to his weight (despite being the most talented singer in the room). It also revisited his pivotal contributions to disco groups like Chic, Change, and his own group Luther, though it omitted some lesser-known pre-fame projects like Gregg Diamond’s Bionic Boogie, on whose second album (in 1978) Vandross contributed lead vocals, including the title song “Hot Butterfly” that Chaka Khan remade into a hit two years later (with Luther’s prominent backing vocals, of course).
For fans who always wondered why Vandross’ prominent role in the group Change — he sang lead on just two of their classics, “Searchin’” and “The Glow of Love,” both in 1980 — wasn’t more permanent, the doc provided answers. By then, Luther already had aspirations of a solo career — one that didn’t involve always singing someone else’s songs. All he needed was a push, like the one provided by former employer Roberta Flack, on whose 1980-81 tour Vandross performed as a backup singer.
The doc’s focus naturally shifted to his meteoric solo rise with 1981’s Never Too Much album and its title track, which began his string of platinum albums during the ’80s. And while the show addressed his well-known quest for pop crossover success, it insightfully highlighted Vandross’ frustration with the racial disparities in the music industry, which he felt prevented him from getting that elusive No. 1 pop single. The perspectives provided by friends like Richard Marx and Ava Cherry introduced a fairness aspect that made Vandross’ pop goals seem less like a vanity issue and more like an equity one. His highest-charting Hot 100 single, a 1994 cover duet with then-red-hot Mariah Carey on “Endless Love,” stalled at No. 2 — further exacerbating the R&B crooner’s frustrations.
The documentary also necessarily pointed out that it took nine years before Vandross won his first Grammy (1990’s “Here and Now”), despite nine prior nominations and classic performances on earlier tunes like “Never Too Much,” “A House Is Not A Home,” and “Superstar/Until You Come Back To Me.”
While there were a few factual embellishments, e.g., claiming the Grammy-winning “Dance With My Father” was his first pop No. 1 (it stalled at No. 38 in 2003), or that Vandross performed on all of Chic’s albums (he lent vocals to just the first two, along with Sister Sledge’s breakthrough LP We Are Family), other details added emotional heft, such as insights into Vandross’ loneliness and his longing for that one special romantic relationship, as reflected in classic songs like “Any Love” and “Wait for Love.”
Vandross’ struggles with his sexuality — or, more accurately, society’s obsession with it — is addressed in the doc as well. The singer wasn’t outed until years after his death when “friend” Patti LaBelle disclosed it during an interview. Even in the watered-down context shown in the doc, LaBelle’s remarks felt like the ultimate betrayal, although the documentary would have been remiss in not showing it.
Friends who were interviewed mostly heaped praise on the late Vandross, even backup singers who acknowledged their boss’ exacting behavior and attention to detail in their performances. These accounts skirted — perhaps mercifully — notorious reports of poor relationships with co-headlining artists like Anita Baker and En Vogue.
Other details of his life — like the fact that he was the youngest of four children, all of whom pre-deceased their mother — were ignored, as were any discussions about the rights to his immense catalog of songs and whether his nieces and nephews continue to benefit from it.
The documentary’s flaws — repetition and missed opportunities for deeper exploration — don’t overshadow its entertainment value. Casual and devoted fans alike will enjoy revisiting Luther’s story and iconic songs like “Superstar,” “Give Me the Reason,” and “So Amazing.” The music was definitely front-and-center, but diehard fans may wish for deeper dives or fresher perspectives while reveling in the celebration of his remarkable legacy.
DJRob
DJRob (he/him) is a freelance music blogger from the East Coast who covers R&B, hip-hop, disco, pop, rock and country genres – plus lots of music news and current stuff! You can follow him on Bluesky at @djrobblog.bsky.social, X (formerly Twitter) at @djrobblog, on Facebook or on Meta’s Threads.
You can also register for free (select the menu bars above) to receive notifications of future articles.
>>>>>>>>>>>
Looking forward to seeing this! I’m guessing since you didn’t mention it in your review that there wasn’t much info in the doc about the -other- rumor about Luther – that he was a little . . . difficult to work with on the road or in the studio. Even when he was paired with performers he idolized, like Aretha Franklin. Wonder if the producers tried to get a quote from Anita Baker or the members of En Vogue.
You would be correct. No mention of any of that. There was discussion from backup singers about how detail-oriented and exacting he was, but that was provided in a positive context.