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Caricature published in _Funon journal_Damascus
Lionel Brockman Richie, Jr. was born on June 20, 1949 in Tuskegee, AL, and grew up on the campus of the Tuskegee Institute, where most of his family had worked for two generations prior. While attending college there, Richie joined the Commodores, who went on to become the most successful act on the Motown label during the latter half of the '70s. Richie served as a saxophonist, sometime vocalist, and songwriter, penning ballads like "Easy," "Three Times a Lady," and "Still" (the latter two became the group's only number one pop hits). Although the Commodores maintained a democratic band structure through most of their chart run, things began to change when the '70s became the '80s. In 1980, Richie wrote and produced country-pop singer Kenny Rogers' across-the-board number one smash "Lady," and the following year, Richie's duet with Diana Ross, "Endless Love" (recorded for the Brooke Shields film of the same title), became the most successful single in Motown history, topping the charts for a stunning nine weeks. With the media's attention now focused exclusively on Richie, tensions within the Commodores began to mount, and before the end of 1981, Richie decided to embark on a solo career.
Richie immediately set about recording his solo debut for Motown. Titled simply Lionel Richie, the album was released in late 1982 and was an immediate smash, reaching number three on the pop charts on its way to sales of over four million copies. It spun off three Top Five pop hits, including the first single "Truly," which became Richie's first solo number one. If Lionel Richie made its creator a star, the follow-up Can't Slow Down made him a superstar. Boasting five Top Ten singles, including the number ones "All Night Long (All Night)" and "Hello," Can't Slow Down hit number one, eventually sold over ten million copies, and won the 1984 Grammy for Album of the Year. Such was Richie's stature that he was invited to perform at the closing ceremonies of the 1984 Olympics in Los Angeles, a spectacular stage event that was broadcast worldwide.
In 1985, Richie put his superstar status to work for a greater good, joining Michael Jackson in co-writing the USA for Africa charity single "We Are the World"; the all-star recording helped raise millions of dollars for famine relief. By the end of the year, he was on top of the charts again with "Say You, Say Me," a ballad recorded for the film White Nights but not included on the soundtrack album. The song was slated to be the title track on Richie's upcoming album, but delays in the recording process prevented the record from being released until August 1986, by which time the title was changed to Dancing on the Ceiling (in order to promote Richie's next single release). Three more Top Tens followed "Say You, Say Me," as did "Se La," which became the first of Richie's solo singles not to reach the pop Top Ten. Overall, Dancing on the Ceiling didn't match the success of Can't Slow Down, but it still sold an impressive four million copies, although Richie's reputation for sentimental ballads was beginning to incur a backlash in some quarters.
1987 saw Richie's nine-year streak of writing at least one number one single (a feat matched only by Irving Berlin) come to an end. As a matter of fact, Richie all but disappeared from the music business, simply choosing to take some time off after nearly two decades of recording and performing (or, perhaps, quitting while he was ahead). His silence was broken only in 1992, when Motown released a compilation titled Back to Front; in addition to some of his solo hits and a few Commodores tracks, Back to Front also featured three new songs, including the number one R&B hit "Do It to Me" (which wasn't as successful on the pop charts).
Richie wasn't bitten by the recording bug again until 1996, by which time he'd endured his share of personal loss: his father had passed away, and his marriage to wife Brenda -- the muse behind some of his most successful ballads -- had fallen apart. In approaching his comeback, Richie attempted to update his sound to reflect a decade's worth of developments in urban R&B. The result, Louder Than Words, was a moderate success, reaching the Top 30 and going gold. However, it didn't produce any major hit singles, and Richie's nods to new jack swing and hip-hop were criticized as awkward. 1998's Time found Richie in a more familiar element, relying on his signature sound with only slight musical updates. However, the album flopped, spending only a few weeks in the lower reaches of the charts. Richie's next album, Renaissance, was released to a favorable reception in Europe in late 2000; it was issued in the U.S. in early 2001. Three years later,