5 Hip-Hop Hits That Sample Luther Vandross's Soulful R&B

Luther Vandross didn’t just sing love songs. He invented the kind of vocals that make you want to text your ex, light a candle, and dramatically stare out a window all at once. While Vandross is rightfully crowned one of R&B’s all-time greats by aunties and uncles ‘round the world, his impact has been sneaking into hip-hop for decades.

Case in point: Kendrick Lamar and SZA’s smash “luther,” which flipped his vocals into a modern therapy session with a Billboard- certified bounce. That track may have reintroduced the legend to a whole new generation, but let’s be clear Vandross lives in the R&B section of your favorite rappers’ music collection as much as he does in your parents.

We’re breaking down the unexpected ways his silky vocals, heart-wrenching melodies, and A+ romantic energy shaped everything from Fat Joe bops to Buffalo grit. Keep reading to find out how Luther went from baby-making music to bar-flipping blueprint.

“Slow Jams” by Twista featuring Ye and Jamie Foxx

Before Ye was beefing with half the music industry on livestreams and accidentally inventing new ways to overshare, he was busy perfecting the art of the sample flip — and “Slow Jams” is one of his finest early moments. Released in 2003, this track had it all: Twista rapping at warp speed, Jamie Foxx crooning like he just stepped out of a 1970s time machine, and a Luther Vandross sample so buttery it should’ve come with a cholesterol warning.

Let’s talk about that sample real quick: Vandross’ “A House Is Not a Home.” There’s a pretty high chance you heard this song while doing weekend chores growing up. It’s one of those songs that feels like a hug and a breakup at the same time. Ye chopped it up like a soul food chef with a sampler, laying it underneath Twista’s rapid-fire bars and Jamie’s surprisingly legit falsetto. Of course, it worked. Like, “being nominated for Best Rap/Sung Collaboration at the 2005 Grammys ” kind of worked.

“Slow Jams” wasn’t just a chart-topper — it was a vibe shift. It reminded the world that rap could be sexy, funny, and sentimental without losing its edge.

“Excuse Me Miss” by Jay-Z featuring Pharrell

Jay-Z has been out here giving masterclasses in grown-man flirtation for a minute. Case in point: “Excuse Me Miss” —a 2003 collaboration with Pharrell that somehow turned politely hollering at someone into a full-blown art form.

The secret ingredient? A Luther Vandross sample, of course. “Excuse Me Miss” pulls from Vandross’ “Take You Out.” HOV and Pharrell took the 2001 slow jam energy and ran with it—except instead of asking for a dinner date, Jay’s talking penthouse suites and private flights. As one does.

The song did numbers, too. It cracked the Top 10 on the Billboard Hot 100 and basically became the official theme song for any man wearing a blazer with no shirt underneath in the early 2000s. It was mature without being boring and romantic without being corny. But the real flex is how “Excuse Me Miss” aged. Two decades later, it still holds up. Both “Take You Out” and “Excuse Me Miss” prove the same thing: timeless charm never goes out of style.

“B.I.G Luther Freestyle” by Westside Gunn and Benny the Butcher

If you ever wondered what it would sound like if two hustlers from Buffalo started rapping about war wounds and weight flips over a Luther Vandross slow jam—“B.I.G. Luther Freestyle” is your answer.

The track takes a brief sample of Vandross’ “Never Too Much” and uses it to push the story of hustle and survival. While it didn’t chart on the Billboard Hot 100 (this isn’t that kind of record), it made waves in the underground—where chart positions matter less than face scrunches and rewind buttons.

What makes this freestyle (and the original Luther track) so timeless is the emotion. Luther gave you sunshine and excitement. Westside and Benny give you trauma, triumph, and tour merch in limited release. Both songs are soaked in feeling — just very different kinds of feelings. One’s crying in the club, the other’s counting money in the VIP.

Put simply, “Never Too Much” is what your auntie plays when she’s sipping wine and reminiscing. “B.I.G. Luther Freestyle” is what your favorite hustler plays when he’s leaving the wine night to go make a drop. Somehow, they both feel like home.

“Sunshine (The Light)” by Fat Joe, DJ Khaled and Amorphous

Speaking of sunshine, “Sunshine (The Light)” was a surprise serotonin bomb dropped in 2021 by Fat Joe, Khaled, and viral remix king Amorphous. Even the hardest rappers have a soft spot for Auntie R&B.

The backbone of the track is also Vandross’ “Never Too Much,” arguably his most iconic record. Amorphous had already flipped the song in one of his viral mashups , blending it with Rihanna’s “Kiss It Better” to great effect—and Fat Joe said, “Yeah, I need that.”

The moment truly hit: “Sunshine (The Light)” was all over playlists, radio, and rooftop brunches in the summer of 2021. More importantly, the song was a victory lap for Amorphous — proof that a kid with a laptop, good taste, and Internet access could go from Twitter timeline to collabing with legends. It also showed that Fat Joe still knows how to ride a wave when he sees one.

Luther’s “Never Too Much” remains untouchable. It’s a song that makes you involuntarily two-step and smile no matter what mood you’re in. However, “Sunshine (The Light)” isn’t trying to top it; it’s celebrating it. Think of it like a remix at a family cookout that actually gets grandma and your little cousin dancing at the same time. That’s not just a win. It’s legacy maintenance.

“Let Me Hold You” by Bow Wow featuring Omarion

Before Bow Wow became social media’s favorite punching bag and Omarion turned into the master of unbothered , the two teamed up in 2005 to give us one of the softest, smoothest, most middle-school-dance-certified bangers of the mid-2000s: “Let Me Hold You.” What did they build this tender trap anthem on? None other than a Luther Vandross sample so lush it practically comes with its own candlelight.

The track flips “If Only for One Night,” Vandross’ cover of the Brenda Russell ballad that basically sounds like a heartfelt voicemail from a man who knows he messed up — but still shows up in a suit with flowers. ATL’s Jermaine Dupri took that emotion, looped it up, and handed it to Bow Wow.

“Let Me Hold You” soared to number four on the Billboard Hot 100 and marked a major glow-up moment for Bow Wow, who was officially shedding his “Lil” phase. Omarion handled hook duties with the kind of emotional sincerity that made teen fans spiral and fan girl across the globe.

Put ‘em together and you’ve got two classics from two very different eras — one made for wine and slow dancing, the other for group chats and bedroom posters. Somehow, they both hit just as hard.