{"id":2799,"date":"2026-06-23T20:38:49","date_gmt":"2026-06-23T20:38:49","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=2799"},"modified":"2026-06-23T20:38:49","modified_gmt":"2026-06-23T20:38:49","slug":"clive-davis-never-played-a-note-but-he-forever-changed-the-music-industry-an-appreciation","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=2799","title":{"rendered":"Clive Davis Never Played a Note, but He Forever Changed the Music Industry: An Appreciation"},"content":{"rendered":"
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\n\tWhen a public figure is prominent and dominant for as long as Clive Davis \u2014 the legendary music executive who died yesterday at 94 \u2014\u00a0it\u2019s easy to take them for granted, especially when they\u2019re as vocal, as adept at self-promotion, and as outspokenly confident as he was.<\/p>\n

Read more Lin-Manuel Miranda Bringing \u2018Warriors\u2019 Musical to Broadway in Spring 2027<\/a><\/p>\n

\n\tMost of his contemporaries, fellow titans who helped create the modern record business like Ahmet Ertegun, Berry Gordy, Mo Ostin and Chris Blackwell, had long since dropped into the background or effectively retired by the time they reached their seventies. But even as Clive\u2019s direct involvement in releasing music tapered off over the past decade, he was still hosting and overseeing his legendary annual Pre-Grammy Gala \u2014 which everyone has always called \u201cThe Clive Party,\u201d still the hottest ticket in the industry \u2014\u00a0and keeping up a very active social and speaking schedule. Along with overseeing the Gala during this year\u2019s Grammy Week, he also presented an award to Sharon Osbourne at Billboard\u2019s Power 100 event, did his usual round of Pre-Grammy interviews, and probably a lot more. Just six weeks ago, he hosted a one-on-one conversation with his son Fred Davis, partner at the Raine Group and one of the music industry\u2019s top investment bankers, at a conference in New York. The man had celebrated his 94th birthday only a few days earlier.<\/p>\n

\n\tHis image was as carefully sculpted and maintained as any superstar\u2019s \u2014 as tailored as his crisp suits, with their brightly colored ties and (always) perfectly matching pocket squares. His words were just as precisely curated, so much that it often became repetitive: During speeches or interviews, once he\u2019d start reeling off artists who were highlights of his career \u2014 \u201cWhitney<\/em> Houston, Aretha<\/em> Franklin, Janis<\/em> Joplin, Bruce<\/em> Springsteen, Billy<\/em> Joel, Barry<\/em> Manilow\u201d \u2014 or saying, without providing any details, that the array of talent and attendees that he and his son Doug and co-producer Stacy Carr had lined up for that year\u2019s Clive Party was going to \u201cknock your socks off,\u201d you\u2019d just settle in, like waiting for your grandfather or uncle to finish one of his stories that you\u2019d already heard countless times.<\/p>\n

\n\tThe familiar image of Clive Davis as the dominant industry kingpin obsessed with hits above all else was partially his own creation, and while it gave him power, it actually did him a disservice. Pundits often compare him unfavorably with the likes of Ertegun, Gordy and Ostin, portraying them as innovators, which they indisputably were. But so was Clive. Sure, his record companies made millions from the big, sweeping ballads that were his trademark \u2014\u00a0\u201cAll by Myself,\u201d \u201cThe Greatest Love of All,\u201d \u201cDon\u2019t Cry Out Loud,\u201d \u201cI\u2019ll Never Love This Way Again,\u201d multiple Barry Manilow songs \u2014\u00a0along with easy listening titans like Kenny G, and one-hit wonders like the disastrous Millli Vanilli.<\/p>\n

\n\tBut during the \u201870s and \u201880s, he released multiple albums by Patti Smith, Lou Reed, Iggy Pop, the Kinks and even the jazz musician-poet Gil-Scott Heron. During the \u201890s, his label distributed era-defining albums by Notorious B.I.G., Outkast and TLC, via deals he\u2019d struck with young Black entrepreneurs Sean \u201cDiddy\u201d Combs, L.A. Reid and Babyface. He had no musical training or background, but he went to the wall breaking conventions, arguing that \u201cBridge Over Troubled Water\u201d \u2014 a five-minute ballad that is just voice and piano for its first half \u2014 was a smash single, and that \u201cI Will Always Love You\u201d should open with 45 seconds of Whitney singing a capella. They\u2019re two of the most iconic hit singles of all time.<\/p>\n

\n\tI interviewed Clive at least fifteen times, read both of his autobiographies and countless articles, went to the premiere of the 2017 HBO documentary \u201cSoundtrack of Our Lives,\u201d and heard him speak \u2014 and speak and speak \u2014\u00a0at many, many events over the decades. The fun was in trying to get him off-message, to lure him out of the same-old with a question or angle or topic that was off the beaten track. It wasn\u2019t easy.<\/p>\n

\n\tThe first time was in 2011, for a Billboard video celebrating his longtime colleague and competitor Seymour Stein, founder of Sire Records. The videographer and I were summoned to the top floor of the imposing old Sony building at 550 Madison, which one writer described as \u201cPost-Modern Thug.\u201d We sat in a conference room with a stunning view of the Midtown skyline before we heard heels clacking slowly down the echoing hall \u2014 Clive apparently had the entire floor to himself \u2014 taking seemingly several minutes to reach us, before his assistant materialized and said \u201cMr. Davis will be with you shortly\u201d and then clacked back, like a character from \u201cCitizen Kane.\u201d<\/p>\n

\n\tClive had asked for questions in advance and had his answers written on index cards that he produced from the breast pocket of his beautifully tailored suit jacket, each one a vivid, perfectly timed, five-sentence-or-so anecdote about Stein and his career and their friendship. I tried asking a couple of follow-up questions but he demurred, saying \u201cI haven\u2019t prepared for that.\u201d<\/p>\n

\n\tBut he warmed up as we got to know each other better over the years, especially after Variety<\/em> published a remarkable, 6,000-word article on him for his 90th birthday in 2022, culled from interviews with 25 executives who had worked for him, reaching back to his first major role, as president of Columbia Records in the 1960s. He liked it so much that at his 90th birthday party in New York, he shook my hand and held it, in a way that will be familiar to people who knew him, locking on my eyes as he said he\u2019d \u201cThoroughly, thoroughly enjoyed it \u2014\u00a0thoroughly.\u201d<\/em> As well he should have: All of the quotes were glowing, filled with gratitude and admiration, marveling at his energy, consideration, politeness and attention to detail as well as his toughness \u2014 and these were mostly former employees talking, who had little to gain from praising him except a good seat at the party (which was always a consideration). Of course, nobody was likely to slam him in an article for his 90th birthday, but only a couple of people declined our request for quotes.<\/p>\n

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\n\tWorking on that article gave me a far greater appreciation, not so much for what he\u2019d accomplished \u2014 we\u2019d heard that song countless times \u2014\u00a0as for the lives he\u2019d influenced and enhanced, the way he treated people, and his willingness to hear others\u2019 opinions, especially young people. True confidence, true self-belief, is a willingness to admit that there could be a different or better way than the one you\u2019re favoring.<\/p>\n

\n\t\u201cHe wasn\u2019t asking our opinion to form his opinion \u2014 he already had his opinion,\u201d said former Arista EVP of A&R Pete Ganbarg in the 90th birthday article. \u201cBut we were representing the audience, and he wanted to know what the audience thought.\u201d<\/p>\n

\n\tAnd he believed in his artists as fervently as any fan. During our annual pre-party interview during Grammy Week this year \u2014 the last time I spoke with him \u2014\u00a0I asked Clive if, in the early days of Springsteen\u2019s career, he saw the potential for the future Boss to become the towering and outspoken cultural figure he\u2019s become, especially at the height of ICE\u2019s crimes in Minneapolis this past winter.<\/p>\n

\n\t\u201cMy prominent feeling was not that he would turn into a political figure,\u201d he replied, \u201cbut that I somehow had to distinguish him from Bob Dylan, and that I could not help contribute to the opinions of your colleagues,\u201d he smiled, meaning fellow journalists, \u201cby calling him \u2018the next Dylan,\u2019 or \u2018another Bob Dylan.\u2019<\/p>\n

\n\t\u201cI remember vividly scheduling a nationwide call of the Columbia [Records] personnel \u2014 sales, marketing, press \u2014 and I read the lyrics of each song on the album, [focusing on] the symbolism and the writing,\u201d he continued. \u201cIt was so different from Dylan, so unique to Bruce, and so special that it would avoid comparisons because he is such a definitive, unique poet as he is. So I would say that my primary goal was to make sure that the focus was on him as the next Poet Laureate of America, in his own right.\u201d<\/p>\n

\n\tSure, he had the benefit of a half-century\u2019s hindsight, and many people would beg to differ, especially those who didn\u2019t experience that level of support or open-mindedness \u2014 or constructive criticism, because he famously initially rejected that album and asked Springsteen to write two more radio-friendly songs before he would release it. The music business is not for the faint of heart, and Clive played it as rough-and-tumble as anyone \u2014\u00a0in a crisp suit and without raising his voice, no less. <\/p>\n

\n\t\u201cYou may not love every minute of the process,\u201d Ganbarg said. \u201cBut when you come out on the other side, you\u2019re much better at your job. I would not be here if it were not for Clive. If I had never met him, my life would be so much poorer in so many ways.\u201d<\/p>\n

\n\tClive wasn\u2019t always right, but he usually was \u2014 and he didn\u2019t hesitate to remind the world that he was. Music, and especially the music industry, would not be what it is today without him.<\/p>\n

Read more USA\u2019s \u2018The Rainmaker\u2019 Adds Richard Kind, Kevin Ryan and Asher DeLand in Season 2 (EXCLUSIVE)<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Clive Davis is known for Whitney Houston and Barry Manilow, but he also released albums by Patti Smith and Outkast. 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