Clive Davis, Music Industry Starmaker, Has Died at 94

Clive Davis, the record company lawyer who became one of the music industry’s most powerful figures, launching or resurrecting the careers of such superstars as Janis Joplin, Whitney Houston, Carlos Santana and Alicia Keys, has died, his family confirmed. He was 94.

Earlier this year, Davis was hospitalized following an upper respiratory issue and was released a few days later. His death, in his Manhattan apartment, was confirmed by his publicist Aliza Rabinoff, who also shared a statement from his family.

“To the world, our father was the iconic music legend whose vision, instincts, and relentless pursuit of excellence shaped the soundtrack of countless lives. He discovered, mentored, and championed the greatest artists in modern music history, leaving an indelible mark on culture that will endure for generations,” the statement read.

Unlike other record moguls whose influence waned as they got older, Davis’ might only seemed to grow, spanning multiple genres and labels. Into his later years, he was directing the careers of everyone from Barry Manilow to American Idol winners Carrie Underwood and Kelly Clarkson. And his exclusive pre-Grammys gala, held the Saturday night before the Sunday award show every year since 1975, continued to be an institution.

“Clive’s talent has always been seeing and hearing what other people don’t,” former President Barack Obama said in a video message played at this year’s gala.

Clive Jay Davis was born on April 4, 1932 in Brooklyn, New York, where he grew up in the Crown Heights neighborhood. His father was an electrician and traveling salesman. He attended New York University and then Harvard Law School, eventually landing a job as an in-house lawyer at Columbia Records.

Davis always had a knack for business, and by 1967, became president of the company, just seven years after being hired as an attorney. He cited attending the Monterey International Pop Festival that year as pivotal, specifically witnessing the powerhouse vocals of Janis Joplin (“I realized this was going to be the future,” he would later explain.) He signed Joplin’s band, Big Brother and the Holding Company. Other Bay Area groups like Santana and Sly & the Family Stone soon followed.

Davis’ embrace of the new, young sound eventually led him to bringing Bruce Springsteen, Chicago, Neil Diamond and many other groups to the label — lending a counterculture spirit to a company that had resisted rock ‘n’ roll. (He maintained a close relationship with the Bay Area, signing the Grateful Dead in 1977 and regularly sending his artists to recording studios like San Francisco’s Wally Heider Studios or Sausalito’s Record Plant.)

Davis took big swings in the music industry, particularly in his support for Black artists, beginning when he signed Gamble and Huff’s Philadelphia International Records in 1971.

In 2015, the NAACP recognized Davis for his groundbreaking work by presenting him with the Vanguard Award. And last summer, Davis was presented with the Apollo Theater’s Apollo Legacy Award and inducted onto its Walk of Fame.

His success stories were staggering, with Houston a crowning achievement and devastating tragedy: Davis signed her to his Arista record label when she was just a teen and turned her into America’s reigning pop princess.

Houston racked up multiple No. 1 hits and became one of the top-selling artists in pop history before drug abuse hobbled her career. She died in a Los Angeles hotel room in 2012, just hours before she was to appear at the annual pre-Grammy Awards gala hosted by Davis, who had been convinced she was turning her life around.

“Maybe I should have been more skeptical,” Davis wrote in his 2013 memoir, The Soundtrack of My Life, “but I’ve always been optimistic, and I felt hopeful. It felt like old times.”

He also launched the career of multi-platinum, multiple-Grammy winner Keys — and was quick to note other talents he signed, including Joplin and Billy Joel, Blood Sweat & Tears and other “all-timers,” as he so often put it.

“I signed Patti Smith, the great Renaissance woman … I signed Lou Reed … I signed the Grateful Dead,” he proudly touted in an interview with The Associated Press in 1999.

He also signed the then up-and-coming producer Sean “Diddy” Combs to a label deal with his Bad Boy Records. Under Davis, the label would have some of its biggest successes, most notably with late rap icon the Notorious B.I.G. That was long before the hip-hop mogul Diddy would be incarcerated, convicted of violating the federal Mann Act, which bans transporting people across state lines for any sexual crime.

Davis didn’t simply have an eye for new talent — he also knew how to keep veterans relevant, decades after their first hit. Aretha Franklin, whose legend was made at Atlantic Records, flourished in her later years at Arista, as did Luther Vandross, who made his last albums for another Davis label, J Records.

It was Davis who conceived of the 1999 album Supernatural, which paired guitar god Santana with some of the day’s hottest talents. The record won a record-tying eight Grammys and gave Santana more success than he had ever enjoyed in his decades-long career.

And he had middle-aged star Rod Stewart trade in his rock hits for standards from The Great American Songbook. The album, released in 2003, sold millions and was so successful it spawned four titles in all.

The label had huge success with a debut act — Milli Vanilli. But the male pop duo would become the embarrassment of the industry when, after winning a Grammy, it was revealed that they weren’t actually singing their songs (Davis blamed the debacle on the label’s European division, which he said signed them; the group was later stripped of its best new artist Grammy).

In 1999, as Arista was celebrating its 25th anniversary, Davis faced another crisis: The label’s then-parent company, BMG Entertainment, a division of German media conglomerate Bertelsmann, wanted him to retire; most of its executives were eased out by 60, and Davis was in his mid-60s.

In 2000, despite support from his superstar roster, the company ousted him in favor of producer and songwriter Antonio “L.A.” Reid, who would later become chairman of Island/Def Jam.

However, instead of severing its ties with Davis, BMG helped him launch J Records in what BMG has described as the largest record company startup ever created. Vandross was one of his initial artists, along with forgettable acts like the boy-band O-Town.

J Records was a success from the start, though, and only grew in stature with the arrival of a young singer named Keys, a piano-playing singer-songwriter with powerful pipes and dramatic R&B songs. Keys’ albums would go on to sell millions and win several Grammys.

His influence grew even more when Davis was tapped for BMG’s U.S. division.

He became a key backer of the careers of the winners of American Idol, guiding many albums to platinum status. The show’s link to Sony BMG came through a deal between Davis and 19 Recordings Unlimited, the label managed by Idol creator Simon Fuller.

In 2007, however, Davis disagreed with the direction of Clarkson’s My December, and she publicly criticized him. The album was a flop, and she later apologized.

In 2008, Sony BMG replaced Davis as chairman and chief executive officer of the BMG label group, giving him the title of chief creative officer.

He was serving as worldwide chief creative officer at Sony Music Entertainment up until his death.

In his memoir, Davis confirmed longtime rumors that he was bisexual and had been living with a man in recent years.

“Do I feel I could have been similarly attracted to a woman?” Davis wrote. “The answer is yes.”

He is survived by his four children, sons Fred, Doug and Mitchell, daughter Lauren, and his eight grandchildren Austin, Charlie, Matthew, Hayley, Harper, Sloane, Billie and Cody, two great grandchildren, cousin Jo Schuman and partner Greg Schriefer.

His family shared a loving statement on Monday.

“Through every chapter of his remarkable life, family remained Clive’s greatest pride and deepest joy. Today, we celebrate not only a towering figure whose influence changed music forever, but the man who led our family with grace, generosity, and kindness. We will miss him greatly, cherish him always, and carry his love with us for the rest of our lives.”