Following the death of Clive Davis on Monday (June 22) at the age of 94, professionals across the music industry are remembering the legendary executive, who launched the careers of such stars as Whitney Houston, Barry Manilow and Alicia Keys.

Davis’ music business career is the stuff of legend and undoubtedly inspired multiple generations of music industry executives. Known as “The Man With the Golden Ear,” he launched his career as assistant counsel at Columbia Records and was eventually named president of Columbia’s parent company, CBS Records. He later founded his own label, Arista, in 1974, where he went on to sign Manilow, Aretha Franklin, Patti Smith and more. That was followed by J Records in 2000, which launched future stars Alicia Keys and Maroon 5. He was later named chief creative officer at Sony Music Entertainment, a role he held until his death.

See below for all the reactions. We will update this story as more come through.

Merck Mercuriadis:

“I am so sorry to hear of Clive’s passing. We have all lost an extraordinary man the likes of which you will never see again but you have lost a father — a father to us all. It’s impossible to measure his impact on music, culture and life across the globe. He accelerated the growth of the music business like few others and he supported his artists like a man possessed. His focus on songs was unique in a post Beatles world and as a result his emphasis and support of outside songwriters and producers was unparalleled.

“It must also be mentioned that no one could launch an artist the way Clive could and the Clive playbook became the envy for anyone marketing and promoting music. Spotting talent is not difficult, spotting it and knowing what to do is something very very few can do.

“His annual Grammy party was the only one that mattered and as anyone who ever had the privilege of attending can tell you he was also a special orator. Clive is the only person that I know that could introduce 50 superstars in a night with unbelievable dignity and elegance and never use the same adjective twice.

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Rob Stringer, chairman of Sony Music Group:

“Clive of course played a seminal role in the story of Sony Music through two incredible chapters, and he is responsible for a huge part of the recorded legacy of the company permanently. Not only are many, many artists we represent continuously indebted to his service but so many staff members have been influenced and mentored by his deep love and respect for our company which he carried right up until today. Our working lives are better for having had his constant presence in the aura and perception of Sony Music.”

Monte Lipman, executive chairman, REPUBLIC

“Avery and I got our start in the music business working for Clive at Arista Records in the late 1980s. By virtue of being in his orbit, we had a front-row seat to his extraordinary success as he discovered and championed legendary artists who’ve gone on to make the world a better place. It was his passion for culture, community and music, along with his unwavering commitment to excellence in every aspect of his life, that resonated with us so profoundly; but the most valuable lesson he ever taught us was that family always comes first. Earlier this year, Avery and I had the privilege of being recognized by Clive at his legendary Grammy Gala. To stand alongside him nearly 40 years later was a deeply meaningful full circle moment that we will always cherish and hold dear in our hearts. We love you Clive.”

Avery Lipman, vice chairman, REPUBLIC

“My first job in the music business was working as Clive’s part-time secretary. On my very first day, I handed him a list of missed calls and mentioned that his son had called while he was in a meeting. Clive immediately told me, ‘If any of my children call, you need to grab me.’ From that day forward, I interrupted meetings and calls whenever one of his children reached out and every single time, he stopped what he was doing and took the call. Years later, when people asked me what it was like to work for such an iconic executive, my first thought was always the same: he was the most devoted father. The world will remember Clive for his unparalleled contributions to music and culture, but I’ll always remember the example he set as a parent, mentor and leader. I am deeply grateful to have known him.”

Harvey Mason jr., CEO, Recording Academy

Music lost one of its most important and impactful figures today, and I lost a dear friend and mentor. With his ears of gold and natural gift of hitmaking, Clive Davis developed music’s brightest legends and stars, earning him four Grammy wins and the Recording Academy Trustees Award in 2000. Clive was a generous supporter of MusiCares, and the Recording Academy has been proud to co-host the annual Pre-Grammy Gala with him for over 15 years, a tradition Clive started over 50 years ago, gathering music’s most innovative and accomplished people every year on the Saturday night before the Grammy Awards. Clive being a part of our industry has made a massive impact on music people everywhere, including myself. Thank you, Clive, for all you’ve done for all of us in music. You will be missed!

Barry Weiss, founder, Records

“My memories and relationship with Clive Davis are hard to put into a brief sentence or two. Having grown up in the music business, I’ve heard his name for years and first met him at a CBS Records convention at the Century Plaza Hotel in 1972. I was also well aware of him through my father and his affiliation with Stax Records and my childhood neighbor Ron Alexenburg another protege of Clive’s like so many of us. We worked closely with him at Arista Records who was Jive Record’s US licensor in our infancy. Simply put he was a “record man’s record man”. Brilliant and expansive intellect, incredible taste and musical instincts and phenomenal problem solving abilities. All rolled into one very sophisticated, gentleman. As Clive Calder and I used to say ‘we’re in the record business while Clive is in Show Business!’.  He will be missed.”

Joe Galante, former chairman, RCA Label Group, Nashville

“He loved spending that time with artists and producers and songwriters. I give him a lot of credit for creating the [pre-Grammy gala] That’s where the boat show [before Country Radio Seminar] came from: ‘Oh, you can steal people away before an important event?’ But we’ll put them on the water. I just stole the idea from Clive in terms of that night. But he was very open to always watching what was coming up; he didn’t get mired down and just say, ‘I’ve got what I need.’ His head was always on a swivel, looking out, trying to meet new people and bring them into the fold.”

Julie Widler, vice chiar, board of trustees, T.J. Martell Foundation

“Clive Davis was one of the most important figures in the music industry, a true original.  To all of us at the T.J. Martell Foundation, he was also a steadfast supporter of our mission. From the earliest days of the Foundation, Clive stood alongside Tony Martell, helping champion the fight against cancer and other life-threatening diseases. He understood the difference this work could make and remained committed to it for decades.
 
“We are grateful for his friendship, his guidance, and the many ways he supported the Foundation over the years. The T.J. Martell Foundation would not be what it is today without Clive’s enduring support. His absence will be felt deeply, but his legacy lives on in the work he helped make possible. We extend our heartfelt condolences to his family, loved ones, and all those whose lives he touched.”  

Jon Platt, chairman and CEO, Sony Music Publishing

“Clive Davis was a music publisher’s best friend – someone who always understood the value of a song and the songwriter. What mattered most to Clive was a great song, and that passion was evident. We were fortunate to experience the one and only Clive Davis.”

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Clive Davis was a chart enthusiast even before he became a music industry legend. In his 1974 biography Clive: Inside the Record Business (which he co-wrote with James Willwerth), he explained his fascination with charts, which, he said, grew out of an earlier fascination with baseball statistics and Variety’s lists of top box-office hits.

“It was an extension of the star syndrome,” he wrote, “measuring how singers did against each other, watching their songs climb the Hit Parade. I was a reader of charts and statistics, and I found an excitement in them which is hard to explain, as if they represented a form of energy.” (Emphasis in the original.)

Since Davis was a chart fan to begin with, imagine what a kick it must have been for him to see his companies’ records ascend to the top spot on Billboard Hot 100, especially in the nearly four decades that he directly oversaw day-to-day operations at a succession of labels: CBS (Columbia and Epic), Arista and J Records.

According to Davis’ official bio, the exec was appointed vp and general manager of Columbia Records in 1966. In 1967, he was named president of the company. He oversaw Columbia and Epic and, in the early 1970s, signed a deal with Kenny Gamble & Leon Huff’s famed Philadelphia International Records, which had two No. 1 hits on the Hot 100 in 1972-73.

Davis was fired from CBS in May 1973 for reasons that have never been entirely clear, but which most certainly had nothing to do with his ability to do the job. Afterwards, he wasted no time in re-establishing his career: In January 1975, his Arista Records (named after his high school honors society) landed its first No. 1 Hot 100 hit with Barry Manilow’s “Mandy.” Again, Davis signed agreements that brought in more talent, especially in the burgeoning Black music area. He made an agreement with L.A. Reid and Babyface to form LaFace Records in October 1989. And in 1994, Davis and producer/entrepreneur Sean “Puffy” Combs (later known as Diddy) entered into a 50/50 joint venture that resulted in the creation of Bad Boy Records.

In 2000, Davis was forced out of Arista for age reasons (he was 68 at the time). But again, he wasted no time in re-establishing himself. That same year, he formed J Records (Jay was his middle name), which in August 2001 landed its first No. 1 Hot 100 hit with Alicia Keys’ “Fallin’.” (Both Manilow’s “Mandy” and “Fallin’” received Grammy nods for record of the year. In addition, “Fallin’” won song of the year.)

In November 2002, Davis became president/CEO of the RCA Music Group, assuming responsibility for RCA, Jive, Arista, LaFace and J. In April 2008, he was appointed chief creative officer of all of Sony Music Entertainment, which, as his official bio notes, represented “a change in operational responsibility but an expansion of the artists he would now creatively be responsible for.”

Our focus here is on the 36 years he was the top man at an individual label, not the later years when he oversaw entire label groups. He had 11 No. 1 hits by Whitney Houston in those years, more than any other artist. Elsewhere, he had four with TLC (on LaFace/Arista), and three each with Simon & Garfunkel, Sly & the Family Stone, Manilow, Billy Ocean (on Jive/Arista), Milli Vanilli and Puff Daddy (on Bad Boy/Arista).

Here’s a list of all the Hot 100 No. 1 hits at Davis-headed labels in those 36 years. The dates represent the date each single first reached No. 1, followed by the artist’s name and title of the record, the number of weeks the song held the top spot and the label.

Jan. 1, 1966: Simon & Garfunkel, “The Sounds of Silence,” (two weeks, Columbia)

Sept. 3, 1966: Donovan, “Sunshine Superman” (one week, Epic)

Oct. 21, 1967: Lulu, “To Sir With Love” (five weeks, Epic)

June 1, 1968: Simon & Garfunkel, “Mrs. Robinson” (three weeks, Columbia)

Feb. 15, 1969: Sly & the Family Stone, “Everyday People” (four weeks, Epic)

Feb. 14, 1970: Sly & the Family Stone, “Thank You (Falettin Me Be Mice Elf Agin)” (two weeks, Epic)

Feb. 28, 1970: Simon & Garfunkel, “Bridge Over Troubled Water” (six weeks, Columbia)

March 20, 1971: Janis Joplin, “Me and Bobby McGee” (two weeks, Columbia)

July 24, 1971: Raiders, “Indian Reservation (The Lament of the Cherokee Reservation Indian)” (one week, Columbia)

Dec. 4, 1971, Sly & the Family Stone, “Family Affair” (three weeks, Epic)

Aug. 26, 1972: Looking Glass, “Brandy (You’re a Fine Girl)” (one week, Epic)

Sept. 23, 1972: Mac Davis, “Baby Don’t Get Hooked on Me” (three weeks, Columbia)

Nov. 4, 1972: Johnny Nash, “I Can See Clearly Now” (four weeks, Epic)

Dec. 16, 1972: Billy Paul, “Me and Mrs. Jones” (three weeks, Philadelphia International)

March 24, 1973: The O’Jays, “Love Train” (one week, Philadelphia International)

May 26, 1973: The Edgar Winter Group, “Frankenstein” (one week, Epic)

Jan. 18, 1975: Barry Manilow, “Mandy” (one week, Arista) 

Jan. 3, 1976: Barry Manilow, “I Write the Songs” (one week, Arista)

Jan. 17, 1976: The Bay City Rollers, “Saturday Night” (one week, Arista)

Sept. 23, 1977: Barry Manilow, “Looks Like We Made It” (one week, Arista)

July 25, 1981: Air Supply, “The One That You Love” (one week, Arista)

Aug. 11, 1984: Ray Parker Jr., “Ghostbusters” (three weeks, Arista)

Nov. 3, 1984: Billy Ocean, “Caribbean Queen (No More Love on the Run” (two weeks, Jive/Arista)

Oct. 26, 1985: Whitney Houston, “Saving All My Love for You” (one week, Arista)

Jan. 18, 1986: Dionne & Friends, “That’s What Friends Are For” (four weeks, Arista)

Feb. 15, 1986: Whitney Houston, “How Will I Know”  (two weeks, Arista)

May 17, 1986: Whitney Houston: “Greatest Love of All” (three weeks, Arista)

July 5, 1986: Billy Ocean, “There’ll Be Sad Songs (To Make You Cry)” (one week, Jive/Arista)

April 18, 1987: Aretha Franklin & George Michael, “I Knew You Were Waiting (for Me)” (two weeks, Arista)

June 27, 1987: Whitney Houston, “I Wanna Dance With Somebody (Who Loves Me)” (two weeks, Arista)

Sept. 26, 1987: Whitney Houston, “Didn’t We Almost Have It All” (two weeks, Arista)

Jan. 9, 1988: Whitney Houston, “So Emotional” (one week, Arista)

Feb. 20, 1988: Expose, “Seasons Change” (one week, Arista)

April 9, 1988: Billy Ocean, “Get Outta My Dreams, Get Into My Car” (two weeks, Jive/Arista)

April 23, 1988: Whitney Houston, “Where Do Broken Hearts Go” (two weeks, Arista)

July 1, 1989: Milli Vanilli, “Baby Don’t Forget My Number” (one week, Arista)

Sept. 23, 1989: Milli Vanilli, “Girl I’m Gonna Miss You” (two weeks, Arista)

Nov. 25, 1989: Milli Vanilli, “Blame It on the Rain” (two weeks, Arista)

April 7, 1990: Taylor Dayne, “Love Will Lead Me Back” (one week, Arista)

Dec. 1, 1990: Whitney Houston, “I’m Your Baby Tonight” (one week, Arista)

Feb. 23, 1991: Whitney Houston, “All the Man That I Need” (two weeks, Arista)

Nov. 28, 1992: Whitney Houston, “I Will Always Love You” (14 weeks, Arista)

March 12, 1994: Ace of Base, “The Sign” (six weeks, Arista)

Jan. 28, 1995: TLC, “Creep” (four weeks, LaFace/Arista)

July 8, 1995: TLC, “Waterfalls” (seven weeks, LaFace/Arista)

Nov. 25, 1995: Whitney Houston, “Exhale (Shoop Shoop)” (one week, Arista)

July 27, 1996: Toni Braxton, “You’re Makin’ Me High” / “Let It Flow” (one week, LaFace/Arista)

Dec. 7, 1996: Toni Braxton, “Un-Break My Heart” (11 weeks, LaFace/Arista)

March 22, 1997: Puff Daddy (feat. Mase), “Can’t Nobody Hold Me Down” (six weeks, Bad Boy/Arista)

May 3, 1997: The Notorious B.I.G., “Hypnotize” (three weeks, Bad Boy/Arista)

June 14, 1997: Puff Daddy & Faith Evans (feat. 112), “I’ll Be Missing You” (11 weeks, Bad Boy/Arista)

Aug. 30, 1997: The Notorious B.I.G. (feat. Puff Daddy & Mase), “Mo Money Mo Problems” (two weeks, Bad Boy/Arista)

Feb. 14, 1998: Usher, “Nice & Slow” (two weeks, LaFace/Arista)

April 25, 1998: Next, “Too Close” (five weeks, Arista)

Oct. 3, 1998: Monica, “The First Night” (five weeks, Arista)

Feb. 13, 1999: Monica, “Angel of Mine” (four weeks, Arista)

April 10, 1999: TLC, “No Scrubs” (four weeks, LaFace/Arista)

Sept. 18, 1999: TLC, “Unpretty” (three weeks, LaFace/Arista)

Oct. 23, 1999: Santana feat. Rob Thomas, “Smooth” (12 weeks, Arista)

April 8, 2000: Santana feat. The Product G&B, “Maria Maria” (10 weeks, Arista)

Aug. 18, 2001: Alicia Keys, “Fallin’” (six weeks, J)