Narada Michael Walden Remembers Clive Davis

oday, as we honor the life of Clive Davis, I want to thank him for opening so many doors—not only for me, but for generations of artists.

It all began after I produced Stacey Lattisaw’s Let Me Be Your Angel album. One day my telephone rang in San Francisco. It was Clive Davis calling from New York. He asked me how I could make records like that. I told him, “I’m from Michigan. We were raised on music. We grew up playing every style imaginable, and that’s how I learned to produce.”

Clive simply said, “I’d like you to do some work for me.”

The first major project was Angela Bofill. We ended up making three wonderful albums together. Around that same time I also worked with Phyllis Hyman, producing three songs that I’m still proud of.

Then came the great Aretha Franklin.

Working with Aretha was one of the greatest honors of my life. In the middle of making her album, Gerry Griffith called and asked me to produce a new artist named Whitney Houston. I almost turned it down because I wanted to stay completely focused on Aretha. Gerry encouraged me to make the time.

Thank God I listened.

We added a verse to “How Will I Know,” built the track in one incredible day, then flew to New York to record Whitney’s vocals. The moment she began to sing, I realized we were witnessing something truly extraordinary.

At the same time, the success of Aretha’s Who’s Zoomin’ Who? album—especially “Freeway of Love”—led to another incredible opportunity. For the next Aretha album, Clive chose George Michael’s “I Knew You Were Waiting (For Me).” It became another No. 1 record and another unforgettable chapter.

Because “How Will I Know” was such a success, Clive entrusted me with seven songs for Whitney’s second album. Our philosophy at Tarpan Studios was simple: quality and speed. Like a great automobile assembly line, everyone knew their role, and we made records with heart.

Those sessions gave the world songs like “Love Will Save the Day,” “Where Do Broken Hearts Go,” “So Emotional,” and many more. Every record carried our complete commitment.

For Whitney’s third album, Clive gave me three songs. I secretly wished there were more, but one of them became another No. 1 hit: “All the Man That I Need.”

Then came “One Moment in Time,” one of the most inspirational recordings I’ve ever had the privilege to produce.

Later, Whitney herself called me—not Clive—and asked if I would produce “I’m Every Woman” in honor of Chaka Khan. When she walked into the studio she was very pregnant with Bobbi Kristina, yet she sang with incredible strength and joy. Natalie Cole happened to visit the session and watched Whitney create magic. Whitney kept asking me, “Are my harmonies tight?” I smiled and said, “Yes.” They were beautiful, and the record became another No. 1.

Along the way, in 1985, we also made Jermaine Stewart’s “We Don’t Have to Take Our Clothes Off,” featuring Kenny G on saxophone. That became another major success, thanks to my wonderful team, including Preston Glass.

That was the magic of working with Clive Davis.

If Clive put his heart and love into a project, we put our heart and love into it too. We always wanted to give him the very best because he always believed in the music.

His family of artists was extraordinary. My dear brother Carlos Santana was part of that family, as were so many legendary musicians. Clive also helped champion artists including Laura Nyro, Earth, Wind & Fire, Sly Stone, Miles Davis, and countless others throughout his remarkable career.

His vision shaped modern music.

Clive always said he wanted to feel something when he heard a record.

Well, Clive…

Now you are surrounded by the greatest music ever created.

I hope your spirit is soaring among the greatest artists in Heaven. Thank you for believing in me, for believing in music, and for believing in greatness.

To the Davis family: please know that you can always call on me. I will always be there with positivity, radiance, love, and light.

God bless you, Clive.

Your music, your vision, and your spirit will live forever.

With love,

Narada Michael Walden