Clive Davis' new memoir, The Soundtrack of My Life, is abounding of central belief from throughout his acclaimed career. But the better adumbration is a claimed one: For the aboriginal time, the 80-year-old almanac controlling discusses his "bisexual life."
Davis, who has been affiliated and afar twice, has never afore publically addressed his sexuality. In a aboveboard five-page area against the end of the book, due in food today, he writes that he aboriginal had a animal appointment with a man during "the era of Studio 54." "On this night, afterwards absorptive abundant alcohol, I was accessible to responding to his animal overtures," writes Davis, who says he had alone been with women before. As for that experience, he writes, "Was I nervous? Absolutely. Did the blast accessible up? No. But it was satisfying."
Davis writes that afterward, he went through a aeon of "soul analytic and self-analysis": "I didn't feel as if I had found, or was even analytic for, my accurate self. I had not been at all repressed or abashed during either of my marriages." Years later, Davis afar from his additional wife and eventually began active what he calls "a bisexual life." In 1990, he entered into a "monogamous relationship" with a macho doctor, who is not called in the book. Although that accord concluded in 2004, Davis says he has been in a consecutive accord with addition man anytime since. Davis writes that his advancing out acutely afflicted his ties with one of his sons, Mitchell: Afterwards what Davis calls "one actual aggravating year," ancestor and son formed out their differences, Davis says.
The aggregate of Davis' book – an behind aftereffect to his now out-of-print 1975 annual Clive: Central the Almanac Business – is adherent to his interactions with a advanced ambit of artists over about 5 decades. He recounts his aboriginal years with Columbia Records, some of which had been abundant in the antecedent book. In one decidedly memorable scene, Davis attempts to allocution Bob Dylan out of allotment his new anthology Nashville Skyline ("It was not in any accurate faculty a country album"). He aswell relates how he told Bruce Springsteen's administrator at the time, Mike Appel, that 1973's Greetings from Asbury Park, N.J., bare a few added radio-friendly songs – which resulted in Springsteen abacus "Blinded by the Light" and "Spirit in the Night" to the accomplished record.
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The Soundtrack of My Life (co-written with Rolling Stone accidental editor Anthony DeCurtis) covers Davis' post-1975 career as architect of Arista and J Records in abundant detail. Not unexpectedly, Davis devotes an absolute affiliate to his plan with Whitney Houston. He recounts their aboriginal collaborations and his trepidations about her acting in The Bodyguard. But he aswell writes all-embracing about the consecutive problems that led to her death. He reprints a letter he wrote to her afterwards seeing an atrophied Houston accomplish at the 2001 Michael Jackson accolade concert ("When I got home, I cried," he tells her) and reveals a one-on-one action with her that he attempted at his Pound Ridge, New York, home. (Houston, he writes, was in "complete denial" about her excesses.) And he recounts the shock of accepting that momentous buzz call, just afore his anniversary pre-Grammy party, that Houston was dead.
Davis aswell goes all-embracing on his affray with Kelly Clarkson and her administration above-mentioned to the absolution of 2007's My December – he recruited focus groups to action opinions on a accumulation of the album's songs, with actual abrogating after-effects – and his abruptness at acquirements that Rob and Fab didn't in fact sing on the Milli Vanilli album. ("People anticipation I was in on this busy scheme," he writes.) Davis aswell offers up his own annual of how he had to, in his words, "relinquish Arista," the characterization he started and had angry into a huge success, but was accustomed $150 actor to barrage his own major, J Records, and its better star, Alicia Keys.
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