Clive Davis Remembered by A&R Pete Ganbarg: A Master of Music with an Unmatched Ability to Predict Hits
Pete Ganbarg, a two-time Grammy Award winner, reflects on his time working with the legendary Clive Davis, who passed away on June 22. Ganbarg served as the senior director of A&R at Arista Records from 1997 to 2001, where he played a pivotal role in the production of Santana’s Supernatural album, which sold over 30 million copies globally and garnered nine Grammy Awards in 2000. He later reunited with Davis from 2004 to 2008 as an A&R consultant at J/RCA Records. Ganbarg provides insights into Davis’ unique approach to A&R meetings, highlighting their significance in the music industry.
A&R Meetings: A Unique Approach
Ganbarg describes Davis’ treatment of A&R executives as akin to “protected species,” emphasizing their crucial role within the company. According to Ganbarg, Davis understood that if A&R personnel could not perform their duties effectively, the entire organization would suffer.
A&R meetings under Davis were spontaneous and often unplanned. Ganbarg recalls receiving calls at 9:30 a.m. for meetings scheduled to start at 10 a.m. These sessions were immersive experiences, often lasting from morning until midnight. The meetings involved listening to music, discussing it with artists, and passing notes, a practice Ganbarg notes is now a lost art.
The Process of Song Selection
Davis frequently collaborated with artists who did not write their own songs, resulting in a steady stream of submissions from publishers and songwriters. Ganbarg recalls the pre-MP3 era when music was physically delivered on cassettes and CDs. Each artist had a dedicated folder containing lyric sheets and song files, which were reviewed during weekly meetings. The focus was solely on the music, devoid of the modern distractions of algorithms and social media trends.
Evaluating Potential Hits
Ganbarg explains that Davis sought straightforward evaluations of songs, asking for numerical ratings rather than subjective opinions. The scale ranged from zero to ten, with six being a pass and eight indicating a potential hit. Ganbarg notes that saying a song was an eight required conviction, as hits were considered valuable currency in the industry.
He recounts the excitement surrounding Whitney Houston’s comeback in the late 1990s, particularly with the song “My Love Is Your Love,” which received high scores. Another notable track, “It’s Not Right but It’s Okay,” was also rated highly, demonstrating Davis’ knack for identifying hits.
Communication Signals in the Room
In situations where artists were present during evaluations, Ganbarg and his colleagues developed discreet signals to communicate their opinions to Davis. For example, placing three fingers on a cheek would indicate a score of seven, allowing them to convey their thoughts without disrupting the meeting.
Predicting Future Success
Ganbarg highlights Davis’ remarkable ability to foresee the success of artists and albums. He recalls Davis accurately predicting the trajectory of Sarah McLachlan’s Fumbling Towards Ecstasy, which achieved triple platinum status. Davis outlined a detailed plan for the album’s singles, confidently stating that they would all be hits, a prediction that ultimately proved correct.
A Lifelong Passion for Music
Davis maintained an insatiable appetite for new music. Every weekend, his assistant would compile a cassette of the latest songs for him to review. This dedication to staying current allowed Davis to understand the evolving landscape of music and its connection with audiences.
Ganbarg’s reflections on his time with Davis reveal a profound respect for the music mogul’s vision and expertise. The legacy of Clive Davis continues to influence the music industry, as evidenced by the countless artists and executives who have been shaped by his guidance.
As reported by www.billboard.com.
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Published on 2026-07-17 21:11:00 • By FAME Delivered News Desk