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Antonio "L.A." Reid Is Writing His Next Chapter

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In an exclusive interview, Epic Records Chairman/CEO discusses his roots with the Deele, his rock music favorites and why he's bullish on the music industry's future
Roy Trakin
GRAMMYs
Dec 2, 2014 - 4:06 pm

(Epic Records Chairman/CEO Antonio "L.A." Reid will receive the President's Merit Award at the 2013 GRAMMY Salute To Industry Icons during the Pre-GRAMMY Gala on Feb. 9, the night prior to the 55th GRAMMY Awards. The Recording Academy will present Reid with the honor in recognition of his significant contributions to the music industry and the impact his efforts have had on music and the business of music. Past recipients include Herb Alpert and Jerry Moss, Sir Richard Branson, Clive Davis, Ahmet Ertegun, David Geffen, Berry Gordy, Doug Morris, and Mo Ostin.)

From his days in the Cincinnati-based group the Deele, where he first teamed with his songwriting partner Kenny "Babyface" Edmonds, to his stints running LaFace Records, Arista Records and Island Def Jam, and now as chairman/CEO of Epic Records, Antonio "L.A." Reid is one of the most successful music executives in the business. Among the artists he is credited with mentoring are Pink, Cee Lo Green, OutKast, Avril Lavigne, Kanye West and Rihanna, among many others. He's also a three-time GRAMMY winner himself, picking up awards as a songwriter for songs such as Boyz II Men's "End Of The Road."

Prior to receiving The Recording Academy’s President's Merit Award 2013 GRAMMY Salute To Industry Icons, Reid discussed what the honor means to him, why he is bullish on the music industry's future and why he's still searching for something he hasn't found yet, among other topics.

What does it mean to you to be included in this distinguished list of former honorees?
It is humbling, to say the least. Each and every one of them I have studied, admire and respect. Some of them I know and love, particularly Doug Morris, Berry Gordy and Clive Davis. I don' think I'm those guys. I do believe I have a shot. I have not accomplished the cultural landscape change of Berry with Motown Records or how Ahmet came to this country and started signing jazz and blues artists that became Aretha Franklin, Donny Hathaway and John Coltrane into the British Invasion. I don't claim to have done what those people have, but I'm proud to be a part of that list. I don't completely believe my career stands as tall as theirs to this point.

It sounds like you still have unfinished business. What is left for you to accomplish?
I'm still very motivated. I love what I do, what we do as an industry. The kids I talk to are convinced their generation will make the best music. And the greatest artists have yet to be discovered. I walk around with that thought every day. I am searching for something I haven't found yet. I'm looking for a stable of artists and music makers yet to be discovered. I'm proud of the artists I've worked with, but what I want to do I haven't done yet.

At what point did you realize you were more interested in an executive position rather than being a performer and songwriter?
That kind of happened for me on day one. I was never interested in being in front of the camera. I was the drummer, who usually sits behind the band. When I started the Deele, it was my way of putting together a team of singers I thought could have success. And I wanted to be the guy behind that. My band was cast. I cast Babyface as a member of my group. He had that tender voice, he could write songs, [he was] an amazing producer [and] capable of sharing the mic with the other two singers. I could have a whole record company with this band. It was never about me being up front. You can ask Babyface. I'm exactly the way I was when we started out back in the '80s. My perspective is no different now except I have a lot more experience and made some mistakes along the way that became important life lessons. The people that work for and with me are the most important in the makeup of what I do. I rely heavily on others. I think of myself as a producer who tries to bring the best out of everyone, whether that be an artist, songwriter or a publicist. The only time I ever made it really about me was when I decided to take a break and do "The X Factor" for fun, and now that's in the past and I'm back to my real job.

And was it fun?
I enjoyed it very much. I loved working with Simon [Cowell]. It was like putting myself into the position of the people that work for me, trying to please Simon, anticipate what he wanted me to do. Every decision I made, I was trying to see life through Simon's eyes, hear music through his ears and try to make decisions based on what I thought he wanted. Now I understand what the people that work for me must go through. Now I get why they call me crazy. Simon is a great entertainment executive and an amazing celebrity.

Can these music competition shows actually produce stars?
We've seen the show create stars and fail to create stars. It's not unlike all of the other platforms. We've seen artists go to No. 1 on the radio and not have a career, or the opposite. There is no exact science to what we do … whether you're auditioning for a TV talent show or putting out a garage demo … everything is a competition. And there's no one way. And that's the beauty of this business. There is no blueprint. You have to find your own.

Which of the artists you've worked with turned out to impress you the most?
I have to say the one who's had the most surprising career has been Cee Lo [Green]. I signed Cee Lo with Goodie Mob and also put out his very first solo album on Arista. He's my friend. I always thought he was really talented and smart. I loved to hear him talk. He's one of those guys when he came to my office, he spoke with such flair. It was one of those things that stuck in the back of my mind. "Damn, he's special … ." But I wondered what that meant. He found a way with "The Voice" to put himself on a platform for everyone to see how special he was as a performer. I just got back from Las Vegas with "Loberace" posters all over, which is Cee Lo. That's my kid. I'm proud of him.

Growing up in Cincinnati, were you influenced at all by Syd Nathan's King Records?
I was one of those kids standing outside those offices. I had a karate class around the corner, so I had a really good excuse to be there. I was a James Brown junkie as a kid. Between King Records being there and James Brown performing, it was one of the few times that it was OK with my mother that I stayed out late. I'd go to a James Brown show and wait backstage until he came out.

You are one of the few African-American record executives with a track record in rock as well as pop and R&B. Who are your favorite rock bands?
I'm a Pink Floyd and Led Zeppelin fanatic. I love Green Day and Guns N' Roses. Nirvana may be at the top of that list. A very different kind of rock … I also love Coldplay [and] the Killers.

Would you consider yourself, like Clive Davis, first and foremost a song man?
I think so … almost sometimes to a fault. I want to be a "star" guy. I admire Jimmy Iovine's career because no one ever calls him a "song" guy. He's a "star" guy.

Are you bullish on the future of the music business?
I am. I see the emergence of satellite and digital radio as well as the subscription model ... the transparency and accounting to both the record companies and the songwriters. I'm one of those foolish people who believe the glory days of the record industry aren't behind us. They're actually ahead of us. I'm a real music fan. As a kid, I didn't put music into boxes. I didn't know what I liked was pop or R&B or rock. I've always been color-blind when it comes to music. It's amusing to me when the hip-hop guys say I'm not hip-hop enough and the pop guys say I'm too hip-hop.

Do you believe in the idea that artists are brands to be spread across multiple formats?
I do believe in that philosophy. Everything about an artist has to have an identity, whether that be how they sound or what they look like, the messaging has to be consistent. You have to earn the trust of the consumer. Without the music, though, the rest of it falls apart quickly. As an industry, we may not be curing cancer, but we sure are inspiring the people who are curing cancer. I bet they're listening to us.

What gives you the most satisfaction in your job at the end of the day?
My greatest joy is in seeing an unknown become somebody. Taking this Epic job, I needed to do that again. Doug [Morris] told me there's a place for people like me … it's called the insane asylum. This latest chapter of my career is the most difficult. When I started LaFace, I didn't have my first hit for two years and nobody noticed. Now, everybody's watching.

The 55th Annual GRAMMY Awards will take place live on Sunday, Feb. 10 at Staples Center in Los Angeles and will be broadcast in high-definition TV and 5.1 surround sound on the CBS Television Network from 8–11:30 p.m. (ET/PT). The show also will be supported on radio worldwide via Dial Global, and covered online at GRAMMY.com and CBS.com, and on YouTube. For GRAMMY coverage, updates and breaking news, visit The Recording Academy's social networks on Twitter and Facebook.

(Roy Trakin has been senior editor at HITS magazine since he still had hair, and has written for every defunct rock publication that did and didn't matter. His weekly online blog, Trakin Care of Business, counts his mother as its biggest fan. He is also the author of biographies on Jim Carrey, Tom Hanks and Sting.)

GRAMMYs

David Geffen

Photo: Courtesy of the Geffen Playhouse

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The Academy, Clive Davis Team For Pre-GRAMMY Gala

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Celebration to feature 2011 GRAMMY Salute To Industry Icons honoring entertainment entrepreneur David Geffen
Tim McPhate
GRAMMYs
Dec 2, 2014 - 4:06 pm

(For a complete list of 53rd GRAMMY Awards nominees, click here.)

Clive Davis and The Recording Academy will continue the tradition of the annual Pre-GRAMMY Gala on Feb. 12 at the Beverly Hilton Hotel in Beverly Hills, Calif., the evening before the 53rd Annual GRAMMY Awards. This exclusive, star-studded celebration will feature special musical performances and will be attended by artists and industry VIPs in music, film and television.

As part of the evening's celebration, the 2011 GRAMMY Salute To Industry Icons will honor Geffen Records founder and DreamWorks SKG co-founder David Geffen. The Recording Academy will present Geffen with the President's Merit Award in recognition of his significant contributions to the music industry and the impact his efforts have had on music and the business of music. Past recipients of the GRAMMY Salute To Industry Icons President's Merit Award include Herb Alpert and Jerry Moss, Clive Davis, Ahmet Ertegun, Berry Gordy, Doug Morris, and Mo Ostin.

"It is a true pleasure to again partner with the legendary Clive Davis to present our Pre-GRAMMY Gala, a memorable evening of special musical moments and camaraderie," said Neil Portnow, President/CEO of The Recording Academy."This year, we are especially pleased and proud to honor David Geffen, a unique and pioneering entrepreneur in music, stage and film who has had a profound impact on our culture, on the entertainment industry, and whose notable philanthropy has positively affected the lives of so many through his charitable acts."

Born in Brooklyn, N.Y., Geffen began his career in the mailroom at William Morris Agency, where he worked his way up as an agent for top talent. He launched his first record label, Asylum Records, in 1971, signing artists such as Jackson Browne, the Eagles and Joni Mitchell. In 1980 he formed Geffen Records, building a roster that included Aerosmith, Guns N' Roses, Elton John, and John Lennon and Yoko Ono. During this time he began Geffen Pictures, which would produce films such as Beetlejuice, Little Shop Of Horrors and Risky Business. After selling Geffen Records to MCA in 1990, Geffen remained chairman/CEO and inaugurated another label, DGC Records, which launched successful acts such as Beck, Counting Crows, Nirvana, and Sonic Youth.

In 1994 Geffen parlayed his creative vision into a bigger venture by co-founding DreamWorks SKG, the first new major motion picture studio to be formed in more than 50 years, with partners Steven Spielberg and Jeffrey Katzenberg. He helped shepherd the launch of DreamWorks Animation, which would create the successful Shrek films, among many others. He financed Broadway productions of "Cats" and "Dreamgirls." The latter a project he would later make into a motion picture through DreamWorks. He brokered the sale of DreamWorks SKG and its catalog to Paramount Pictures in 2006. In 2009, along with Spielberg, he secured private funding to once again make DreamWorks a private company before retiring from the entertainment industry.

Passionate about many causes, Geffen is a philanthropist who has made many charitable donations to a diverse array of organizations. In 2002 he made a $200 million donation to the UCLA School of Medicine, as well as gifts to St. Jude Children's Research Hospital and Save the Children. As an industry leader in the fight against AIDS, he has contributed to AIDS Project Los Angeles, amfAR, Project Angel Food, and more. A prolific supporter of the arts, he is a lead benefactor of the Geffen Playhouse in Los Angeles and has made generous donations to the Museum of Contemporary Art, National Public Radio and USC School of Cinema-Television, among others.

The Pre-GRAMMY Gala is part of the GRAMMY Week series of events, culminating with Music's Biggest Night. The 53rd Annual GRAMMY Awards will take place on Sunday, Feb. 13 at Staples Center in Los Angeles and will be broadcast live in high-definition TV and 5.1 surround sound on CBS from 8–11:30 p.m. (ET/PT). For updates and breaking news, please visit The Recording Academy's social networks on Twitter and Facebook. 
 

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The Recording Academy, Clive Davis Partner For Pre-GRAMMY Gala

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Celebration to feature 2012 GRAMMY Salute To Industry Icons honoring Virgin Group founder Sir Richard Branson
Tim McPhate
GRAMMYs
Dec 2, 2014 - 4:06 pm

(For a complete list of 54th GRAMMY Awards nominees, click here.)

For the fourth consecutive year, Clive Davis and The Recording Academy will present the annual Pre-GRAMMY Gala on Saturday, Feb. 11 at the Beverly Hilton in Beverly Hills, Calif., the evening before the 54th Annual GRAMMY Awards. Sponsored by Harman, Hilton Hotels & Resorts, Hyundai, and MasterCard Worldwide, this exclusive, star-studded celebration will feature special musical performances and will be attended by the world's most renowned artists and top industry VIPs in music, film, television, and new media.

As part of the evening's celebration, the 2012 GRAMMY Salute To Industry Icons will honor Virgin Group founder Sir Richard Branson. The Recording Academy will present Branson with the President's Merit Award in recognition of his significant contributions to the music industry and the impact his efforts have had on music and the business of music. Past recipients of the GRAMMY Salute To Industry Icons President's Merit Award include Herb Alpert and Jerry Moss, Clive Davis, Ahmet Ertegun, David Geffen, Berry Gordy, Doug Morris, and Mo Ostin.

"The Pre-GRAMMY Gala is a special night, with the legendary Clive Davis hosting an exclusive evening of music, memorable performances and stories — the perfect precursor to Music's Biggest Night," said Neil Portnow, President/CEO of The Recording Academy. "This year we are thrilled to honor extraordinary entrepreneur Sir Richard Branson, whose contributions to the music industry began with a record store in London and grew into a global empire. His iconic Virgin brand is synonymous with excellence and continues to draw consumers on numerous platforms from around the world."

Born in England, Branson entered the music industry when he opened a record shop in London called Virgin Records and Tapes, giving birth to the Virgin brand. Soon after, he founded Virgin Records with Nik Powell. The label garnered unprecedented acclaim with its first release: multi-instrumentalist Mike Oldfield's progressive rock album Tubular Bells. Other artists signed to the label over the next 20 years would include Culture Club, Devo, Genesis, Janet Jackson, Lenny Kravitz, Roy Orbison, the Rolling Stones, Sex Pistols, the Smashing Pumpkins, and many more. In 1992 Branson sold Virgin Records to EMI Music, but later re-entered the music industry with V2 Records in 1996, which he later sold to Universal Music Group in 2007.

With locations spanning the United States and Europe, the Virgin Megastores chain of record stores drove the music retailing business for many years across the globe. Other entrepreneurial ventures under the Virgin Group umbrella include Virgin Atlantic, Virgin Australia and Virgin America airlines, and telecommunications company Virgin Mobile. Branson was at the forefront of live music festivals, founding England's V Festival and Virgin Mobile Freefest, a free U.S. music festival that raises money for RE*Generation, a Virgin Mobile initiative combating youth homelessness.

Branson has made many notable philanthropic contributions throughout his entrepreneurial career. Virgin Unite is his nonprofit organization dedicated to using global leadership to address conflict, climate change and disease. The Elders is an initiative he founded in 2007 with Peter Gabriel, Graça Machel, and Nelson Mandela, addressing global issues such as health and gender equality. The Carbon War Room is an initiative that Branson founded to scale energy efficiency activity to deliver a profitable lower carbon economy. In 2009 Virgin America became the first U.S. airline to join the Climate Registry, publishing its first annual climate report and committing to reporting its emissions. In 1999 Branson was knighted for services in entrepreneurship.

Davis began his career at Columbia Records where he was appointed president in 1967 and signed such legendary rock artists as Janis Joplin; Santana; Blood, Sweat & Tears; Bruce Springsteen; Aerosmith; Chicago; Loggins & Messina; and Earth, Wind & Fire. In 1974 Davis went on to co-found Arista Records and signed Barry Manilow, Patti Smith and Whitney Houston, and developed the careers of the Grateful Dead, Eurythmics, Dionne Warwick, Aretha Franklin, and Carly Simon among the diverse roster under his leadership. His business ventures include forming LaFace Records in 1989 with Kenneth "Babyface" Edmonds and Antonio "L.A." Reid, and creating Bad Boy Records in 1994 with Sean "Diddy" Combs. In 2000 J Records was born (in partnership with BMG) and emerged as a dominant force, releasing the works of Alicia Keys, Luther Vandross and Maroon 5. Davis was then appointed chairman/CEO of BMG U.S. Label Group, where he oversaw an expanded RCA Music Group including J Records, RCA Records and Arista Records. After BMG and Sony Music merged in 2008, Davis was appointed chief creative officer, Sony Music Worldwide.

The Pre-GRAMMY Gala is part of the GRAMMY Week series of events, culminating with Music's Biggest Night. The 54th Annual GRAMMY Awards will take place on Sunday, Feb. 12 at Staples Center in Los Angeles and will be broadcast live in high-definition TV and 5.1 surround sound on CBS from 8–11:30 p.m. (ET/PT). For updates and breaking news, please visit The Recording Academy's social networks on Twitter and Facebook.
 

GRAMMYs

Doug Morris, recipient of the 2010 President’s Merit Award

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The Academy, Clive Davis To Present 2010 Pre-GRAMMY Gala

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Celebration to feature 2010 GRAMMY Salute To Industry Icons honoring Universal Music Group Worldwide Chairman and Chief Executive Officer Doug Morris
Crystal Larsen
GRAMMYs
Dec 2, 2014 - 4:06 pm

The Recording Academy and Clive Davis will continue the tradition of the annual Pre-GRAMMY Gala. This exclusive celebration — attended by artists and industry VIPs in music, film and television and featuring special musical performances — will take place on Saturday, Jan. 30, 2010, at the Beverly Hilton Hotel in Beverly Hills, Calif., the evening before the 52nd Annual GRAMMY Awards.

As part of the evening's festivities, the 2010 GRAMMY Salute To Industry Icons will honor Universal Music Group Worldwide Chairman and Chief Executive Officer Doug Morris. The Academy will present Morris with the President's Merit Award in recognition of his significant contributions to the music industry and the impact his efforts have had on music and the business of music. Past recipients of the GRAMMY Salute To Industry Icons President's Merit Award include Clive Davis, Ahmet Ertegun, Mo Ostin, Herb Alpert and Jerry Moss, and Berry Gordy.

"We are delighted to be continuing the tradition of the Pre-GRAMMY Gala that Clive began 30 years ago, and to be partnering with him again in what truly is a magical evening of music and memories," said Recording Academy President/CEO Neil Portnow. "This year, we are humbled to honor another music industry great in Doug Morris, who has had a profound impact on the music business throughout his dynamic and rich career. With his creative vision and digital strategies, he continues to explore and shape innovative new ways to bring great artists and their music to fans around the globe, while being a staunch advocate of artists' rights."

A graduate of Columbia University, Morris began his music career as a songwriter. He wrote the Chiffons' 1966 hit "Sweet Talkin' Guy" and produced such hit records as Brownville Station's "Smokin' In The Boys Room." He launched his own label called Big Tree Records, which was acquired by Atlantic Records in 1978 and would mark the beginning of a 17-year successful run with Warner Music Group. In 1980, he was appointed president of Atlantic Records, and developed co-venture deals with such renowned labels as Interscope, Matador and Rhino. In 1994, he was appointed president and COO of Warner Music U.S., and under his strategic leadership established Atlantic Nashville, launched EastWest Records, and created A*Vision Entertainment.

Continuing his legacy as a music industry leader, Morris began his tenure with Universal Music Group when he was appointed chairman and CEO in 1995. Under his direction, the label has grown to become the world's largest music company, evolving from a record company into a full-fledged music entertainment company. Morris' digital strategies have led to the monetization of online music videos and numerous direct-to-consumer initiatives both online and mobile — all of which have helped position Universal Music Group as the industry's digital music leader. Most recently, Morris created Vevo, the new premium music video and entertainment service powered by YouTube, which will be launching Dec. 8. Morris has also worked with some of the most popular and influential artists over the past four decades including Mariah Carey, Jay-Z, Led Zeppelin, Stevie Nicks, the Rolling Stones, and U2.

Morris serves on the board of directors of CBS Corporation and Activision Blizzard. He also serves on the board of directors of the Robin Hood Foundation, an organization that targets poverty in New York City by finding and funding the most effective programs and partnering with them to maximize results. He also serves on the board for the Cold Spring Harbor Laboratory, a not-for-profit research and education institution that is at the forefront of efforts in molecular biology and genetics to generate knowledge that will yield better diagnostics and treatments for cancer and neurological diseases. He received the City of Hope's Spirit of Life Award in 2008.

The Pre-GRAMMY Gala is part of the GRAMMY Week series of events, culminating with Music's Biggest Night. The 52nd Annual GRAMMY Awards will take place on Sunday, Jan. 31, 2010, at Staples Center in Los Angeles and will be broadcast live on the CBS Television Network at 8 p.m. (ET/PT). For updates and breaking news, please visit The Recording Academy’s social networks on Twitter and Facebook.
 

Clive Davis, Pharrell Williams at the 2015 Pre-GRAMMY Gala

Clive Davis and Pharrell Williams

Photo: Michael Tran/FilmMagic/Getty Images

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2018 GRAMMYs: Clive Davis Talks Pre-GRAMMY Gala, Whitney Houston & More

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The venerable record executive discusses his recent hit documentary and reveals some of his favorite past Pre-GRAMMY Gala moments
Chuck Crisafulli
GRAMMYs
Jan 22, 2018 - 5:17 am

Over the last six decades, Clive Davis — "The Man With the Golden Ear" — has had a singular impact on popular music, shaping the sounds and careers of talents ranging from Aerosmith to Barry Manilow, Aretha Franklin to Patti Smith, and Bruce Springsteen to Alicia Keys and Notorious B.I.G.

His official positions have included a stint as head of Columbia Records and the founder of the Arista and J labels, but his influence and esteem are greater than any one job title — a point driven home each year by the roster of A-list talents who perform at his annual event hosted with the Recording Academy, the Pre-GRAMMY Gala.

Davis, 85, was recently the subject of a compelling documentary, fittingly titled Clive Davis: The Soundtrack Of Our Lives. And on Jan. 27, he'll preside over the 2018 installment of the Pre-GRAMMY Gala, which will see Jay-Z receive the Academy's Salute To Industry Icons Award.

With GRAMMY Week 2018 upon us, and with several new projects still filling his amazingly busy schedule, Davis took the time to talk about his reaction to the film, his enduring relationships with artists, and a few of his favorite Pre-GRAMMY Gala memories. 

What was your reaction the first time you saw Clive Davis: The Soundtrack Of Our Lives?
I was really moved. I had no role in it other than being interviewed for it so until I saw the completed film — I'd never seen the footage of each of the other people that were interviewed for it . You know, this business is often ephemeral but seeing how many artists participated in the film — to see Simon And Garfunkel reminisce about how I picked "Bridge Over Troubled Water" as a single, to hear the memories of Patti Smith, Bobby Weir of the Grateful Dead, Dionne and Aretha, Jennifer Hudson and Santana and Alicia Keys — that really was a thrill.

When I wrote my autobiography, I was thrilled with how well it did — but someone could always say, "Well, that's his version." When you see the documentary and see that these artists did not forget, and you see that our relationships were something reciprocal — that moved me greatly. It really did.

"The first time you hear a particular talent rise to its peak with a particular piece of material, it's a chilling, spine-tingling moment."

You've helped artists begin careers, maintain careers and revive careers. How has your role shifted in those situations?
When you sign an artist from scratch they're relying on your musical expertise for guidance — not for molding but for guidance. You're really trying to bring the best possible audience to them without bastardizing their creativity, and I'm very proud of the matchups of songs and artists that were a part of launching the careers of Janis Joplin, Bruce Springsteen, Carlos Santana, Whitney Houston, Alicia Keys, and many others.

When you design a comeback — it's different. Rod Stewart came to me with his idea of doing The Great American Songbook and we worked together on it. In that case, you're dealing with a seasoned artist so all the awareness of the talent is there. There's no guidance needed — it's more a collaboration. That applies to bringing Santana back with "Smooth" or working with Aretha or Dionne all these years, or Barry Manilow's Greatest Songs albums. There's tremendous gratification in saying to an artist, "Yes, maybe you're not as big as you used to be but you should be. Your talent is prodigious and unique, and you've got many more years left in your career."

So many different types of artists have benefited from your "golden ear." Can you explain your ability to work with such a range of talents and musical styles?
You have to begin by understanding that each artist is an individual, and while you're looking for those artists that could be headliners, you use very different criteria. You're going to judge Santana differently from Dionne Warwick and Billy Joel different from Whitney Houston. The first time you hear a particular talent rise to its peak with a particular piece of material, it's a chilling, spine-tingling moment. But the extra thrill for me is how long the careers have lasted for so many of the artists that I have signed or have worked with, and how many of them are still doing wonderful work.

Your Pre-GRAMMY Galas have long been a major component of GRAMMY Week. Do you have some favorite moments from those celebrations?
Many, many, many. One special memory comes from the first time Alicia Keys performed "Fallin'" at the gala as a new artist. I told her that the good news was that I was going to introduce her to the industry. The bad news was that she was going to have to follow Gladys Knight singing "Midnight Train To Georgia." Hearing an all-time great artist and a new bright light deliver incredible performances back-to-back was wonderful.

Alicia Keys Wins Best New Artist

I vividly remember Carlos Santana and Rob Thomas performing "Smooth" before most people had even heard the record. We decided to break the record by having it performed at the gala, and the place went nuts. Word of mouth spread and the rest is history.

One other vivid memory among many happened in 2000, the year I was leaving Arista to form J Records. I decided that there would only be two artists performing that year — Carlos and Whitney. The first half of the evening was Carlos Santana playing all the hits that he and I had been involved with. Then Whitney came on, just at the top of her form, and sang every song directly to me. So, it all took on new meaning as she sang "I Believe In You And Me" and "I Will Always Love You." Of course, the emotion of that was tremendous.

Maybe it's crazy to ask, but are there still things you hope to accomplish?
I've got to tell you — this documentary based on my life entered the iTunes best-selling documentaries at No. 1. I've always been on the other side of the desk, but for me personally to be at No. 1 was a new thrill. And I'm involved with other projects — I'm working with Johnny Mathis and I'm in the studio with Jennifer Hudson. There are a number of projects that are exciting to me.

So you still get some of those spine-tingling moments?
I certainly do. That's why I do what I do.

(Chuck Crisafulli is an L.A.-based journalist and author whose most recent works include Go To Hell: A Heated History Of The Underworld, Me And A Guy Named Elvis, Elvis: My Best Man, and Running With The Champ: My Forty-Year Friendship With Muhammad Ali.)