Barry White, known for his deep, soulful voice and timeless romantic ballads, was more than just a musical icon. He was a fearless artist who stood his ground in an industry driven by power and greed. Among the many powerful figures in the music business, Clive Davis, a renowned music mogul, reportedly saw White as not just a talent but a threat. But what was it about Barry White that made him a target? And what shocking truth did he uncover that led to tensions with Davis?
A Voice That Defied the Industry
Barry White’s journey to stardom was unconventional. Unlike many artists who pursued fame at any cost, White never intended to enter the music industry. However, once he did, he quickly realized the price of success. Despite achieving great heights, he remained vocal about the dark underbelly of the industry, particularly about how greed and power dictated careers.
From the beginning, White refused to compromise his integrity. He spoke openly about the corrupt practices that led many artists down destructive paths. He was particularly wary of Clive Davis, a powerful executive known for controlling the careers of numerous artists. Some insiders claim that Davis’s influence over the industry was so great that few dared to challenge him. Barry White, however, was different.
A Self-Made Success Story
Rather than submitting to the control of major labels, Barry White took an unprecedented step for a Black artist in his era—he established his own music label. This move gave him creative control and financial independence, setting him apart from his peers. White wasn’t just a singer; he was a songwriter, producer, and even an actor. His influence in the industry was undeniable, and his success proved that artists didn’t have to rely on executives like Davis to thrive.
Yet, after winning two Grammy Awards, White’s career took a sharp turn. He faced unexpected setbacks, which some speculate were orchestrated to silence him.
From the Streets to Stardom
Born in Texas on September 12, 1944, Barry White grew up in South Central Los Angeles. His childhood was tough, marked by exposure to crime and gang violence. He was the eldest of two children, with his younger brother Daryl constantly by his side.
Tragically, Daryl’s involvement in gang disputes led to his untimely death, an event that profoundly affected Barry. He later wrote about it in his autobiography, Love Unlimited: Insights on Life and Love, acknowledging that music saved him from a similar fate.
His own run-ins with the law—including a four-month jail stint at 16 for stealing Cadillac tires—became a turning point. While in jail, he heard Elvis Presley’s It’s Now or Never playing on the radio, an experience that changed his perspective. Determined to escape the cycle of crime, he committed himself to music.
Breaking into the Music Industry
At 18, White made a bold decision. Instead of attending school, he walked to Capitol Records headquarters in Hollywood and stared at the building for hours, envisioning his future. Despite lacking formal music training, he had a natural talent. Inspired by his mother’s classical music collection, he practiced on a piano she bought for him.
By the early 1960s, White was recording music under his name and backing vocal groups like The Atlantics and The Majestics. He produced songs such as Feel All Right by The Ben Kantos and later discovered talents like Felice Taylor, arranging her hit I Feel Love Coming On in 1967.
His big break came in 1969 when he signed with Forward Records. Three years later, he formed Love Unlimited, a girl group he personally discovered. He then created Love Unlimited Orchestra, a 40-piece band that produced the hit Love’s Theme, which topped the Billboard Pop Charts.
Going Solo and Industry Conflicts
In the mid-70s, White considered working with a solo male artist but was persuaded to record his own songs instead. His debut single, I’m Gonna Love You Just a Little More Baby, soared to number one on the Billboard R&B charts and number three on the Pop charts.
His success continued, and in 1979, White left 20th Century Records to launch Unlimited Gold Records with CBS/Columbia. However, as he gained more control over his career, tensions with industry executives grew.
Clive Davis, known for shaping the careers of many major artists, allegedly viewed White as a disruptor. Some insiders suggest that Davis’s power extended beyond music, with control over artists’ personal lives and even careers that ended under mysterious circumstances. White was one of the few who refused to play by these rules.
The Fall and Resurgence
Despite his immense success, the disco era’s decline affected White’s mainstream popularity. His record label faced financial difficulties, leading him to focus on touring before folding the label in 1991.
However, in the mid-90s, White made a triumphant return. His album The Icon Is Love reached number one on the Billboard R&B Album Charts, and his single Practice What You Preach marked his first number-one R&B hit in nearly 20 years. He won two Grammy Awards for his 1999 album Staying Power, solidifying his legacy.
Warning Other Artists
Throughout his career, White tried to warn younger artists about the industry’s dangers. He saw firsthand how executives like Clive Davis controlled artists’ lives. One of those artists was Luther Vandross, who signed with Davis in 1981.
White foresaw the pressures Vandross would face. Rumors about Vandross’s sexuality circulated for years, and after his passing, close friends confirmed them. Meanwhile, Vandross struggled with severe diabetes complications, which ultimately led to a stroke in 2003.
Barry White’s Enduring Legacy
Despite the challenges, Barry White’s impact on music remains unparalleled. His smooth baritone voice, timeless love songs, and defiant independence set him apart from many of his contemporaries. He proved that success didn’t have to come at the cost of integrity.
Though his life was cut short in 2003 due to health complications, his music continues to inspire generations. His courage in standing up to the industry’s power structures made him a legend not just in R&B, but in music history as a whole.