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Robin Clark

Robin Clark (born c. 1949/1950) is an American vocalist, actress, and songwriter renowned for her prolific career as a backing singer on landmark albums by artists such as and , as well as her contributions to soundtracks, , and numerous high-profile collaborations spanning over five decades. Born in to jazz drummer Bill Clark and his wife Rita, she grew up in a musical environment that shaped her early interest in performance. Clark's professional journey began in her late teens, working as a singer in the Apollo Theater's educational program Listen My Brother alongside future collaborators and , whom she met during this period. She gained early visibility as a pit singer for the Broadway production of and contributed vocals to the pilot episode of in 1969. Her breakthrough came in the 1970s with session work on David Bowie's soul-influenced album (1975), where she provided backing vocals that helped define its Philly soul sound, marking a pivotal moment in her career as part of Bowie's touring and recording ensemble. Throughout the 1980s and beyond, Clark solidified her status as a sought-after vocalist, notably featuring on Simple Minds' multi-platinum album Once Upon a Time (1985) and their subsequent world tour, including the iconic hit "Don't You (Forget About Me)." She has lent her voice to over a dozen albums by Luther Vandross, as well as projects by Tina Turner, Iggy Pop, Al Green, Bob Dylan, Michael Jackson, and Beyoncé, while also recording her solo album Surrender (1984) under producer John Hammond. In addition to music, Clark has appeared in films like Keeping the Faith (2000), contributed to soundtracks such as Disney's Aladdin and Tarzan, and the Fox Animation Studios film Anastasia, and featured in documentaries including the Academy Award-winning 20 Feet from Stardom (2013) and David Bowie: Five Years (2013). Her enduring influence is highlighted by her participation in a Billboard Hot 100 No. 1 single and a No. 1 on the Billboard Dance Club Songs chart, as well as commercial jingles, such as the Jamaica Tourist Board campaign. On a personal note, Clark married guitarist on December 13, 1970, with whom she has collaborated extensively in the music industry; the couple has one daughter, Grammy-nominated Lea-Lorien. Their partnership, now spanning over 50 years, has been a cornerstone of her life and career, blending professional synergy with family.

Early life

Childhood and family background

Robin Clark was born around 1950 in the , , to Bill Clark and his wife Rita, who was Trinidadian. She has a sister named Leslie. Her father's career as a professional musician, which included collaborations with luminaries such as , , , Count Basie, and , immersed the family in a rich environment from an early age. This exposure provided Clark with direct access to jazz records at home and opportunities to attend performances at renowned venues like and , fostering her initial appreciation for music within a vibrant urban setting. At the age of 12, Clark's family relocated to , where she encountered a diverse array of urban musical cultures that further shaped her formative years. The move introduced her to the dynamic sounds of the neighborhood during her high school period at Taft High School, living on 149th Street and Convent Avenue, though her mother's increasing strictness—stemming from her father's frequent absences due to touring—added layers of family dynamics to her upbringing. Despite this, the musical legacy from her father remained a cornerstone, emphasizing over structured training. She attended Taft High School in . By age 17, around 1967, Clark began transitioning toward greater independence with a part-time job in the stockroom of in , where she worked after school alongside a young . This experience marked an early step into the working world while she continued developing her musical interests through family influences and community surroundings, without pursuing formal .

Initial musical influences and education

Robin Clark's early musical influences were shaped by a blend of classic vocalists she encountered through television appearances and record collections. As a child, she was captivated by Judy Garland's performance of "Over the Rainbow" in The Wizard of Oz, aspiring to emulate her emotive style around the age of eight or nine. Similarly, Dinah Washington's soulful delivery left a lasting impression, while Gloria Lynne's 1961 recording of "He Needs Me" inspired Clark to practice singing in front of a mirror using a hairbrush as a makeshift microphone, honing her phrasing and tone. Exposure to jazz came primarily through her father's extensive record collection, reflecting his own career as a who collaborated with prominent figures in the genre. Growing up in a household filled with , Clark absorbed works by artists such as and , which broadened her appreciation for improvisational and harmonic complexity. This familial immersion, detailed further in accounts of her childhood environment, provided a foundational rhythmic and melodic sensibility without formal instruction. Clark's vocal development occurred informally through community activities and personal practice in , where she relocated at age 12. She participated in school talent shows, sang for teachers as rewards for good behavior, and performed around the house, fostering her confidence in group and solo settings. These experiences, combined with self-directed rehearsals, prepared her for early professional opportunities. At 17, she auditioned at the Apollo Theater alongside future collaborator , performing Aretha Franklin's "Respect" and Mahalia Jackson's "Didn't It Rain," though advised to adjust to songs in her natural key. By her late teens, Clark began earning from commercial jingles, marking her entry into paid vocal work. At age 18, she recorded the spot "Bring All the Sun In," introduced through acquaintance , which generated substantial residuals totaling $50,000 over time. This success, facilitated by producer Tom Dawes, underscored her emerging versatility in studio environments while still rooted in her self-taught foundations.

Career

Early professional beginnings

Robin Clark entered the professional music scene in 1967 at the age of 17, when she auditioned for and joined the 16-member ensemble Listen My Brother, a workshop-style group formed at the in . The group was managed by Apollo Theater owner Bobby Schiffman and publicist Peter Long, who mentored the young performers through rigorous daily rehearsals after school. Clark auditioned with renditions of Aretha Franklin's "" and Mahalia Jackson's "Didn't It Rain," securing her spot alongside other emerging talents from 's boroughs. Within Listen My Brother, Clark collaborated closely with Luther Vandross, whom she had met earlier at Taft High School in the Bronx; the two bonded over their shared passion for singing during a chance subway encounter and quickly became friends. The group performed regularly at the Apollo Theater starting in the late 1960s, opening for prominent acts and gaining exposure in the vibrant uptown music scene. Notable appearances included the pilot episode of Sesame Street in 1969, where they performed songs like "You've Got to Learn Something," as well as events such as the first Earth Day concert in New York City and shows with artists like and . These experiences, guided by mentors including Peter Long and Bruce Wallace, honed Clark's stagecraft and vocal skills in a supportive, multi-disciplinary environment that emphasized both performance and musical education. After graduating high school, Clark transitioned to full-time music in 1969, at age 19, beginning with session work that included recordings. She collaborated with producer Tom Dawes on commercials, such as the "Bring All the Sun In" spot for , which generated substantial residuals, and others for . This early studio work, often alongside Vandross, provided financial stability and built her reputation as a vocalist, laying the groundwork for her future contributions to the industry.

Collaboration with David Bowie

Robin Clark's entry into high-profile rock recordings came through her husband, guitarist , with whom she first encountered at RCA Studios in in 1974. Alomar had been recruited by Bowie for session work, and Clark joined as a , marking her debut on a major album without any solo releases of her own during this period. Clark's vocal features on Bowie's 1975 album emphasized an ensemble role alongside singers like and , providing soul-infused backing vocals that unified the tracks with her distinctive horn-like timbre and emotional depth. The recording sessions took place primarily at in starting in August 1974, under the production of , who oversaw a largely live approach with spontaneous additions from the vocalists; Clark and Vandross, for instance, arrived unannounced and contributed over three intense days. Her parts included call-and-response refrains on songs like the title track "Young Americans" and "Right," where she helped shape complex arrangements in a single-take environment. These contributions significantly impacted Bowie's stylistic shift toward "plastic soul," infusing the album with gospel-tinged elements that added sensuality and energy, bridging his glam rock past with American R&B influences and enhancing the record's transatlantic appeal. Clark's robust, lush backing vocals, as later showcased in the documentary 20 Feet from Stardom, were integral to this hybrid sound, though she remained focused on supportive ensemble work rather than lead features.

Work with Simple Minds

Robin Clark's collaboration with Simple Minds began in 1985 when she was invited to contribute vocals to their album Once Upon a Time, produced by Jimmy Iovine and Bob Clearmountain. Her soulful, gospel-infused backing and featured vocals, honed during her earlier work with David Bowie, added a distinctive layer to the band's stadium-rock sound on tracks such as "Alive and Kicking," "All the Things She Said," and "Sanctify Yourself." The album achieved multi-platinum status, selling over two million copies worldwide and topping the UK charts. Clark joined for their extensive 1985-1986 "" world tour, where she performed as a de facto co-lead vocalist alongside , delivering powerful harmonies and shared leads that elevated the live performances. Her contributions were captured on the band's 1987 live album Live in the City of Light, recorded during the tour and featuring her prominent backing vocals across the double-disc set. The tour spanned multiple continents, showcasing Clark's dynamic stage presence and helping solidify ' global breakthrough era. In addition to her audio contributions, Clark appeared in the promotional music videos for "All the Things She Said" and "Alive and Kicking," directed by , and "," directed by Keef, where her expressive vocal delivery and on-screen charisma complemented the band's anthemic visuals. These elements collectively marked a pivotal chapter in Clark's career, highlighting her role in one of the decade's most successful rock albums.

Solo recordings and other collaborations

In 1984, Robin Clark released her only solo album, Surrender, on the /HME label after being signed by legendary producer John Hammond. The album features a mix of original material and songs written by collaborators, including tracks like "Surrender" and "Love, It Ain't Easy" penned by , blending pop, , and R&B influences. Throughout her career spanning the 1970s to the 2010s, Clark provided backing vocals for a wide array of prominent artists across genres, contributing her rich, soulful voice to projects by Tina Turner, Aretha Franklin, Michael Jackson, Beyoncé, Luther Vandross, and Chic, among others; for instance, she appeared on Chic's 2015 reissues and multiple Vandross albums from 2003 to 2007. In more recent work, Clark contributed vocals to Alicia Keys' 2016 album Here and to the 2015 Change anthology Reach for the Sky, a retrospective highlighting her early session contributions to the disco group's sound. Clark collaborated extensively with influential producers on diverse recordings, including on soul and pop sessions, at , for polished vocal arrangements, on high-profile tracks, and for animated film scores. Her vocal work extended to film soundtracks, where she delivered ensemble and background performances for Disney's (1999) and (1997), Fox's Academy Award-nominated (1997), and the Edward Norton-directed (2000).

Later projects and media appearances

In the 2010s, Robin Clark continued to contribute to media projects highlighting her extensive career as a backing vocalist. She featured in the 2013 BBC documentary David Bowie: Five Years, which explored the musician's early career and included interviews with collaborators like Clark, who discussed her role in his 1970s recordings. She also appeared in the Biography Channel's David Bowie: Sound and Vision (2002), providing insights into her contributions to Bowie's albums such as Young Americans, though the program received renewed attention through re-airings and archival relevance in later years. Additionally, Clark was profiled in the 2013 Academy Award-winning documentary Twenty Feet from Stardom, directed by Morgan Neville, where she shared experiences as an unsung backing singer for artists including David Bowie and Simple Minds, emphasizing the challenges and artistry of the role. Clark made several television appearances as a backing vocalist during this period. She performed on Late Night with David Letterman multiple times, supporting guests with her vocal harmonies in live musical segments. Similarly, she provided background vocals on , contributing to performances that showcased her versatile style honed over decades. Her television presence underscored her ongoing demand in live broadcast settings. Beyond documentaries and TV, Clark lent her voice to commercial campaigns. She recorded vocals for a advertisement in the 1970s, marking one of her early experiences with the "Bring All the Sun In," and continued such work into later years. Notably, she sang on the long-running "Jamaica One Love" for the Tourist Board, a campaign that promoted the island's tourism for over two decades and became one of her most enduring commercial credits. Clark's session work extended into the , reflecting her sustained influence in recording studios. In 2014, she provided backing vocals for David Bronson's album Questions, collaborating with producer Godfrey Diamond and her husband to add soulful layers to tracks evoking 1970s singer-songwriter aesthetics. The following year, she contributed vocals to Chic's reissues, including elements of the 1982 soundtrack Soup for One, helping refresh the disco-funk classics for new audiences. In , Clark provided background vocals on ' "Lifeline" for the soundtrack of the film . These projects highlighted her role in bridging classic and production.

Personal life

Marriage to Carlos Alomar

Robin Clark met Carlos Alomar in 1969 through their involvement in the Listen My Brother musical revue at the Apollo Theater, facilitated by mutual friend Luther Vandross. After a 1969 argument following a performance, Alomar, who was there with Vandross, approached Clark to comfort her, marking the beginning of their close friendship. The couple moved in together shortly thereafter, as Clark faced family issues with her mother and stayed with Alomar's family in the Bronx for about a year. They married on December 13, 1970. Their marriage intertwined professional partnerships, particularly in their collaborations with ; Alomar served as guitarist and musical director on Bowie's 1975 album , while Clark provided backing vocals on tracks like "Young Americans" and "Right." The couple balanced their music careers while sharing life in , initially in and later in areas like , supporting each other through session work and tours. As of 2025, Clark and Alomar remain married, maintaining a partnership that has endured for over 50 years without .

Family and children

Robin Clark and her husband, guitarist , have one daughter, Lea Lorien Alomar, born in 1977. Lea Lorien Alomar is a Grammy-nominated and recording artist, whose career in music echoes the paths of her parents in the industry. Music has profoundly shaped the Alomar family dynamic, with Lea pursuing a similar profession as a performer and collaborator in genres including R&B, , and , often drawing from the musical heritage of her -based upbringing. The family maintains a supportive environment in New York, where Clark has balanced her professional commitments, including extensive touring, with nurturing this close-knit household. No other children are documented in their family.

Legacy

Recognition in music and film

Robin Clark gained significant visibility through her feature in the 2013 documentary film , directed by , which explores the often-overlooked contributions of backing vocalists in rock, soul, and pop music. The film highlights Clark's role alongside other prominent singers like and , emphasizing their essential harmonic support to major artists. received critical acclaim and won the Academy Award for Best Documentary Feature at the in 2014. In 2024, Clark appeared in the documentary Luther: Never Too Much, reflecting on her decades-long collaboration with . Clark's backing vocals on David Bowie's (1975) have been critically praised for enhancing the album's soul-infused "plastic soul" aesthetic, with her contributions described as integral to tracks like the title song and "." Similarly, her featured vocals on ' (1985) earned commendation for adding emotional depth and soulful texture, particularly on tracks like "" and "," where reviewers noted her "great voice" and seamless integration with the band's . These performances underscore her ability to elevate diverse recordings through expressive, genre-blending delivery. In 1984, Clark was signed by renowned producer John Hammond—known for discovering artists like and —to ' HME imprint, a milestone that recognized her potential as a lead artist and resulted in her solo debut album (1984). Music press has acknowledged Clark's versatility across , , and pop genres, citing her collaborations with , , , and others as evidence of her adaptability and vocal range. Although she has not received major personal awards, her participation in multi-platinum projects, including (which has sold over two million copies worldwide), highlights her enduring industry impact.

Influence on backing vocalists

Robin Clark's prominent role as a featured backing vocalist on Simple Minds' multi-platinum album Once Upon a Time (1985) and its extensive world tour significantly elevated the visibility of background singers in mainstream rock. Her powerful, soul-infused performances, particularly on tracks like "Once Upon a Time" and "All the Things She Said," were spotlighted in live shows, transforming what was often a supportive role into a dynamic, audience-engaging element that complemented the band's stadium anthems. This high-profile exposure during the tour's global run demonstrated how backing vocalists could enhance genre accessibility and emotional depth, setting a precedent for their integration in large-scale productions. Clark's career contributed to broader cultural recognition of backing vocalists through her appearance in the Academy Award-winning documentary (2013), which spotlighted unsung contributors like her in shaping iconic recordings. The film highlighted her foundational work on David Bowie's (1975), where her harmonies alongside underscored the pivotal yet overlooked influence of background singers on hit albums. By sharing her experiences, Clark helped amplify narratives around the profession's challenges and artistry, inspiring renewed appreciation for vocalists who operate just beyond the lead spotlight. Her influence extends to mentorship within her family and through longstanding industry ties, notably with her daughter, Lea Lorien, a Grammy-nominated who has pursued a career in music amid a household steeped in professional vocal traditions. Clark's collaborations, including sessions with artists like as recently as the mid-2010s, have positioned her as a guiding figure for emerging talents navigating the backing vocal landscape. This familial and professional legacy underscores her role in fostering the next generation of vocalists. Clark's contributions to genre-blending further cemented her impact, as her soulful backing on Bowie's infused with and R&B elements, creating a hybrid sound that influenced subsequent experiments. Her work with similarly bridged and by layering soul harmonies over synth-driven tracks, enriching the era's pop- palette and demonstrating the versatility of backing vocals in cross-genre innovation. Demonstrating career longevity, Clark's ongoing involvement in music projects into the 2020s, including recent interviews reflecting on her enduring contributions, highlights the sustained relevance of backing vocalists in contemporary sessions and retrospectives. Her continued presence in discussions of reinforces the profession's evolution from shadow support to essential creative force.

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