R&B

Clarence Carter, Legendary Southern Soul Singer, Dies at 90

Photo Credit: John Matthew Smith via wikimedia

Clarence Carter, the blind Southern soul singer whose raw, emotionally charged voice powered classics like “Slip Away,” “Patches,” and “Too Weak to Fight,” died May 13 following complications from pneumonia. He was 90.

Born January 14, 1936, in Montgomery, Alabama, Carter was blind from birth but never allowed that to define the limits of his ambitions. He studied at the Alabama School for the Blind before earning a degree in music from Alabama State University in 1960. Long before his chart success, Carter was already building a reputation around Alabama’s club circuit alongside fellow blind musician Calvin Scott as part of Clarence & Calvin, later renamed the C & C Boys.

After Scott was seriously injured in a car accident, Carter launched a solo career that quickly gained traction at FAME Studios. His self-penned “Tell Daddy” became his first R&B hit in 1967 and later inspired Etta James to record the answer song “Tell Mama.” Carter followed that breakthrough with a run of deeply soulful hits that blended heartbreak, desire, humor, and hard-earned realism.

In 1968, Carter released “Slip Away,” a pleading, slow-burning soul classic that crossed over to the pop charts and became one of the defining records of the Southern soul era. That same year also brought “Too Weak to Fight” and the sly holiday favorite “Back Door Santa,” later sampled by Run-D.M.C. for A Very Special Christmas.

Carter reached the commercial peak of his career in 1970 with “Patches,” his aching interpretation of the song first recorded by Chairmen of the Board. The single climbed to No. 4 on the Billboard Hot 100 and No. 2 in the UK, earning Grammy recognition and cementing Carter as one of soul music’s most distinctive voices.

His music often balanced vulnerability with humor and sexuality, something that resurfaced in 1988 with the cult favorite “Strokin'”, an unapologetically raunchy anthem that introduced Carter to a new generation of fans and later found renewed life in films and pop culture.

Carter was married to fellow soul singer Candi Staton from 1970 to 1973, and the two shared both a son and deep creative ties through the Muscle Shoals music scene.

Across more than six decades in music, Carter remained a towering figure in Southern soul, known for a booming baritone that could deliver tenderness, heartbreak, grit, or sly humor with equal conviction. Whether singing about struggle, temptation, or survival, he brought a lived-in honesty that made his records endure far beyond their era.

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LaMonte McLemore, co-founder of The 5th Dimension dies at 90

Photo Credit: Benny Clay via press release

LaMonte McLemore, a founding member of the 5th Dimension and a celebrated celebrity and sports photographer, died Tuesday morning, February 3, at his home in Las Vegas. He was 90. McLemore passed from natural causes following a stroke suffered several years ago and was surrounded by his wife of 30 years and family.

As a core voice in the 5th Dimension, McLemore helped shape a sleek, genre-blending sound that reshaped American pop and soul in the late 1960s and early 1970s. The group scored era-defining hits including “Up, Up and Away” and “Aquarius/Let the Sunshine In”, earning Grammy Awards for Record of the Year in 1968 and 1970. Both recordings were later inducted into the GRAMMY Hall of Fame. The “Aquarius/Let the Sunshine In” medley topped the Billboard Hot 100 for six weeks in the spring of 1969 and remains one of the signature recordings of its generation. Other major hits included the Number 1″ Wedding Bell Blues”)” and the enduring “Stoned Soul Picnic,” alongside seven gold albums and six platinum singles.

Born September 17, 1935, in St. Louis, Missouri, McLemore served in the United States Navy, where he trained as an aerial photographer, launching a lifelong parallel career behind the camera. He later pursued professional baseball in the Los Angeles Dodgers’ farm system, becoming one of the first African Americans to participate, before settling in Southern California and turning fully to music and photography.

McLemore co-founded the 5th Dimension in Los Angeles alongside Billy Davis Jr., Florence LaRue, Marilyn McCoo, and Ron Townson. Known for his warm bass vocals and steady presence, he helped anchor the group’s sophisticated harmonies and modern pop sensibility. The group became fixtures on television variety shows and toured internationally, including a 1973 State Department cultural tour that brought American pop music behind the Iron Curtain.

Away from the stage, McLemore built a distinguished reputation as a photographer, capturing athletes, entertainers, and cultural figures across decades. His work appeared regularly in Jet magazine and stands as a visual chronicle of 20th-century popular culture.

In recent years, McLemore and the 5th Dimension reached new audiences through their appearance in Questlove’s Oscar-winning documentary Summer of Soul (…Or, When the Revolution Could Not Be Televised), which revisited the 1969 Harlem Cultural Festival and its lasting impact.

In 2014, McLemore co-authored the autobiography From Hobo Flats to The 5th Dimension: A Life Fulfilled in Baseball, Photography, and Music, reflecting on a life that moved fluidly between music, photography, and sports. His legacy endures through recordings that continue to resonate and images that captured history as it happened.

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Don Bryant, Memphis-Born R&B Singer and Songwriter, Dies at 83

Photo credit: Matt White via Wikimedia

Don Bryant, the Memphis-born R&B singer and songwriter whose emotionally direct writing and gospel-honed voice helped shape the legacy of Hi Records, died on December 26, 2025. He was 83. Bryant was born on April 4, 1942, in Memphis, Tennessee.

Raised in the church, Bryant began singing gospel at an early age, a foundation that would inform the intensity and conviction of his later soul recordings. He emerged in the late 1960s as a solo artist, cutting a series of impassioned singles that blended Southern soul with spiritual urgency. Tracks such as “How Many More Years” and “There’s a Better Day Coming” earned him a devoted following, even if mainstream success remained elusive.

Bryant’s most lasting impact came as a songwriter. As a key contributor to Hi Records, he helped define the label’s understated yet emotionally potent sound. His writing credits include “I Can’t Stand the Rain,” co-written with Bernard Miller and recorded by Bryant’s wife, Ann Peebles, along with “98.6 Degrees (The Shade)” and “You’re What’s Happening (In the World Today).” Working closely with producer Willie Mitchell, Bryant’s songs became central to the Memphis soul canon.

After stepping away from the music industry for several decades to focus on family life, Bryant returned with Don’t Give Up on Love in 2017. The album was widely praised, with critics noting that his voice, though aged, carried even greater emotional depth and authority.

In his later years, Bryant was widely recognized as a revered figure in Southern soul, celebrated for songwriting that valued honesty over flash and feeling over excess. His work continues to resonate through samples, covers, and reissues, reaffirming his place in the lineage of Memphis music.

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Died On This Date (December 14, 2025) Carl Carlton / Popular ’70s R&B Singer

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Carl Carlton, the soulful singer whose smooth tenor lit up radio playlists in the late 1970s and early 1980s with hits like “She’s a Bad Mama Jama (She Built, She Built),” died on September 27, 2023. He was 69.

Born on May 21, 1953, in Detroit, Carlton came of age in a city where soul music was a way of life. He began recording as a teenager and quickly showed a gift for blending streetwise swagger with polished pop instincts, a combination that made him a natural fit for the era when R&B regularly crossed over to the mainstream. After early singles in the late ’60s and early ’70s, his career found its defining moment with Carl Carlton in 1980, the album that delivered “She’s a Bad Mama Jama,” written by Johnny Gill and produced by Leon Sylvers III. The song became a massive hit, reaching No. 2 on the Billboard Hot 100 and turning Carlton into a household name almost overnight.

But Carlton was no one-hit-wonder. Tracks like “I Wanna Be Your Main Squeeze” and “This Feeling’s Rated X-Tra” showed his range as a vocalist who could handle funk, romantic soul, and radio-friendly R&B with equal confidence. His voice had an easy warmth and a sly edge, the kind that sounded just as comfortable riding a dancefloor groove as it did delivering a slow-burn ballad.

As musical trends shifted, Carlton continued to perform and record into the 2010s, remaining a respected presence on the soul and R&B circuit. For fans, his work remains tightly linked to a moment when funk basslines, crisp production, and undeniable hooks ruled the airwaves, and when a great voice could still cut through everything else.

Died On This Date (December 3, 2025) Steve Cropper / Guitar Legend

Steve Cropper
October 21, 1941 – December 3, 2025

Photo by David Plastik. Click to purchase a print.

In a career that rewrote the very DNA of American music, Steve Cropper never raised his voice. He didn’t need to. A single clipped chord from his Telecaster said everything. The legendary Stax guitarist, songwriter, producer, and Memphis mainstay has died at 83, leaving behind a legacy that still rattles the bones of anyone who’s ever cared about groove, grit, or the gospel truth of a great song.

Cropper was the quiet architect behind the Stax sound, the one who stitched together the pulse of Otis Redding, Wilson Pickett, Sam & Dave, Booker T. & the M.G.’s, and a generation of records that defined soul as a living, breathing force. He co-wrote and played on “(Sittin’ On) The Dock of the Bay,” “In the Midnight Hour,” “Green Onions,” “Knock On Wood,” “Soul Man,” and so many others that the list reads like a map of American rhythm. You can follow his guitar lines the way you follow highways. They always took you somewhere.

Born in Dora, Missouri, and raised in Memphis, Cropper came of age in a segregated city that couldn’t stop dancing. He found his tribe early at Stax, first as a member of the M.G.’s and then as the right hand of every singer who walked into that converted movie theater on McLemore Avenue. He became the calm center of the storm, a player who cared more about the pocket than the spotlight. Cropper always served the song. That was the code.

His gift wasn’t flash. It was feel. A two-note lick from Cropper could carry an entire track. A simple rhythm part could change the temperature of the room. Musicians spent their careers chasing that kind of economy, but for him it was instinct. It was who he was.

Outside Memphis he found new chapters, from the Blues Brothers band to decades of session work, collaborations, and tours that introduced him to new generations of fans who couldn’t believe a legend this towering could be so approachable. Cropper carried himself with the humility of a man who understood that the music came first, always.

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