Don Bryant, Memphis Songwriter Whose Work Bridged Soul and Hip-Hop, Dies at 83

Don Bryant poses for a press photograph during the promotion of his 2017 comeback album “Don’t Give Up on Love.” The Memphis soul singer and songwriter, whose work included co-writing Ann Peebles’ classic “I Can’t Stand the Rain,” died Dec. 26 after a series of health issues. He was 83. (Matt White, CC BY-SA 4.0, via Wikimedia Commons)

Don Bryant, a Memphis soul singer and songwriter whose work helped define the sound of Hi Records and whose songs continue to echo through modern R&B and hip-hop, has died. Bryant, the husband and chief collaborator of Ann Peebles, died Dec. 26 after a series of health issues, according to posts shared on his official social media accounts. He was 83.

“Don loved sharing his music and songs with all of you and it gave him such great joy to perform and record new music,” his family wrote. “He was so appreciative of everyone who was part of his musical journey and who supported him along the way.”

Bryant’s legacy is inseparable from one of the most enduring recordings in Southern soul: “I Can’t Stand the Rain,” the 1973 Peebles hit he co-wrote with her and Bernard “Bernie” Miller. Built on spare instrumentation and emotional restraint, the song became a masterclass in atmosphere — intimate, tense and unflinching. Decades later, it took on a second life when its opening rhythm was sampled for Missy Elliott’s debut solo single, “The Rain (Supa Dupa Fly),” extending Bryant’s Memphis-born sensibility into the DNA of modern hip-hop.

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Born in Memphis and raised in the church, Bryant learned early that soul music was as much about discipline as expression. His father sang in a gospel group, and rehearsals often took place in the family home. Bryant later recalled listening closely, absorbing harmony and phrasing, then attempting to recreate the sound with his brothers — an informal education that shaped both his voice and his pen.

By the late 1950s, Bryant was already writing songs, some of which were recorded by the Five Royales and bandleader Willie Mitchell. As a teenager, he sang with various vocal groups and began performing regularly, eventually drawing the attention of influential Memphis radio figures who encouraged his move from gospel into secular music.

That determination carried him into Hi Records’ orbit during the 1960s. Bryant recorded as a solo artist, releasing the 1969 album “Precious Soul” and singles that blended country, blues and deep soul without sacrificing grit. 

As Hi’s roster expanded, he shifted behind the scenes, becoming a staff songwriter whose catalog would grow to more than 150 credited songs. Writing for artists including Solomon Burke, Albert King and Etta James, Bryant developed a reputation for adaptability and precision. 

He later explained that studying an artist’s phrasing and delivery helped him tailor material to their voice. “When I was writing for an individual I could always come up with something that would fit them,” Bryant said in an interview with Blues Blast Magazine.

The defining partnership of Bryant’s life began in the early 1970s, when he met Peebles, a young singer newly signed to Hi. “That’s when I wrote ‘99 Pounds’ — that’s the one I wrote especially for Ann when she first came in,” Bryant recalled in later interviews. “To tell you the truth, I fell in love with Ann then, when I heard her sing.” The two married in 1974 and remained partners for the next four decades, creatively and personally.

Bryant wrote or co-wrote many of Peebles’ signature songs, helping her deliver a body of work that balanced sensuality with resolve and vulnerability with strength. His writing favored economy over excess — songs built around mood, tension and emotional truth rather than ornamentation. That restraint is precisely what allowed records like “I Can’t Stand the Rain” to age so well, surviving reinterpretation across genres without losing their core.

For years, Bryant placed his own recording ambitions aside, focusing on Peebles’ career while continuing to sing in church and release gospel recordings. When Peebles suffered a stroke in 2012, her touring life came to a halt. With her encouragement, Bryant returned to secular music late in life, recording “Don’t Give Up on Love” in 2017 — his first non-gospel album in nearly five decades. The record was widely praised not as a novelty comeback, but as the work of an artist who had simply been waiting for the right moment to speak again.

He followed with “You Make Me Feel,” released in 2020, which earned him his first Grammy nomination in the Best Traditional Blues Album category. The recognition arrived when Bryant was 78, a rare acknowledgment of a career that had quietly shaped American music for more than half a century.

Carl Carlton, Voice of Funk Classic ‘She’s a Bad Mama Jama,’ Dead at 72

Carl Carlton on the cover of his 1981 self-titled album, which featured the Grammy-nominated hit “She’s a Bad Mama Jama (She’s Built, She’s Stacked).” The Detroit-born singer, who also scored with “Everlasting Love,” died Sunday at age 72. (Album cover image via 20th Century Records)

Carl Carlton — the R&B, soul and funk singer whose hits “Everlasting Love” and “She’s a Bad Mama Jama (She’s Built, She’s Stacked)” became part of America’s musical DNA — has died. He passed away Sunday at age 72, his son announced, following years of health challenges after a stroke.

“RIP Dad, Legend Carl Carlton,” his son, Carlton Hudgens II, wrote on Facebook. “Long hard fight in life and you will be missed… Always love you.”

Born Carlton Hudgens in Detroit in 1953, Carlton began performing as “Little Carl Carlton” in the 1960s, a nickname that stuck because of his resemblance in tone to Stevie Wonder. By the early ’70s, he dropped the “Little” and started making his own mark on the soul scene with “I Can Feel It,” his first appearance on Billboard’s soul chart.

His breakout came in 1974 with “Everlasting Love,” a triumphant cover of Robert Knight’s R&B song that shot into the Billboard Hot 100 Top 10 and became the version most listeners remember. Nearly 50 years later, it remains a timeless anthem of devotion, with more than 25 million Spotify streams and steady rotation on classic-soul playlists.

Carlton’s defining moment, however, arrived in 1981 with “She’s a Bad Mama Jama (She’s Built, She’s Stacked).” Written by Leon Haywood and released on his self-titled album, the song was a master class in funk confidence — slick, strutting and impossible not to dance to. It earned Carlton a Grammy nomination for Best R&B Vocal Performance and later became a pop-culture fixture, appearing in everything from “Friends” to “Miss Congeniality 2.” The track’s bassline has been sampled or referenced by Foxy Brown, Flo Milli and Das EFX, among others, proving its groove never aged out.

Carlton recorded steadily through the early 1980s, then shifted focus but never stopped performing. In 2010, he released a gospel album, “God Is Good,” a project that reflected the faith and optimism that often underpinned his music.

Tributes poured in from across the soul and funk community after his death. The group Con Funk Shun wrote, “With heavy hearts, we mourn the passing of the legendary Carl Carlton. His voice, talent and contributions to soul and R&B music will forever be a part of our lives and the soundtrack of so many memories. Rest in power, Carl. Your legacy lives on.”

Music outlet Okayplayer added that Carlton’s “voice helped shape generations of rhythm-driven sound,” describing his catalog as “a blueprint for what authentic soul and funk should feel like.”

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Carlton’s career reflected a deep love for melody and groove — the kind that reached church pews, roller rinks and dance floors alike. His songs were built to last, and so was his influence.

He is survived by his son, Carlton Hudgens II, and a body of work that continues to find new life through samples, remixes and every DJ who still knows that when “Bad Mama Jama” drops, the room moves.

Tyrone ''Fly Ty' Williams, Cold Chillin’ Founder and Hip-Hop Pioneer, Dies at 68

Tyrone “Fly Ty” Williams, the pioneering founder of Cold Chillin’ Records and one of hip-hop’s first major-label executives, in an undated photo shared on his Instagram. The Brooklyn-born architect of rap’s golden age — who helped launch Biz Markie, Big Daddy Kane and Roxanne Shanté — died Monday. (Photo via Instagram / @flytywilliams)

Tyrone “Fly Ty” Williams, a foundational architect of hip-hop’s golden era who founded Cold Chillin’ Records and helped launch some of rap’s most influential artists, died Monday in New York. He was 68.

Williams’ passing was confirmed on social media by the Hip-Hop Museum and peers in the culture, though no official cause of death has been publicly disclosed.

Rocky Bucano, CEO of the Hip-Hop Museum, shared a personal tribute on Facebook:

“This afternoon I received the heartbreaking news that my friend and brother in this culture, Tyrone ‘Fly Ty’ Williams, has passed away,” Bucano wrote. “Fly Ty was more than the former CEO of Cold Chillin’ Records — he was a pillar in the architecture of hip-hop. A trusted colleague, a champion for artists and one of the earliest executives to truly understand the power and potential of our culture.”

Artists and fans flooded social platforms with remembrances, celebrating Williams not just as a label head but as a mentor and cultural catalyst. Among them was MC Shan, a longtime Juice Crew member whose career Williams helped shepherd. Popular hip-hop feeds on Instagram and Facebook honored his legacy with tributes citing his vision and influence.

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Born and raised in Brooklyn, Williams came of age deeply steeped in music and culture before finding his calling in hip-hop. In 1986, at 27, he founded Cold Chillin’ Records — originally a subsidiary of Prism Records — which went on to become one of rap’s most influential labels during the late 1980s and early 1990s.

Under his leadership, Cold Chillin’ became synonymous with the Juice Crew, the groundbreaking collective that included artists such as Biz Markie, Big Daddy Kane, Roxanne Shanté, Kool G Rap and MC Shan. Their records helped define New York rap’s early identity and set the template for lyricism and cohesion in hip-hop.

Williams’ business acumen played a crucial role in positioning hip-hop for broader audiences. A distribution partnership with Warner Bros. Records helped bring Cold Chillin’ releases into national markets without diluting the music’s authenticity — a rare achievement at a time when major labels were only tentatively embracing rap as a commercial art form.

Before his label tenure, Williams worked as a radio executive and producer, collaborating closely with influential DJ Mr. Magic and helping to expand dedicated hip-hop programming on commercial airwaves — the first steps toward bringing the culture out of block parties and into mainstream listening rooms.

Though Cold Chillin’ closed in 1998, its influence persists through the artists it championed and the career pathways it opened. Generations of rappers and producers have cited the label’s work as foundational to hip-hop’s culture and business evolution.

Williams’ death marks the loss of one of hip-hop’s earliest visionaries — an executive who, at a time when few in the broader industry grasped the cultural potential of rap, believed in the music’s power and helped turn that belief into reality.

Phil Upchurch, Soulful Architect of Modern R&B and Jazz, Dies at 84

Phil Upchurch, a Chicago-born guitarist and composer whose six-decade career bridged jazz, soul and R&B and included collaborations with Donny Hathaway, Chaka Khan and Michael Jackson, died Nov. 23, 2025, in Los Angeles at 84. (Photo by Sonya Maddox-Upchurch)

Phil Upchurch’s guitar never shouted for attention, but if you grew up on Donny Hathaway, Chaka Khan, Curtis Mayfield or Michael Jackson, you’ve been living in his chords your whole life.

His wife, singer and actor Sonya Maddox-Upchurch, confirmed in a statement shared Dec. 2 that the guitarist died Nov. 23 in Los Angeles at 84.

“Phil was my husband, my musical partner, and my heart,” she wrote. “He touched so many lives through his gift and his spirit, and I thank everyone for the love and memories being shared. Please keep our family in your prayers as we celebrate his life and legacy.”

News of his passing spread slowly outside musician circles, as tributes from peers like Chaka Khan and George Benson began appearing in early December — a delay that feels fitting for a man who spent a lifetime behind the spotlight, shaping songs that defined modern soul and jazz without ever demanding the credit.

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A Chicago native born July 19, 1941, Upchurch came up in neighborhood R&B bands before becoming a house guitarist for Chess Records, backing artists like The Dells and Jerry Butler. In 1961 he scored his own hit with the instrumental “You Can’t Sit Down,” which reached the pop Top 40 and made his name a fixture on soul jukeboxes.

From there, he built the kind of resume that makes other musicians speak his name with reverence. He anchored Curtis Mayfield’s “Super Fly” era, worked with the Staple Singers, and became a trusted collaborator for Quincy Jones — a relationship that eventually landed him on Michael Jackson’s “Off the Wall,” where his guitar on “Workin’ Day and Night” drives one of Jackson’s funkiest grooves.

Jazz, blues, gospel, R&B — Upchurch moved through all of it without ever sounding out of place. Over the decades he recorded or toured with B.B. King, Dizzy Gillespie, George Benson, Carmen McRae, David Sanborn and Ramsey Lewis, while still cutting his own albums like “The Way I Feel,” “Darkness, Darkness,” and the late-career favorite “Tell the Truth!”

For soul heads, his most sacred work may be with Donny Hathaway. Upchurch’s playing on “Donny Hathaway Live” helped turn those 1971 club dates into a master class in feel — the kind of record musicians still study to understand how to lift a vocalist without crowding them.

That sensitivity is exactly what Chaka Khan singled out in her tribute shared after his passing:

“Phil Upchurch was a rare light — steady, brilliant & deeply rooted in the music we created together. From the earliest days of my career, his playing carried a grace and sensitivity that lifted every note and every moment. I’m grateful for all the years of friendship, the wisdom he shared, and the joy we found in making music side by side. May he rest in peace, and may we continue to honor him by celebrating the music he helped bring into this world.”

Coming from an artist whose own catalog helped define ’70s and ’80s soul, that’s not boilerplate condolence — it’s peer-level recognition of a musician other legends leaned on.

Upchurch’s story is also a reminder of how much Black music history rests on names that never make the marquee. The same hands that drove his own hit “You Can’t Sit Down” were there for sessions and soundtracks that powered an entire era — from blaxploitation classics like “Super Fly” and “Claudine” to jazz-fusion experiments and church-bred soul.

For nearly six decades, if you cared about the intersection of jazz, gospel, R&B and pop, you’ve been hearing Phil Upchurch whether you knew his name or not.

Now the name is on the record, too.

Judy Cheeks, Miami Soul Singer Who Found Global Fame in Europe’s Disco Era, Dies at 71

Judy Cheeks, the Miami-born soul and dance-music singer who was discovered by Ike & Tina Turner and rose to international fame with “Mellow Lovin’” before returning to her gospel roots, died Nov. 26, 2025, at age 71. (Photo Courtesy judycheeksmusic.com)

Judy Cheeks, the Miami-born soul and dance-music powerhouse whose gospel-trained voice carried from Southern sanctuaries to international dance floors, died the day before Thanksgiving after a long fight with autoimmune illness. She was 71.

The daughter of gospel legend Rev. Julius “June” Cheeks — whose fiery vocals with the Sensational Nightingales and the Soul Stirrers helped define gospel’s golden age — Judy grew up surrounded by voices that blurred the line between spirit and song. Mavis Staples, Sam Cooke, and members of the Caravans were family friends who dropped by the house. “When people say I sound like Mavis, it’s because being around gospel singers was like eating food and drinking water,” she told The Black Gospel Blog in 2013.

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By seven, she was leading hymns at church. By eighteen, she was discovered by Ike & Tina Turner, who produced her self-titled 1973 debut, “Judy Cheeks.” Touring as an Ikette gave her a stage presence and grit that set her apart from the smoother soul stylists of the era.

In 1977, she took a bold leap, moving to Germany with only $35 and a belief in her gift. A televised duet with Austrian crooner Udo Jürgens on “The Rudi Carrell Show” catapulted her to stardom in Europe, and her 1978 disco single “Mellow Lovin’” broke through internationally — hitting No. 10 on Billboard’s Dance Club chart.

 

Through the 1980s she recorded and toured across Europe, lending her unmistakable tone to artists including Donna Summer, Stevie Wonder, Boney M and Amanda Lear. But it was the 1990s that cemented her second act. “Respect” and “As Long As You’re Good to Me” both reached No. 1 on the U.S. Dance chart in 1995, proving her voice could ride any era’s rhythm without losing its soul. Later singles — “Reach,” “So in Love (The Real Deal)” and “You’re the Story of My Life” — made her a club-culture favorite and earned her crossover respect from house DJs and gospel purists alike.

 

In her later years, Cheeks turned back to her spiritual foundation. Albums like “True Love Is Free” (2013), “Danger Zone” (2018), “A Deeper Love” (2019) and “Love Dancin’” (2020) blended testimony with groove. “There are more important things I want to say,” she told The Black Gospel Blog. “Though my walk with God has always been there, I wanted my music to be gospel this time. It felt good singing from my heart.”

A GoFundMe campaign launched earlier this year revealed her battle with a rare autoimmune disorder that required months of intensive care. Even as her health declined, friends said her faith and warmth never wavered. “She was the real deal,” one longtime friend wrote, echoing the title of her 1990s anthem.

Antone 'Chubby' Tavares, Lead Singer of R&B Group Tavares, Dies at 81

Antone “Chubby” Tavares, lead singer of the Grammy-winning R&B group Tavares, is pictured in a later-career promotional portrait. Known for his smooth falsetto on classics like “Heaven Must Be Missing an Angel,” Tavares helped define the sound of 1970s soul and disco.

Before the Bee Gees made disco global, a group of Cape Verdean brothers from Massachusetts gave the genre its heartbeat. Antone “Chubby” Tavares — the frontman whose falsetto carried “Heaven Must Be Missing an Angel” and helped shape the sound of ’70s R&B — died Nov. 29 at his home in New Bedford. He was 81.

His son, Antone Tavares Jr., shared the news on Facebook, writing that his father “passed last night at home in peace & comfort” after a year of declining health. “Dad and his brothers touched many people and brought joy worldwide,” he wrote. “They were blessed to experience many places and things.”

 

Tavares’ surviving brothers confirmed the news on the group’s official Facebook page, asking fans for privacy and prayers. “We do know that he is now eternally with our Lord,” the post read. “We thank you in advance for allowing us to mourn privately as a family. We love you and God bless you all.”

Chubby Tavares and his brothers — Ralph, Arthur “Pooch,” Feliciano “Butch,” Perry “Tiny,” and Victor — first performed as Chubby and the Turnpikes before signing with Capitol Records and reintroducing themselves as Tavares. Their breakthrough single “Check It Out” launched a string of R&B and pop hits that helped define a generation of dance-floor soul.

The brothers’ clean harmonies and smooth arrangements drove classics like “It Only Takes a Minute,” “Whodunit,” and the era-defining “Heaven Must Be Missing an Angel.” Their soulful take on the Bee Gees’ “More Than a Woman” landed on the “Saturday Night Fever” soundtrack — one of the best-selling albums in history — earning them a share of the 1979 Album of the Year Grammy.

 

While Tavares never sought the spotlight like some of their contemporaries, their influence stretched far beyond their chart run. Their grooves and melodies have been sampled and reinterpreted by generations of R&B and hip-hop artists — from LL Cool J’s “Around the Way Girl” lineage to producers shaping Beyoncé’s retro-soul moments — keeping the Tavares sound alive in modern music. Their harmonies remain a blueprint for any artist trying to bridge church, street, and disco with equal grace.

Tavares in 1977 — From left: Arthur “Pooch,” Ralph, Antone “Chubby,” Feliciano “Butch” and Perry “Tiny” Tavares. The Grammy-winning brothers behind “Heaven Must Be Missing an Angel” helped define the sound of 1970s R&B and disco. (Capitol Records, Public domain, via Wikimedia Common)

He was preceded in death by brothers Ralph (2021) and Arthur “Pooch” (2024). He is survived by brothers Perry “Tiny” and Feliciano “Butch” Tavares, along with his children and extended family.

A proud son of New Bedford, Chubby Tavares was a pillar of the Cape Verdean-American community, representing an often-overlooked lineage in American soul. In 2024, the city honored the family’s legacy by naming a downtown street “Tavares Brothers Way.” “They’ve been around the world, and every time they were introduced, New Bedford, Mass., was attached to it,” Councilor Derek Baptiste said at the dedication. “They were at the forefront of a whole era.”

After decades of touring with his brothers, Chubby released solo albums "Jealousy" (2012) and "Can’t Knock Me Down" (2015), proving his voice still carried the warmth and sincerity that made Tavares a household name.

Jimmy Cliff, the Voice Who Carried Jamaica to the World, Dies at 81

Jimmy Cliff performs at the 2012 Raggamuffin Music Festival in New Zealand. (Photo by Eva Rinaldi / Wikimedia Commons / CC BY-SA 2.0.)

Before Bob Marley — before global playlists turned “One Love” into a slogan — there was Jimmy Cliff, the voice that made the world stop and listen to Jamaica. He carried Kingston’s hunger, rhythm and pride onto movie screens and record players everywhere with “The Harder They Come,” the 1972 cult classic that didn’t just soundtrack a movement, it invented one. Cliff died Monday at 81 from a seizure followed by pneumonia, his family confirmed.

“To all his fans around the world, please know that your support was his strength throughout his whole career,” his wife, Latifa Cliff, wrote on his official page, thanking friends, artists and the doctors who cared for him. “Jimmy, my darling, may you rest in peace.”

Cliff was the sound of rebellion turned spiritual. Born James Chambers in rural St. James Parish, he came up through Kingston’s rough, brilliant scene in the early ’60s, recording ska sides before reggae even had a name. By the time he crossed the Atlantic to the U.K., his writing — “Many Rivers to Cross,” “You Can Get It If You Really Want,” “Vietnam” — was already global protest music: hopeful, unbowed and honest about pain.

Then came “The Harder They Come.”

In Perry Henzell’s film, Cliff played Ivan Martin, the poor dreamer who cuts a record, gets cheated and turns outlaw when the system boxes him in. The movie’s grit, humor and tragic swagger mirrored Jamaica’s post-independence struggle and pushed reggae from local rhythm to international statement. Every artist who’s ever rapped, sung or filmed about hustle and betrayal owes something to it.

The film’s story — ambition, betrayal and survival against a rigged system — would later echo through hip-hop, the kind of hustler narrative artists from Jay-Z to Nas would identify with. Its soundtrack remains a cornerstone of global Black storytelling: defiant, spiritual, cinematic.

I don’t know if it’s possible for someone to be more alive than Jimmy Cliff is in this clip from The Harder They Come. I don’t think I can put into words what this whole record means to me. It’s overwhelming in so many ways, his positivity in the face of sadness… his incredible… pic.twitter.com/oHDG7Bb4bn

— Benny safdie (@benny_safdie) November 24, 2025

Film director Benny Safdie captured that energy perfectly in a post Monday: “I don’t know if it’s possible for someone to be more alive than Jimmy Cliff is in this clip from ‘The Harder They Come,’” he wrote. “His positivity in the face of sadness… his incredible performance here. He’s still here! JIMMY CLIFF.”

Cliff never chased Marley’s saintly myth; he stayed the restless craftsman. His 2012 album “Rebirth” — which earned him a Grammy and a Rock & Roll Hall of Fame induction — sounded like a man circling back to first principles. “One has to go back to point zero to move forward again,” he told NPR that year, recording with the same live-band energy that birthed reggae itself.

Tributes poured in across the music world. Trojan Records called him “a true pioneer whose songs and spirit helped carry reggae across the world.” UB40 said he’d “finally crossed over the last river.” On social media, messages from African and Caribbean artists hailed him as a revolutionary who used melody as protest and rhythm as hope.

From Kingston’s studios to Burkina Faso’s revolutionary stages, where he once performed at the invitation of Thomas Sankara, Cliff’s voice became a vessel for resistance, unity and joy. Few artists balanced defiance and grace so completely.

Jimmy Cliff is survived by his wife, Latifa, and their children, Lilty and Aken. Further memorial details are expected.

Rapper Young Bleed Dead at 51 After Brain Aneurysm, Son Confirms

Young Bleed shown in a promotional image circa 2024.Young Bleed’s son, Ty’Gee Ramon, confirmed his father’s death in a video posted Monday on Instagram, saying the Baton Rouge rapper “gained his wings” on Saturday following complications from a brain aneurysm.

Baton Rouge rapper Young Bleed, whose 1998 anthem “How Ya Do Dat” became a Southern rap classic and helped define the bridge between No Limit’s street realism and Cash Money’s mainstream rise, has died at 51 following complications from a brain aneurysm.

His eldest son, Ty’Gee Ramon, confirmed the news Monday in an emotional Instagram video, saying his father “gained his wings” on Saturday. “It’s unreal,” Ramon said. “He never dealt with real health issues, but he did have high blood pressure and took medicine. It was a natural thing.”

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The Louisiana native — born Glenn Clifton Jr. — suffered a brain aneurysm on Oct. 25, days after performing at the Cash Money–No Limit Verzuz event in Las Vegas and appearing at ComplexCon. He had been hospitalized in critical condition since then.

The sudden loss comes less than two weeks after his sister, Tedra Johnson-Spears, publicly pleaded for fans to stop spreading false death reports while Young Bleed remained in intensive care. “He is still currently in ICU,” she wrote at the time, asking for privacy and respect for the family.

In the days before his hospitalization, Bleed was enjoying a late-career renaissance, celebrating both his roots and his influence as a Baton Rouge trailblazer. Known for his poetic storytelling and unhurried drawl, he brought a philosopher’s calm to the chaos of late-’90s Louisiana rap — a sound that turned regional slang and hustler ethos into national conversation.

His debut album, “My Balls and My Word,” released through No Limit and Priority Records, debuted in Billboard’s Top 10 in 1998. The album’s breakout single, “How Ya Do Dat,” featuring C-Loc and Master P, became a Gulf Coast rallying cry that cemented Bleed’s legacy. The project went gold, earning Young Bleed a place among the first Baton Rouge rappers to reach a mainstream national audience.

Grammy Winner D’Angelo Dies at 51 After Private Battle With Cancer

D’Angelo, shown here in a promotional image for his 2000 album “Voodoo,” was one of the defining voices of modern soul. The Grammy-winning singer and multi-instrumentalist died at 51 after a private battle with pancreatic cancer, his family confirmed on Tuesday. (Photo: RCA Records)

The music world is in mourning: D’Angelo, the elusive and influential neo-soul pioneer whose voice defined a generation of R&B, has died at 51 after a private battle with pancreatic cancer his family and multiple media outlets confirmed on Tuesday. Reports indicate he passed away over the weekend.

Born Michael Eugene Archer in Richmond, Virginia, D’Angelo was among the architects of the modern soul revival that fused gospel roots, hip-hop sensibility, and jazz freedom. 

His debut album, “Brown Sugar,” in 1995 announced a new kind of groove — live instrumentation wrapped around lyrics that were sensual, spiritual and raw. 

The follow-up, “Voodoo,” in 2000 elevated him to icon status and earned two Grammys. Fourteen years later, his surprise return with “Black Messiah” turned reflection into revolution.

In recent years, D’Angelo had stepped out of the spotlight again. In May, he canceled a headlining slot at the Roots Picnic, citing complications from surgery. “I’m not 100 percent yet, but I’m working my way there,” a representative said at the time.

Tributes began flooding social media from peers and admirers who saw him as both innovator and spiritual force.

“Such a sad loss to the passing of D’Angelo. We have so many great times. Gonna miss you so much. Sleep peacefully D’ — Love you KING,” wrote DJ Premier on X, formerly Twitter.

“My sources tell me that D’Angelo has passed. Wow. I have no words. May he rest in perfect peace,” journalist Marc Lamont Hill posted.

Producer Alchemist added simply: “Man. Rest in peace D’Angelo.”

Fans filled his Instagram comments with heartbreak emojis and lyrics from “Untitled (How Does It Feel),” the 2000 single whose slow burn redefined intimacy on record and screen. The Rock & Roll Hall of Fame called him “a singular voice who bridged past and future — the sound of vulnerability made holy.”

Through just three studio albums, D’Angelo reshaped the sound of R&B. With Questlove, Erykah Badu, Common and J Dilla, he helped create the Soulquarians collective that blurred lines between genres and generations.

D’Angelo is survived by his two children, Michael Jr. and Imani Archer. He was previously in a longtime relationship with singer Angie Stone, who collaborated with him early in his career and shared his deep gospel and soul roots. 

Their creative and romantic partnership helped shape the direction of his first album, “Brown Sugar.” Stone died in March at 63, a loss that friends said deeply affected him.

Flamingos Great Terry Johnson, Who Bridged Doo-Wop and Motown, Dead at 86

Terry Johnson, tenor, guitarist, and arranger for the Rock & Roll Hall of Fame vocal group The Flamingos, performs in an undated photo. Johnson, who co-arranged and sang on the group’s 1959 classic “I Only Have Eyes for You” and later worked as a Motown producer, died this week at 86. (Courtesy photo)

Terry Johnson, the silky-voiced tenor, guitarist, and arranger who helped define doo-wop’s celestial sound with The Flamingos’ “I Only Have Eyes for You,” has died. He was 86.

The Rock & Roll Hall of Fame confirmed Johnson’s passing Friday, calling him “one of the architects of sophisticated vocal harmony” and a guiding force behind one of the genre’s most influential groups. Johnson, who joined The Flamingos in 1958, arranged and co-sang on “I Only Have Eyes for You,” the 1959 ballad whose shimmering harmonies and echoing “shoo-bop shoo-bops” remain one of pop’s most enduring sonic signatures.

(1/3) In Memoriam: Doo-wop legends the Flamingos, including 2001 Inductee Terry Johnson, took listeners higher with their sublime harmonies and impeccable arrangements. With Johnson joining as tenor/lead vocalist, guitarist, and arranger in 1958, The Flamingos... pic.twitter.com/UgF15LWdV6

— Rock & Roll Hall of Fame (@rockhall) October 10, 2025

“Crafted a sophisticated sound like no other vocal group,” the Rock Hall said in its remembrance on X (formerly Twitter). “Their rendition of ‘I Only Have Eyes for You’ remains an irresistible expression of yearning.”

 

In a 2001 Rock Hall ceremony speech inducting The Flamingos, Johnson described the group’s magic as “extraordinary harmonies combined with a love of the classics and a touch of dynamic stage presence.” Their album Flamingo Serenade, he told the crowd, was “without a doubt a masterpiece” — a testament that still rings true decades later.

After The Flamingos’ peak, Johnson carried his musical touch to Motown Records. Smokey Robinson recruited him as a songwriter and producer in the 1960s, where he contributed to sessions for The Temptations, The Four Tops and The Supremes. His behind-the-scenes work helped shape the seamless, orchestral polish that came to define Motown’s golden era.

Fellow performer Kathy Young shared a tribute Friday, writing, “I am so very sad upon hearing of the passing of Terry Johnson. He and I worked together so many times and always had fun. My deepest sympathies and prayers to Theresa, his family and The Flamingos. RIP Terry.”

The Flamingos, formed in Chicago’s Bronzeville neighborhood in the early 1950s, embodied the elegance of the doo-wop era — their tuxedoed performances and symphonic vocals bridging gospel discipline with pop sensuality. Johnson’s tenure brought a new level of polish and musical sophistication, blending jazz chords, romantic lyricism, and lush production that influenced generations of R&B and soul artists.

“Their innovative recordings made a major contribution to our industry,” Johnson said during his Hall of Fame induction. “They rightfully deserve to be enshrined.”

Atlanta Rapper T-Hood Killed in Georgia Shooting at 33

Rapper T-Hood  was killed in Snellville, Georgia, after a domestic dispute outside his home.

Southern hip-hop is in mourning. Tevin Hood — better known as T-Hood — was shot and killed Friday at a residence in Snellville, Georgia, according to Gwinnett County police. He was 33.

Officers were dispatched around 7 p.m. to the 3900 block of Lee Road following reports of a dispute at the home. First responders found Hood with gunshot wounds, rendered aid, and transported him to a hospital, where he died from his injuries. One individual was detained at the scene and is currently being interviewed; the shooting is being investigated as a homicide. Authorities emphasized there is no active threat to the public.

RIP T HOOD 💔 one of the first people to hop on me and @Deedotwill vivid trap beats.

he was literally the only person to hop on this melody i did from scratch. I ain’t fuckin with this at all i’m ngl. pouring up for my all my niggas tonight pic.twitter.com/uVJAPPVuhJ

— glick attachment (@cashgangrott) August 9, 2025

Hood’s mother, Yulanda, confirmed his identity to local media and rejected claims of a party taking place at the time of the shooting. Family members spoke with Channel 2 Action News, validating the tragic news.

Known for his work in Southern rap, T-Hood released tracks including “Ready 2 Go,” “Perculator,” “Girls in the Party” and “Big Booty” with B.o.B. He was also named Trendsetter of the Year at the 2025 Black Only Awards.

i been all over the place trying to find a way to process the passing of my dawg. i knew t hood a while and he used to always go crazy at every stage he was on.

he really went crazy with his talent and im fortunate to have got some work in with him. one of the few artists who… pic.twitter.com/YQqzJ2Vh9X

— DJ Blak Boy (@DJBlakBoy) August 10, 2025

Just weeks prior, Hood shared an eerie Instagram video promoting his song “Grave Diggerz.” Wearing a ghost costume in a cemetery, he joked, “Come down to the cemetery. I have a spot for you… Just die today.” Fans have since called the clip chillingly prophetic amid the tragedy.

Producer Deddotwill, a frequent collaborator, expressed his grief online: “We was just on the phone all day. I can’t believe you are gone. REST IN PEACE T-HOOD, I LOVE YOU BROTHER.”

DJ Blak Boy added his personal tribute: “I knew T-Hood a while… he was a light of energy… always supported everybody… a friend I’ll miss.”

Hip-Hop Mourns Howie Tee, Sonic Force Behind Special Ed and Chubb Rock

Hitman Howie Tee, born Howard Thompson, is dead at 61. The influential producer helped launch the careers of Special Ed and Chubb Rock and co-produced hits for Color Me Badd.

Hip-hop has lost a giant.

Hitman Howie Tee — the Brooklyn-based producer, DJ and sonic architect behind pivotal records from Special Ed, Chubb Rock, The Real Roxanne and Color Me Badd — has died at 61. His death was confirmed in early August by close collaborators and friends including DJ Premier and Questlove, though the exact cause and date have not been publicly disclosed.

Born Howard Thompson in London to Jamaican parents and raised in Brooklyn’s East Flatbush neighborhood, Howie Tee carved out a legendary career by fusing breakbeats, funk, jazz, and even cartoon samples into an unmistakable sound that helped define East Coast hip-hop in the late 1980s and early 1990s.

 

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He first made his mark as a member of CDIII and later as the in-house producer for Select Records, where he shaped the signature styles of future legends. With Special Ed, he delivered “I Got It Made,” a coming-of-age anthem that turned a teenage MC into a star. With Chubb Rock, he produced classics like “Treat ’Em Right,” “Ya Bad Chubbs” and “Just the Two of Us,” blending boom-bap energy with wit and rhythm.

His sound wasn’t limited to rap. In the early ’90s, Howie Tee co-produced Color Me Badd’s No. 1 hits “I Wanna Sex You Up” and “All 4 Love,” the latter famously topping Michael Jackson’s “Black or White” on the Billboard Hot 100. His ear for crossover appeal made him one of the most versatile producers of the era, with remixes for Madonna, Heavy D, Maxi Priest and Raven-Symoné further proving his reach.

 

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Questlove remembered him as “another legend from my childhood,” calling him a “superhero superproducer” who helped hip-hop evolve by blending TV themes and pop melodies with hard drums. DJ Premier recalled long conversations with Howie Tee about music and life, crediting him for inspiring his own early production aspirations.

From Whistle’s playful “(Nothing Serious) Just Buggin’” to Special Ed’s “I’m the Magnificent” and deep cuts like Little Shawn’s “Hickeys on Your Chest,” Howie Tee’s catalog remains a masterclass in groove, grit and experimentation. He was a sonic bridge between the park jam spirit of old-school hip-hop and the polished swagger of the New Jack Swing era.

Though never one to chase the spotlight, his influence stretched far beyond the studio. He helped shape the sound of an entire generation — and gave some of hip-hop’s most beloved voices their earliest hits.