Booker T. Jones, who backed Sam & Dave on many of their classics, recalls the late soul legend: "I will miss this beautiful set of lungs"

There's nothing quite like a thrilling "overnight success" story. But when it comes to soul superstar Otis Redding, his meteoric rise to the top ended almost as quickly as it started.

Sam Moore, the surviving half and higher voice of the 1960s duo Sam & Dave that was known for such definitive hits of the era as "Soul Man" and "Hold On, I'm Comin,'" has died.

Sam Moore, part of the 1960s duo Sam & Dave known for hits like "Soul Man" and "Hold On, I’m Comin’," has died. Moore, a 1992 Rock Hall of Fame inductee, influenced musicians including Michael Jackson,

Mr. Moore and Dave Prater stormed the R&B and pop charts with indelible hits like “Soul Man” and “Hold On, I’m Comin’.”

Sam Moore, the surviving half and higher voice of the 1960s duo Sam & Dave that was known for such definitive hits of the era as “Soul Man” and “Hold On, I’m Comin,’” has died. He was 89.

Sam Moore, half of the hit-making 1960s soul duo Sam & Dave, died Friday, according to news reports. The duo was behind the chart-topping hits “Soul Man,” “Hold on, I’m Comin' and ”I Thank You."

The "Soul Man" singer had a string of hits in the '60s and later collaborated with Bruce Springsteen, Mariah Carey, and numerous other musicians.

At the Memphis, Tennessee-based Stax Records, Moore and Prater were second only to Otis Redding. They transformed the “call and response” of gospel music into a frenzied stage show and recorde ...

As a live act, the duo’s frenzied stage show rivalled even that of Otis Redding, with whom they toured Britain and Europe in 1967 and who was wary of going on stage after them. Moore and Prater 'were high-energy performers, and their force mushroomed ...

Museum lovers like myself swoon over cities like Washington D.C., Chicago and New York for their outstanding museums, but we found Memphis, Tennessee to be another terrific “museum city.”

A look at how David Lynch used music in his work, as a way of scaring the audience and moving them, as seen with his use of an Otis Redding song in Twin Peaks