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Sam Moore, half of ’60s R&B duo Sam & Dave, dies at 89

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Sam Moore, half of ’60s R&B duo Sam & Dave, dies at 89

Sam Moore, who as half of the 1960s R&B duo Sam & Dave sang gritty but hook-filled hits including “Soul Man” and “Hold On, I’m Coming,” died Friday in Coral Gables, Fla. He was 89.

His death was confirmed by his publicist, Jeremy Westby, who said the cause was complications from an unspecified surgery. Dave Prater, Moore’s partner in Sam & Dave, died in a car accident at age 50 in 1988.

With Moore as the tenor and Prater as the baritone, Sam & Dave were one of the signature acts at Memphis’ Stax Records, which offered a tougher, sweatier alternative to the more polished R&B sound that Detroit’s Motown had turned into pop gold.

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Yet Sam & Dave were no strangers to the charts: In 1965, they kicked off a four-year run in which they reached the top 40 of Billboard’s R&B chart a dozen times and hit No. 2 on the all-genre Hot 100 with “Soul Man,” which was written and produced by Isaac Hayes and David Porter and featured backing by Stax’s crackerjack house band, Booker T. & the M.G.’s. “Soul Man” won a Grammy Award in 1968, beating Marvin Gaye and Tammi Terrell’s “Ain’t No Mountain High Enough” and Smokey Robinson and the Miracles’ “I Second That Emotion” to be named best R&B performance by a duo or group with vocals.

Among Sam & Dave’s other hits were “I Thank You,” “You Don’t Know Like I Know,” “Said I Wasn’t Gonna Tell Nobody,” “Something Is Wrong with My Baby” and “You Got Me Hummin’,” which a teenage Billy Joel went on to cover with his group the Hassles.

“Most bands … could get away with doing a lousy version of a Sam & Dave record and still get an incredible reaction to it,” Joel said when he inducted the duo into the Rock & Roll Hall of Fame in 1992. “But they all suffer when you compare them to the original.”

For all they accomplished in the studio, Sam & Dave were perhaps most highly regarded as an explosive live act, one known as both Double Dynamite and the Sultans of Sweat.

Samuel David Moore was born in Miami on Oct. 12, 1935, and grew up singing in the church. He met Prater at Miami’s King of Hearts nightclub in the early ’60s when Prater performed at an amateur night that Moore was hosting. The two formed Sam & Dave and toiled mostly in obscurity until Ahmet Ertegun, Jerry Wexler and Tom Dowd — the creative braintrust behind Atlantic Records — caught their show and signed the duo to a deal that had them recording for Stax, which Atlantic was distributing.

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Moore and Prater, whose relationship was always more professional than friendly, broke up in 1970 but reunited after each man’s solo career fizzled. In 1978, the Blues Brothers — comedians John Belushi and Dan Aykroyd — released a cover of “Soul Man” that went to No. 14 on the Hot 100; the renewed attention propelled Sam & Dave for a few more years until they played their final gig together in San Francisco on New Year’s Eve in 1981. (To Moore’s chagrin, Prater later toured as Sam & Dave with a different singer, Sam Daniels.)

In 1982, Moore married Joyce McRae, who also began managing his career and helped him overcome an addiction to heroin. He went on to sing on albums by Don Henley and Bruce Springsteen and received a lifetime achievement award from the Recording Academy in 2019. Moore’s survivors include his wife, their daughter and two grandchildren.

Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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