Quick Read
- Steve Cropper, legendary soul guitarist and songwriter, died at age 84 in Nashville.
- Cropper was a founding member of Booker T. & the M.G.’s and co-wrote classics like ‘Green Onions’ and ‘(Sittin’ on) the Dock of the Bay.’
- He was celebrated for his understated, rhythm-focused style and his role in racially integrated bands.
- Cropper was inducted into the Rock and Roll Hall of Fame and Songwriters Hall of Fame, and received a Grammy Award for lifetime achievement.
- His influence shaped soul, rock, and modern music, and he continued recording and mentoring into his later years.
Steve Cropper’s Passing Marks the End of a Soul Music Era
On December 4, 2025, the music world lost one of its quiet architects: Steve Cropper, the lean, soulful guitarist whose work with Booker T. & the M.G.’s and Stax Records defined the sound of Memphis soul. Cropper died in Nashville at the age of 84, as confirmed by Pat Mitchell Worley, president and CEO of the Soulsville Foundation (Associated Press, BBC). The cause of death was not immediately known, though Cropper had recently been in rehabilitation after a fall and was reportedly working on new music up until the end, according to longtime associate Eddie Gore.
The Unsung Backbone of Stax Records and Memphis Soul
While flashy solos often grab headlines, Cropper’s spare, perfectly placed guitar licks and impeccable rhythm were the hidden threads weaving together the fabric of countless soul and rock classics. As a member of Booker T. & the M.G.’s—Stax Records’ house band—he was the driving force behind hits like “Green Onions,” “Hang ‘Em High,” and “Time Is Tight.” His approach was subtle, almost self-effacing. In a 2020 interview with the Associated Press, Cropper said, “I listen to the other musicians and the singer. I’m not listening to just me… I play around all that stuff. That’s what I do. That’s my style.”
Cropper’s influence went far beyond guitar technique. He co-wrote “(Sittin’ on) the Dock of the Bay” with Otis Redding and “In the Midnight Hour” with Wilson Pickett, and contributed to Eddie Floyd’s “Knock on Wood.” According to his website, Cropper was “involved in virtually every record issued by Stax from the fall of 1961 through year end 1970” (BBC).
A Collaborative Spirit Amid Segregation
Born near Dora, Missouri, Cropper moved to Memphis at age 9 and got his first guitar at 14. He was a Stax artist before the label even bore its iconic name, joining as a member of the Royal Spades, later the Mar-Keys, and eventually forming Booker T. & the M.G.’s with Booker T. Jones, Donald “Duck” Dunn, and Al Jackson. The band’s racial integration was groundbreaking in the American South during the 1960s. Cropper often emphasized that “When you walked in the door at Stax, there was absolutely no color. We were all there for the same reason—to get a hit record” (AP, AOL).
Booker T. & the M.G.’s didn’t just back Stax artists; they recorded with non-Stax acts such as Wilson Pickett, and their sound became synonymous with American soul. Cropper’s collaborative ethos made him a rare figure in a time when white musicians often profited off Black artistry. Instead, he chose to keep a low profile and build bridges in the studio.
“Play it, Steve!”: From Soul Man to The Blues Brothers
Cropper’s name was immortalized in Sam & Dave’s “Soul Man” with the iconic shout, “Play it, Steve!”—a moment that captured the respect he commanded among fellow musicians. He later joined the John Belushi-Dan Aykroyd act, The Blues Brothers, both on their hit cover of “Soul Man” and in the movies “The Blues Brothers” and “Blues Brothers 2000,” playing “The Colonel” on screen and touring with the band in real life (BBC, AOL).
Cropper’s approach was always about serving the song. “I’ve always thought of myself as a rhythm player,” he told Guitar.com in 2021. “I get off on the fact that I can play something over and over and over, while other guitar players don’t want to even know about that.”
Legacy: Hall of Fame, Grammy, and a Lasting Influence
Cropper’s quiet genius did not go unnoticed. He was inducted into the Rock and Roll Hall of Fame in 1992 as a member of Booker T. & the M.G.’s, joined the Songwriters Hall of Fame in 2005, and received a Grammy Award for lifetime achievement in 2007. His final years were still creative: in 2024, he released “Friendlytown,” which was Grammy-nominated, and earlier in 2025, he received the Tennessee Governor’s Arts Award—the state’s highest honor in the arts.
Rolling Stone magazine ranked him 39th on its list of the 100 Greatest Guitarists, calling him “the secret ingredient in some of the greatest rock and soul songs.” British music magazine Mojo named him the second-best guitarist of all time in 1996.
Remembering Cropper: A Humble Innovator and True Soul Man
Cropper’s loss is felt deeply by the music community, his family, and fans worldwide. His family, in a statement cited by Rolling Stone, said, “While we mourn the loss of a husband, father, and friend, we find comfort knowing that Steve will live forever through his music.”
Perhaps the most poignant testament to Cropper’s legacy is his partnership with Otis Redding on “(Sittin’ on) the Dock of the Bay.” Cropper recalled finishing the song just after Redding’s tragic death in 1967, noting, “We had been looking for the crossover song. This song, we knew we had it.” The track became a No. 1 hit and a bittersweet milestone in Cropper’s career.
Cropper was also a mentor and inspiration to countless guitarists. As Joe Bonamassa noted on YouTube, “If you haven’t heard the name Steve Cropper, you’ve heard him in song.” Keith Richards once summed up Cropper’s impact in a single word: “Perfect, man.”
The man who spent countless hours in the studio, sometimes fifteen hours a day, never sought the limelight. Instead, he dedicated his life to the groove, to the song, and to the spirit of collaboration that made soul music soar. His artistry endures every time a riff lifts a melody or a groove brings a crowd to its feet.
Steve Cropper’s legacy is not just found in the hits he helped create, but in the spirit of unity, humility, and creativity he brought to every session. His understated brilliance continues to shape the sound of modern music, reminding us that true greatness often lies in the spaces between the notes.