Clarence Carter -

Clarence Carter (Jan. 14, 1936 – May 13, 2026) was an American R&B singer, songwriter, and guitarist from Alabama who first recorded in the C&C Boys with fellow blind singer Calvin Scott, issuing multiple early 1960s singles on Fairlane and Duke.

As a solo singer, Carter cut three 1966/67 singles on soul-press Fame, followed by four albums on Atlantic between 1968 and 1970, scoring hits with “Slip Away” and “Patches.” After his three-year marriage to singer Candi Staton, he released a 1973 Fame album, followed by three on ABC.

Background

Clarence Carter was born Clarence George Carter on January 14, 1936, in Montgomery, Alabama. Carter lived with blindness from birth. His family worked as sharecroppers in Montgomery County.

At age six, Carter enrolled at the Alabama Institute for the Deaf and Blind in Talladega, where he took piano lessons. For his ninth birthday, he received his first guitar from his grandmother. He learned the instrument from records by Lightnin’ Hopkins and Jimmy Reed.

Carter graduated from West Side High School, Talladega, and enrolled as a music major at Alabama State College in Montgomery. He studied Braille chart transcription and played clubs at night for tuition money. ASC granted Carter a Bachelor of Science degree in music. Carter declined an early teaching post because the job restricted weekend performances. Calvin Scott, a blind fellow Alabama State student, joined Carter in a vocal partnership with a backing band for area clubs.

Calvin & Clarence

Carter and Scott convened as Calvin & Clarence for two singles on Fairlane Records. In June 1961, Fairlane issued “I Wanna Dance (But I Don’t Know How)” (b/w “Money and Women”), with both sides credited to Carter and Scott. In April 1962, Fairlane followed with “Goodnight Irene” (b/w “I Don’t Know (School Girl)”), pairing a standard with a Scott–Carter B-side.

Duke moved the act between two billings during 1962–65. In December 1962, Duke issued the C & C Boys single “Hey Marvin” (b/w “You Stole My Heart”), with both sides credited to Carter, Scott, Herman Woods, and Joe Malone. The Clarence and Calvin name returned in August 1963 on “I Like It” (b/w “Somebody Better Come Here Quick”).

In June 1964, Duke used the C & C Boys name for “It’s All Over Now” (b/w “My Life”), pairing the Bobby Womack–Shirley Womack title with a Malone–Silvers B-side. Duke closed the run in March 1965 with Clarence and Calvin on “Lip Service” (b/w “You’re Gonna Come Down”).

During the same period, Carter and Scott worked Montgomery backing jobs for visiting national acts, including Otis Redding. On June 17, 1965, the duo recorded “Step by Step” and “Rooster Knees and Rice” at FAME Studios in Muscle Shoals after paying $85 for the session. Rick Hall heard the FAME sides, and Atlanta disc jockey Zenas Sears brought the disc to Atlantic producer Jerry Wexler. Atco issued “Step by Step” (b/w “Rooster Knees and Rice”) in July 1965.

After a Birmingham show, Scott sustained severe injuries in a car accident. Carter continued at FAME as a solo singer.

This Is Clarence Carter

Clarence Carter released his debut album, This Is Clarence Carter, in August 1968 on Atlantic.

This Is contains five Carter originals or co-writes and seven outside titles, including songs associated with Johnny Rivers (“Do What You Gotta Do”), Little Johnny Taylor (“Part Time Love”), and Tammy Wynette (“Set Me Free”). Carter recorded with the FAME rhythm-section core of bassist David Hood, drummer Roger Hawkins, guitarist Jimmy Johnson, and organist Barry Beckett. The horn credits connect the album to the Memphis Horns and Mar-Keys circle through Wayne Jackson, Andrew Love, Floyd Newman, Charles Chalmers, and James Mitchell.

“Do What You Gotta Do” settles into a low, plaintive mid-pace, with Carter’s lead cushioned by rounded accompaniment and soft wind lines. “Looking For a Fox” struts through driving motion and a hard vocal tease. “Slippin’ Around” tilts the beat sideways, turning a lightly Latinized pattern into a sly cheating-song sway. “I’m Qualified” barrels through Carter’s low chuckle and a heated dance pattern. “I Can’t See Myself” lingers around a mournful lead and sultry, low-lit accompaniment.

“Wind It Up” claps through finger-snapping motion, quick vocal asides, and a hot organ break. “Thread the Needle” skips across a syncopated pattern and playful accents. “Slip Away” rolls at mid-pace under Carter’s anguished, pleading baritone. “Funky Fever” smokes through dance-floor accents and a narrowed, late-night tone. “She Ain’t Gonna Do Right” bounces around a persistent riff and Carter’s tougher vocal turn.

A1. “Do What You Gotta Do” (2:30) – Webb
A2. “Looking for a Fox” (2:15) – Carter, Daniel, Hall, Terrell
A3. “Slippin’ Around” (2:30) – Penn, Oldham
A4. “I’m Qualified” (2:20) – Hall, Ivy
A5. “I Can’t See Myself (Crying About You)” (2:25) – Carter
A6. “Wind It Up” (2:34) – Carter

B1. “Part Time Love” (2:37) – Hammond
B2. “Thread the Needle” (2:30) – Carter
B3. “Slip Away” (2:30) – Armstrong, Daniel, Terrell
B4. “Funky Fever” (2:45) – Carter, Daniel, Hall, Wilson
B5. “She Ain’t Gonna Do Right” (2:27) – Penn, Oldham
B6. “Set Me Free” (3:04) – Putman

Rick Hall produced, engineered, and arranged the sessions in 1967 and 1968 at FAME Studios in Muscle Shoals.

Atlantic issued “Looking for a Fox” (b/w “I Can’t See Myself (Crying About You)”) in December 1967; the single reached No. 62 on the US pop chart and No. 20 on the US R&B chart.

The label issued “Funky Fever” (b/w “Slip Away”) in April 1968, followed by a May 1968 “Slip Away” promotional single; “Funky Fever” reached No. 88 on the US pop chart and No. 49 on the US R&B chart, while “Slip Away” reached No. 6 on the US pop chart and No. 2 on the US R&B chart.

This Is Clarence Carter reached No. 200 on the Billboard 200 and No. 49 on US R&B Albums.

The Dynamic Clarence Carter

Clarence Carter released his second album, The Dynamic Clarence Carter, in February 1969 on Atlantic.

Dynamic contains three Carter originals or co-writes and nine outside titles, with source material tied to Etta James (“I’d Rather Go Blind”), Otis Redding (“Think About It”), The Doors (“Light My Fire”), Jimmy Hughes (“Steal Away”), and Jeannie C. Riley (“Harper Valley P.T.A.”). Carter again works inside a FAME studio setting with the Muscle Shoals rhythm section, horns, and added string parts on “I’d Rather Go Blind.” He co-wrote “That Old Time Feeling” with his wife, Candi Staton.

“I’d Rather Go Blind” swells from a slowed-down vocal entry into a crest of brass, strings, and backing voices. “Think About It” stomps under Carter’s pleading lead, cutting the warning lines into short, forceful phrases. “The Road of Love” lingers with wistful delivery as searing fretwork answers Carter’s lead. “Light My Fire” slows into a softened reading with a lowered, patient vocal.

“Steal Away” pleads through a needy, hopeful lead. “Let Me Comfort You” leans into Carter’s impassioned plea, turning the illicit address into close, direct delivery. “Too Weak to Fight” steadies into a mid-paced surrender, with Carter loading the short lines with emotional strain. “Harper Valley PTA” sizzles through brisk, tightened accents. “Weekend Love” smolders around sultry delivery and bright fret lines.

A1. “I’d Rather Go Blind” (3:01) – Foster, Jordan
A2. “Think About It” (2:44) – Don Covay, Redding
A3. “The Road of Love” (2:56) – Carter
A4. “You’ve Been a Long Time Coming” (2:48) – Mann, Weil
A5. “Light My Fire” (2:51) – Densmore, Krieger, Manzarek, Morrison
A6. “That Old Time Feeling” (2:35) – Carter, Daniel, Hall, Staton

B1. “Steal Away” (2:41) – Hughes
B2. “Let Me Comfort You” (2:17) – McClinton
B3. “Look What I Got” (3:02) – Chalmers, Rhodes
B4. “Too Weak to Fight” (2:18) – Carter, Hall, Jackson, Keyes
B5. “Harper Valley P.T.A.” (3:37) – Tom T. Hall
B6. “Weekend Love” (2:37) – Chambers, Jackson, Leakes, Moore

Rick Hall produced the 1968 FAME Studios sessions in Muscle Shoals.

Atlantic issued “Too Weak to Fight” (b/w “Let Me Comfort You”) in October 1968; the single reached No. 13 on the US pop chart and No. 3 on the US R&B chart.

The Dynamic Clarence Carter reached No. 169 on the Billboard 200 and No. 22 on US R&B Albums.

Testifyin’

Clarence Carter released his third album, Testifyin’, in July 1969 on Atlantic.

Testifyin’ contains the pre-album seasonal side “Back Door Santa,” the R&B hits “Snatching It Back” and “Doin’ Our Thing,” and songs associated with John D. Loudermilk (“Bad News”), The Box Tops (“Soul Deep”), and James Carr (“The Dark End of the Street”). Returning FAME and Memphis-linked players appear beside bassist Jesse Boyce, drummer Freeman Brown, keyboardist Clayton Ivey, baritone saxophonist Ronnie Eades, and trumpeter Harrison Calloway.

“Snatching It Back” barrels through an uptempo, thickened stride and Carter’s commanding lead. “Soul Deep” charges with an ecstatic lift and a broad, fast-moving lead. “I Smell a Rat” bounces through Carter’s sly chuckle and cheery accusation. “You Can’t Miss What You Can’t Measure” rolls through a busy cheating tale and a steady road gait. “Making Love (At the Dark End of the Street)” testifies over a quiet vamp, then lets the band rise behind the sung close. “Back Door Santa” chops through bleating brass, a hard guitar figure, and Carter’s lewd holiday laugh.

A1. “Bad News” (2:55) – Loudermilk
A2. “Snatching It Back” (2:47) – Carter, Jackson
A3. “Soul Deep” (2:36) – Thompson
A4. “I Smell a Rat” (2:37) – Chambers, Jackson, Leakes, Moore
A5. “Doin’ Our Thing” (2:25) – Carter, McCants, Lee
A6. “You Can’t Miss What You Can’t Measure” (2:17) – Carter, McClinton

B1. “Instant Reaction” (2:49) – Thompson
B2. “Making Love (At the Dark End of the Street)” (5:00) – Moman, Carter, Penn
B3. “The Feeling Is Right” (2:50) – Buckins, Jackson
B4. “Back Door Santa” (2:14) – Carter, Daniel
B5. “I Can’t Do Without You” (2:32) – Jackson, Townsend

Rick Hall produced and engineered the album at FAME Recording Studios in Muscle Shoals.

The seasonal “Back Door Santa” (b/w “That Old Time Feeling”) first appeared in December 1968 and reached No. 4 on the Billboard Christmas chart.

The label issued “Snatching It Back” (b/w “Making Love (At the Dark End of the Street)”) in February 1969; the single reached No. 31 on the US pop chart and No. 4 on the US R&B chart.

“The Feeling Is Right” followed in June 1969 (b/w “You Can’t Miss What You Can’t Measure”), followed in August with “Doin’ Our Thing” (b/w “I Smell a Rat”); the first reached No. 65 on the US pop chart and No. 9 on the US R&B chart, while the second reached No. 46 pop and No. 9 R&B.

Testifyin’ reached No. 138 on the Billboard 200 and No. 35 on US R&B Albums.

Patches

Clarence Carter released his fourth album, Patches, in 1970 on Atlantic.

Patches combines Carter and George Jackson co-writes with outside titles associated with Tony Joe White (“Willie and Laura Mae Jones”), The Beatles (“Let It Be”), Ben E. King (“Till I Can’t Take It Anymore”), and Chairmen of the Board (“Patches”). The revised FAME roster includes guitarist Travis Wammack, keyboardist Clayton Ivey, horn arranger and trumpeter Harrison Calloway, and the backing-vocal team of Charles Chalmers with Donna and Sandra Rhodes.

“Willie and Laura Mae Jones” rides electrified twang, horn-and-string swells, gospel-edged piano, and Carter’s fluid baritone. “Say Man” slows into a colloquial plea, with chord shifts and counterpoint shaping the opening turn. “I’m Just a Prisoner (Of Your Good Lovin’)” snaps through a celebratory vocal and church-flecked accents. “Let It Be” testifies through sermon-like delivery, oversized production, quick guitar figures, and harmonica color. “I Can’t Leave Your Love Alone” sways through crisp modulations and grouped vocal answers. “Your Love Lifted Me” springs through bright figures and Carter’s excited lead.

“Till I Can’t Take It Anymore” polishes Carter’s talking second pass with soft responses and chiming figures. “Patches” carries a hard-luck narrative through lush backing voices and a gutsy lead. “It’s All in Your Mind” softens Carter’s delivery into a smoother, less theatrical address. “Changes” tightens concise charts around lively accents and church organ. “C.C. Blues” grinds through a lowdown form, crunchy lead, and hard brass lift. “Getting the Bills (But No Merchandise)” kicks through up-tempo replies, sly vocal asides, and Carter’s bad-luck laugh.

A1. “Willie and Laura Mae Jones” (4:20) – White
A2. “Say Man” (3:28) – Carter, Jackson
A3. “I’m Just a Prisoner (Of Your Good Lovin’)” (2:17) – Harris, Jackson
A4. “Let It Be” (3:31) – Lennon, McCartney
A5. “I Can’t Leave Your Love Alone” (2:35) – Carter, Jackson
A6. “Your Love Lifted Me” (2:38) – McClinton

B1. “Till I Can’t Take It Anymore” (3:15) – Otis, Burton
B2. “Patches” (3:12) – Johnson, Dunbar
B3. “It’s All in Your Mind” (2:37) – Jackson, Moore
B4. “Changes” (2:56) – Dees
B5. “C.C. Blues” (3:24) – Carter
B6. “Getting the Bills (But No Merchandise)” (2:20) – Jackson, Moore

Rick Hall produced the sessions at Fame Recording Studios. Jimmie Haskell arranged the album. Harrison Calloway arranged horns, and Hall and Sonny Limbo engineered the sessions. Loring Eutemey designed the sleeve, and Joel Brodsky photographed Carter for the package.

Atlantic issued “I Can’t Leave Your Love Alone” as an April 1970 single (b/w “Devil Woman”), which reached No. 42 on the US pop chart and No. 6 on the US R&B chart.

“Patches” followed in July 1970 (b/w “Say It One More Time”) and reached No. 4 on the Billboard Hot 100, No. 2 on the US R&B chart, and No. 2 on the UK singles chart.

“It’s All in Your Mind” followed in November 1970 (b/w “Till I Can’t Take It Anymore”) and reached No. 51 on the US pop chart and No. 13 on the US R&B chart.

Patches reached No. 44 on the Billboard 200 and No. 18 on US R&B Albums.

Sixty Minutes With Clarence Carter

Clarence Carter released his fifth album, Sixty Minutes With Clarence Carter, in 1973 on FAME.

Sixty Minutes contains Carter material, George Jackson-linked FAME titles, and outside songs associated with Mark James (“Heartbreak Woman”) and Johnny Nash (“It Was So Nice While It Lasted”). The album centers the charting FAME singles “Sixty Minute Man,” “Mother-in-Law,” “I’m the Midnight Special,” and “Love’s Trying to Come to You.”

“Sixty Minute Man” teases its illicit storyline with Carter’s risqué laugh and suggestive lead. “I’m the Midnight Special” strides on a pacy attack, with horn stabs cutting against Carter’s late-night vocal. “I Got Another Woman” lowers the tempo around a beautifully sung confession, pointed interjections, and slow ache. “Love’s Trying to Come to You” rolls through a mid-paced lilt, blue-toned brass, and wistful harmony support. “Heartbreak Woman” aims high and frays at the top of Carter’s range, turning the address tense near the close. “Mother-in-Law” clips its complaint into a scathing domestic address.

A1. “I’m the Midnight Special” (2:35) – Chambers, Jackson, Mitchell, Moore
A2. “Heartbreak Woman” (3:11) – James
A3. “Sixty Minute Man” (3:12) – Carter
A4. “I Love You” (5:23) – Carter
A5. “Love’s Trying to Come to You” (2:33) – Jackson

B1. “Next to You” (3:03) – Easley, Jackson, Moore
B2. “Run Out of Time” (2:34) – H. Carter
B3. “It Was So Nice While It Lasted” (2:53) – Nash
B4. “And They Say Don’t Worry” (2:50) – Jackson
B5. “I Got Another Woman” (3:08) – Carter

FAME issued “Sixty Minute Man” as a May 1973 single (b/w “Mother-in-Law”), which reached No. 65 on the US pop chart and No. 17 on the US R&B chart; “Mother-in-Law” also charted at No. 80 on the US pop chart and No. 24 on the US R&B chart.

“I’m the Midnight Special” followed in October 1973 (b/w “I Got Another Woman”) and reached No. 101 on the US pop chart and No. 15 on the US R&B chart. In April 1974, “Love’s Trying to Come to You” reappeared as a single (b/w “Heartbreak Woman”).

Sixty Minutes With Clarence Carter reached No. 41 on US R&B Albums.

Real

Clarence Carter released his sixth album, Real, in August 1974 on ABC Records.

Real moves Carter from the FAME orbit into an ABC Los Angeles session setting, with rhythm, horn, string, and background-vocal parts arranged around the faster material on side one and the extended “On Your Way Down.” The roster includes steel guitarist Red Rhodes, saxophonists Ernie Watts and Buddy Collette, and backing vocalists Clydie King, Julia Tillman Waters, Sherlie Matthews, and Venetta Fields. Carter employs three noted guitarists: Dean Parks, Ray Parker Jr., and Wah Wah Watson

“Real” charges in a straight-lined uptempo setting. “Warning” snaps through the same fast, direct attack. “Fine Love” locks into brisk vocal motion and terse rhythmic accents. “Wake-Up to Love” drives the faster side with a broader late-record surge. “On Your Way Down” deepens into a heavier, lower-set dance feel. “Rosey” works a darker rhythmic pocket.

A1. “Real” (5:18) – Dozier
A2. “On Your Way Down” (5:37) – Toussaint
A3. “Warning” (3:07) – Boyd, McKinley Jackson
A4. “Everything Comes Up Rosey” (3:54) – Boyd, Jackson, Smith

B1. “Fine Love” (2:49) – Boyd, Smith
B2. “A Very Special Love Song” (4:49) – Sherrill, Wilson
B3. “Shaky at Home” (4:17) – Boyd, Smith
B4. “Wake-Up to Love” (5:17) – Boyd, Jackson

McKinley Jackson produced Real at ABC Recording Studios in Los Angeles. Jackson arranged rhythm parts, Paul Riser arranged horns and strings, and Barney Perkins and Reginald Dozier engineered the sessions. Tim Bryant designed the sleeve, and Ron Slenzak photographed Carter for the package.

ABC issued “Warning” as a January 1975 single (b/w “On Your Way Down”).

Loneliness & Temptation

Clarence Carter released his seventh album, Loneliness & Temptation, in September 1975 on ABC.

Loneliness includes the R&B-charting “I Got Caught Making Love” and the follow-up single “Dear Abby.” Carter works with a Future Stars rhythm pool that includes bassists J. Alfred Cook and Robert Wray, drummer Roger Clark, guitarists Kenneth Bell and Reginald Hargis, and percussionist Mike Huey. The Muscle Shoals Horns remain present through Charles Rose, Harrison Calloway, Harvey Thompson, and Ronnie Eades.

“I Got Caught Making Love” testifies through a spoken setup on loneliness and temptation, then turns the cheating confession into Carter’s direct address.

A1. “Love Ain’t Here No More” (4:05)
A2. “Take a Taste of Your Love” (2:50)
A3. “Glad to See You Walking In” (3:06)
A4. “Just One More Day” (5:57)
A5. “Let’s Start Doing (What We Came Here to Do)”

B1. “Let’s Live for Ourselves” – Jackson, Carter
B2. “I Got Caught Making Love”
B3. “Is It Alright”
B4. “Dear Abby” – Jackson, Carter, Wilkins
B5. “Take It All Off” – Carter

Carter produced Loneliness & Temptation at Future Stars Recording Studio in Atlanta. Carter and Rick Rushing engineered the sessions; Carter arranged vocals, J. Alfred Cook and Andrew “Mike” Terry arranged horns, and Terry and Ted Stovall arranged strings.

ABC issued “I Got Caught” as an August 1975 single (b/w “Take It All Off”); the single reached No. 49 on the R&B chart. ABC issued “Dear Abby” in April 1976 (b/w “Love Ain’t Here No More”).

Loneliness & Temptation reached No. 58 on US R&B Albums.

A Heart Full of Song

Clarence Carter released his eighth album, A Heart Full of Song, in June 1976 on ABC.

A Heart Full of Song continues Carter’s Future Stars period with Atlanta rhythm players, Muscle Shoals Horns, Future Stars Strings, and backing vocals by Donna Rhodes, Charles Chalmers, and Sandra Rhodes. He welcomes steel guitarist Marvin Taylor, pianist Randy McCormick, and synthesizer players Bell Free and Billy Rogers. The album includes Carter-written material, George Jackson-linked titles, and a song associated with Ray Charles (“Come Back Baby”).

A1. “All Messed Up” (2:47) – Carter
A2. “Heart Full of Songs” (3:23) – Wilkins, Jackson
A3. “Danger Point” (2:48) – Cauley, Wilkins, Jackson
A4. “Jenning’s Alley” (6:07) – Carter
A5. “Shoulder to Cry On” (3:25) – Maxey, Carter

B1. “That’s What Your Love Means to Me” (2:50) – Carter, Wilkins
B2. “Nothing Ventured Nothing Gained” (2:40) – Percy
B3. “Come Back Baby” (5:23) – Charles
B4. “I Thought It Was Over” (2:35) – Jackson, Easley
B5. “Don’t Bother Me” (2:55) – Cook, Carter

Carter produced A Heart Full of Song at Future Stars Recording Studio in Atlanta. Carter and Rick Rushing engineered the sessions; Carter arranged vocals, J. Alfred Cook arranged horns, and Ted Stovall arranged strings.

ABC issued “A Heart Full of Song” as a 1976 single (b/w “All Messed Up”).

Let’s Burn

Clarence Carter released his ninth album, Let’s Burn, in 1980 on Venture Records.

Let’s Burn contains eight Carter sole credits, the Carter–Gary Nelson co-write “Another Night,” and the outside title “Scratch My Back.” Carter recorded with bassists Ricky Keller and Ronnie Harville, drummer Jimmy Jackson, guitarist Harry Stevens, and backing singers Collette Simpson, Michelle Morgan, and Tommy Simpson.

A1. “Jimmy’s Disco” (4:26) – Carter
A2. “Let’s Burn” (4:40) – Carter
A3. “Scratch My Back” (6:09) – Cage, Moore, Strong
A4. “If I Stay” (4:26) – Carter

B1. “Love Building” (6:00) – Carter
B2. “She’s Out to Get Me” (4:06) – Carter
B3. “I’m So Tired” (3:43) – Carter
B4. “Another Night” (3:22) – Carter, Nelson
B5. “Just Searching” (3:26) – Carter

Carter produced Let’s Burn. Cecile Barker and Hosea Wilson served as executive producers, and Angela Perkins handled design and art direction.

Venture issued “Jimmy’s Disco” as a September 1980 single (b/w “Searching”). “Let’s Burn” followed in April 1981 (b/w “If I Stay”).

Let’s Burn reached No. 189 on the Billboard 200 and No. 28 on US R&B Albums.

Mr. Clarence Carter in Person

Clarence Carter released his tenth album, Mr. Clarence Carter in Person, in 1981 on Venture Records.

Mr. Clarence combines Carter originals and outside titles with a compact rhythm lineup: bassist Bob Wray, drummer Roger Clark, guitarists Carlton “Frog” McWilliams and Ken Bell, and steel guitarist Duncan Cameron. The horn section features trombonist Charles Rose, trumpeters Harrison Calloway and Bar-Kay Ben Cauley. and saxophonists Harvey Thompson and Ronnie Eades. Patricia Cooley joins Carter on “Use Me Anyway You Can.”

“Try a Piece of My Love” works a dance-directed cut with Carter’s late-period club manner kept in tight focus. Patricia Cooley sings guest vocals on “Use Me Anyway You Can.”

A1. “Can We Slip Away, Again?” (2:53) – Carter
A2. “Use Me Anyway You Can” (3:15) – Carter
A3. “Tell Daddy” (5:12) – Carter, Daniel, Terrell
A4. “Those Were the Good Old Days” (2:56) – Cartee
A5. “In Person” (4:35)

B1. “Try a Piece of My Love” (4:23) – Barrett, Cunningham
B2. “I Love You” (5:43) – Carter
B3. “If I Were Yours” (3:48) – Carter
B4. “It’s a Monster Thang” (4:56) – Jackson

Carter produced the album, arranged vocals and rhythm, and conducted the sessions. Harrison Calloway arranged horns and strings.

Venture issued “Can We Slip Away, Again?” in 1981 (b/w “If I Were Yours”). “It’s a Monster Thang” followed in 1981 (b/w “If I Were Yours”) and reached No. 81 on the R&B chart.

Love Me With a Feeling

Clarence Carter released his eleventh album, Love Me With a Feeling, in 1982 on Big C.

Love Me With a Feeling presents southern soul-blues and R&B, with Carter revisiting “Funky Fever” from his Atlantic catalog and cutting the prewar blues title piece. Big C issued the U.S. LP under catalog number AG-8214, with “Girl From Soweto” on side two.

“Wrong Too Long” settles into an earthy, unvarnished mood. “Love Me With a Feeling” leans into a blues-tinged address. “You and Me Baby” smooths Carter’s lead into a polished, city-slick finish.

A1. “Wrong Too Long” (5:54) – Penn, Oldham
A2. “It’s All in Being in Love” – Wilkins
A3. “Funky Fever” – Hall, Carter, Daniel
A4. “Love Me With a Feeling” (5:48) – Tampa Red

B1. “Fighting to Keep My Head Above Water” – Redmond
B2. “Girl From Soweto” – Carter
B3. “You and Me Baby” – Buckins
B4. “Hold On to What You Got”
B5. “We Are a Good Act Together”

Big C issued “Love Me With a Feeling” as a 1982 single (b/w “Girl From Soweto”).

Singing for My Supper

Clarence Carter released his twelfth album, Singing for My Supper, in 1984 on Big C.

Singing for My Supper presents Big C-era southern soul-blues and R&B, with ten titles spread across two five-song sides. Ava Aldridge, Cindy Richardson, and Lenny LeBlanc sing backing vocals on the album.

A1. “Messin’ With My Mind” (4:18)
A2. “What Was I Supposed to Do?” (4:18)
A3. “Thank Him for Leaving You” (4:10)
A4. “Mama Used to Sing the Blues” (3:35)
A5. “It Ain’t What You Do” (4:32)

B1. “Sweet Feeling” (4:22)
B2. “Fast Young Lady” (3:47)
B3. “So You’re Leaving Me?” (4:08)
B4. “Hot Stuff” (4:00)
B5. “I Was in the Neighborhood” (4:07)

Big C issued “It Ain’t What You Do” as a single (b/w “What Was I Supposed to Do?”). Ichiban later issued “Messin’ With My Mind” in 1985 (b/w “I Was in the Neighborhood”).

Dr. C.C.

Clarence Carter released Dr. C.C. in July 1986 on Ichiban. The album became Carter’s first charting studio album since Let’s Burn and reached No. 20 on Top R&B Albums.

Dr. C.C. presents Ichiban-era southern soul-blues and R&B with rhythm-forward keyboard, percussion, and synthesizer parts. Carter sings and plays bass, guitar-family instruments, horns, keyboards, drums, percussion, and synthesizer. Ava Aldridge, Lenny LeBlanc, and Cindy Richardson Walker sing background vocals. Carter wrote six titles alone, co-wrote “You Been Cheatin’ on Me” with Pat Cooley, and used a Sam Dees title for “Left Over Love.”

“Dr. C.C.” struts through Carter’s bawdy, braggadocious doctor routine, with his devilish laugh carrying the party address. “Strokin’” testifies in a spoken-led roadhouse manner, placing Carter’s explicit comic lines at the front.

A1. “Dr. C.C.” (4:09) – Carter
A2. “I Stayed Away Too Long” (3:14) – Carter
A3. “If You Let Me Take You Home” (4:43) – Carter
A4. “Left Over Love” (3:29) – Dees

B1. “You Been Cheatin’ on Me” (3:20) – Carter, Cooley
B2. “Try Me” (3:20) – Carter
B3. “Let’s Funk” (4:03) – Carter
B4. “Strokin’” (4:38) – Carter

Carter produced Dr. C.C.. Cal Freeman and David Johnson engineered the album.

Ichiban issued “If You Let Me Take You Home” as a 1986 single (b/w “So You’re Leaving Me”). “Strokin’” followed in 1987 (b/w “Love Me With a Feeling”), and “Dr. C.C.” appeared in 1987 (b/w “I Stayed Away Too Long”).

Hooked on Love

Clarence Carter released Hooked on Love in November 1987 on Ichiban. The album reached No. 34 on Top R&B Albums.

Hooked on Love presents Ichiban-era soul-blues and R&B, with Carter revisiting “I Can’t See Myself” and “Slip Away” from his Atlantic period and closing the album with Ray Charles’s “What’d I Say.” Carter wrote two titles alone and co-wrote four titles with Pat Cooley.

“Grandpa Can’t Fly His Kite” leans into Carter’s bawdy late-period comic address. “Slip Away” returns to Carter’s storytelling mode, but the available sources do not support arrangement detail for this album take.

A1. “Trying to Sleep Tonight” (3:15) – Carter, Cooley
A2. “Grandpa Can’t Fly His Kite” (6:38) – Carter, Cooley
A3. “I Can’t See Myself” (3:04) – Carter
A4. “While You Were Loving Him” (4:00) – Carter, Cooley

B1. “I Feel It” (4:43) – Carter
B2. “Slip Away” (2:38) – Armstrong, Daniel, Terrell
B3. “Let Me Be the Other Man” (4:15) – Carter, Cooley
B4. “What’d I Say” (4:30) – Charles

Carter produced Hooked on Love for Big C Records and played the album’s instruments. Ava Aldridge, Cindy Wheeler-Green, and Lenny LeBlanc sing backing vocals. David Johnson engineered the sessions, Nina Easton designed the cover, Panorama Graphics handled graphics, and Andy Wilson photographed the package.

Ichiban issued “Grandpa Can’t Fly His Kite” as a 1987 single (b/w “What’d I Say”). “Trying to Sleep Tonight” followed in 1988 (b/w “Try Me”).

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