Steve Cropper, Brian May, and Billy Gibbons joined forces on the soulful single “My Angels Are Calling,” released via Provogue/Artone Label Group as part of Cropper’s posthumous album, Watching The Tide. Following Cropper’s passing in December 2025 at age 84, Queen guitarist Brian May wrote the lyrics from an imagined perspective of Cropper looking back on his storied life, while ZZ Top’s Billy Gibbons delivered the track’s closing guitar solo.
Here is the kicker. Long before streaming algorithms and automated playlist curation began dictating how rock and blues are consumed, the architecture of American music was built by architects like Steve Cropper. But the creative machinery didn’t stop cold. Instead, it culminated in a cross-continental collaboration that feels less like a conventional posthumous release and more like an intimate, final nod among peers who shaped the contours of modern rock history.
The Bottom Line
- The Release: “My Angels Are Calling” anchors Steve Cropper’s posthumous studio album, Watching The Tide, available now via Provogue/Artone Label Group.
- The Lineup: The track bridges three legendary guitar stylists—Cropper, Queen’s Brian May, and ZZ Top’s Billy Gibbons, alongside producer Jon Tiven and vocalist Roger C. Reale.
- The Concept: Brian May stepped into the vocalist’s booth to interpret Cropper’s final mindset, imagining a heavenly return to the Memphis dockside that inspired “(Sittin’ On) The Dock of the Bay.”
Decoding the Creative Genesis of “My Angels Are Calling”
The track’s evolution is a masterclass in modern musical stewardship. Producer Jon Tiven had previously dispatched a backing track featuring Cropper’s unmistakable, razor-sharp riffing to Queen’s Brian May while initial sessions for the album were underway. Following Cropper’s death on December 3, 2025, May heard something entirely different in the stems.
As May detailed of the creative pivot, the goal shifted from a standard guest feature to a deeply personal tribute. By imagining what went through Cropper’s mind when he knew it was time to move on, May sought to capture an indomitable spirit of optimism. In May’s conceptual framework, the heavenly destination wasn’t an abstract cloudscape, but rather a quiet return to sitting on the dock of the bay—a direct reference to the immortal 1967 Stax classic Cropper co-wrote with Otis Redding.
That cinematic homage opens quite literally with the ambient sound of coastal waves before transitioning into May’s lead vocal delivery. Near the track’s dramatic conclusion, May cues his counterpart with the vocal shout, “Go Billy!” That prompt unleashes ZZ Top architect Billy Gibbons, whose blistering closing guitar solo serves as a fiery exclamation point on an otherwise reflective ballad.
Inside the Studio Sessions for Watching The Tide
Recorded at Nashville’s historic RCA Studio C, the album brings together a tightly knit collective of musicians who understood the gravity of the material. The sessions featured vocalist Ana Grosh, drummer Nioshi Jackson, and engineer Eddie Gore handling keyboards and percussion alongside Midnight Hour vocalist Roger C.
The pedigree of guest contributors reads like a masterclass in rock royalty. Guitarist Eric Clapton lent his signature phrasing to the track “Ticket First,” prompting Tiven to remark on how completely Clapton transformed the arrangement. Meanwhile, Rolling Stones guitarist Ronnie Wood jumped onto the track “Until Now” via slide guitar within minutes of receiving the initial invitation.
To contextualize the project’s sheer scale within the wider catalog economy, consider the roster of talent contributing to Cropper’s final recorded statement:
| Track Title | Featured Guest / Collaborator | Primary Instrument / Contribution |
|---|---|---|
| “My Angels Are Calling” | Brian May & Billy Gibbons | Lead Vocals, Lyrics / Closing Guitar Solo |
| “Ticket First” | Eric Clapton | Lead Guitar |
| “Until Now” | Ronnie Wood | Slide Guitar |
This network of collaborators highlights how deeply respected Cropper remained within the global guitar community. Long after defining the Memphis sound as the rhythmic backbone of Booker T. & the M.G.’s and shaping career-defining cuts for Wilson Pickett and Sam & Dave, his understated economy of notes remained the gold standard for every major rock icon who came after him.
The Industry Echo: Catalog Value and Collaborative Legacy
In today’s hyper-fragmented music economy, where legacy catalog acquisitions and high-profile master buyouts dominate financial headlines, projects like Watching The Tide occupy a distinct cultural space. While Wall Street firms trade in passive publishing streams, active artistic collaborations remind audiences why these foundational songwriters matter beyond spreadsheet metrics.
When artists of the caliber of Brian May and Billy Gibbons step up to complete a fallen peer’s vision, it reinforces the enduring power of artist-to-artist curation. There is no synthetic algorithm or corporate focus group that could manufacture the emotional resonance of May channeling Cropper’s perspective as the angels call him home.
For music consumers navigating a landscape saturated with disposable content, this single offers a masterclass in gravitas. It anchors contemporary ears back to the roots of Stax Records, proving that while players like Cropper may leave the physical stage, their unmistakable rhythmic footprint continues to echo down the line.
