Vocal dynamo Merry Clayton was just 16 when she became the lead female singer in the Ray Charles Orchestra and 20 when she famously duetted with Mick Jagger on the Rolling Stones' classic "Gimme Shelter." She was 21 when she sang on Neil Young's equally classic "Southern Man" and on much of Carole King's landmark album, "Tapestry."

Now, at the age of 73, Clayton — who co-starred in the 2014 Oscar-winning music documentary "20 Feet From Stardom" — is back with "Beautiful Scars," her first solo album since 1994. Born out of tragedy, it marks the start of an inspirational new chapter for the versatile singer, who has collaborated with everyone from Bob Dylan, Michael Jackson and Coldplay to Aretha Franklin, Stevie Wonder and Lynyrd Skynyrd (that's her singing on the choruses of "Sweet Home Alabama").

Ten songs strong, "Beautiful Scars" is Clayton's first solo outing since she was in a horrific 2014 car crash in Los Angeles. Her injuries were so severe that both her legs had to be amputated at the knees, followed by five months of hospitalization and years of grueling daily physical therapy.

Such a devastating experience would likely have ended the careers of many musicians. But not Clayton, a New Orleans native who grew up singing gospel music in church and who has retained her deep faith throughout her career.

"If I can make it through this journey, anybody can," she said. "I've been through fire, rain, a storm, a hurricane, and everything else. But I came through it with joyfulness and being thankful."

Those qualities of joy and gratitude emanate from every note Clayton triumphantly sings on her new solo album, her first since 1994's aptly titled "Miracles." With palpable fervor, she draws heavily from her gospel roots to make a strong case for human resiliency and the power to overcome soul- and body-sapping adversity.

"I am excited for the world to hear Merry's new record because she continues to be a major source of inspiration and a gift to the music community," said bass great Nathan East. He performs on five of "Beautiful Scar's" songs, including the cathartic title track, "God's Love" and Leon Russell's timeless "A Song for You," which was also featured on her second solo album, 1971's superb "Merry Clayton."

"I first worked with Merry back in the day on some live shows, and she has always been one of my favorite singers," continued East, whose many other credits range from Whitney Houston and Dolly Parton to Patti LaBelle and Donna Summer.

"To join Merry in the studio for her new project was nothing short of a complete joy. The songs, production and her singing were all to the highest standard. But most impressive was her unwavering spirit and the joy and love that she filled the room with."

Filling a room with her luminous, intensely soulful singing has been a trademark of Clayton's since her days singing at New Orleans' New Zion Baptist Church, where her father, Rev. A.G. Williams Clayton, presided.

Sam Cooke, whose song "Touch the Hem of His Garment" Clayton performs on her new album, sang at her father's church with his group, The Soul Stirrers. During services, Clayton would sometimes sit in between gospel music legend Mahalia Jackson and rising gospel star Linda Hopkins.

Clayton's ability to nearly match Jackson's roof-raising vocal firepower and heavenly melismas at such a young age led to her earning the sobriquet "Little Mahalia," as she now proudly recalls.

Her family moved to Los Angeles when she was 8 and Clayton began singing at Mount Moriah Baptist Church. Soon thereafter, she befriended Billy Preston, who became a close friend and her band mate in the Ray Charles Orchestra when both were still teenagers.

Her skill and confidence immediately impressed Ode Records founder Lou Adler, who produced Clayton's first four solo albums for Ode in the 1970s. He also co-produced her new album, "Beautiful Scars," which was released by Motown Gospel, a subsidiary of Motown Records.

Their musical partnership began 52 years ago when Adler put together a vocal ensemble of top studio session singers, under the name The Brothers & Sisters of L.A. The resulting album "Dylan's Gospel" featured 10 Bob Dylan songs restyled for a gospel choir.

"I first met Merry in 1969 while recording 'Dylan's Gospel,'" Adler said via email. "She did 'The Times They Are A Changin' and 'The Mighty Quinn.' I was impressed with her confidence and overwhelmed by her vocal ability."

Adler was confident Clayton's solo album for Ode would establish her as a star in her own right. Yet, while critically acclaimed, they never took off commercially, and she deftly returned to elevating the music of other artists as a first-call studio session singer.

That she ended up contributing to so many classic recordings is a source of understandable pride for Clayton.

Did she have sense at the time that these recordings would have such an enduring impact?

"Not a clue, not a clue," replied Clayton, who laughingly recalls she had never heard of the Rolling Stones when she got the late-night call in 1969 to contribute the pivotal vocal parts to "Gimme Shelter.

Very pregnant at the time, she arrived at the studio with her hair in curlers, wearing pajamas and a mink coat. She quickly nailed her part with electrifying results, but only after Mick Jagger and Keith Richards explained that the lyrics she was being asked to sing — Rape! Murder! It's just a shot away, it's just a shot away — were condemning violence, not glorifying it.

"I was just doing what I always did at every session: my best," Clayton said matter-of-factly.

"I would go in, kick a little ass and give it my all. I never went in willy-nilly or spaced out. No! A session was a session. At the end of that session, a paper was signed, and it was called a check. I didn't know what everything I took on musically would do. I didn't know what 'Gimme Shelter' or (Carole King's) 'Tapestry' would do. I did not have a clue.

"But I knew I would give it my all and that I would never skimp on anything I sang. People ask me: Do you know how many records you have sang on? I don't."

She laughed.

"When he was about 5, my grandson, Curtis, was sitting at the table in the kitchen, looking at his phone, as I was making dinner," Clayton recalled. "Curtis turned around, looked at me, and said, 'Grandma, do you know who you are?' "

She laughed again.

"Then Curtis said, 'You're my grandmother, but you're Merry Clayton!' I said, 'Well, yeah, but — most of all — I'm your grandmother.' Then Curtis came over to me, with a look on his face, and said, 'But do you know who you are, grandma?' And I said, 'Get away from me!' "

Her devotion and luminous singing are the reasons Clayton's recording career is now in its seventh decade. She also credits a third key factor.

"Lou Adler, my 'uncle,' is my angel on earth and always has been. From the day I met him, he's always been my angel. God will get you an angel. We all have angels in our lives, but you have to be aware of who they are. Lou is my angel on earth. I'm so grateful to him, but he never wants to hear that. He gets tired of me saying: 'Lou, thank you.' "

Following her 2014 car crash, Adler kept close watch on Clayton during her extended treatment at UCLA's Reagan Hospital.

"I never went to visit Merry at the hospital — she wasn't receiving guests," he said via email. "I spoke to her daily. ... I am on the Board of Directors at UCLA and was kept up to date as to her medical condition on a regular basis."

Upon being informed by her doctors that her both her lower legs would have to be amputated, Clayton immediately asked if she would still be able to sing. Informed that her voice had not been impacted, she began singing "I Can Still Shine," the Ashford & Simpson song that she performs in the 1987 film comedy "Maid to Order."

Clayton credits Adler for being a key impetus in her recording a new album.

"Lou made my mind up for me," she recalled. "He said, 'You have to get back in the (recording) studio.' I said, 'I don't know if I want to do that, Lou. I'm just seven months into my recovery and I've only been home from the hospital for two months.' But even when I was in the hospital, Lou said, 'Merry, you have to sing again.'

"Right after I met with Lou and ('Beautiful Scars' co-producer) Terry Young, the songs just started to come to us."