COMMENTARY: By Announcing Their Retirement The O’Jays Have Broken The R&B Mold

COMMENTARY: By Announcing Their Retirement The O’Jays Have Broken The R&B Mold

When the O’Jays announced earlier this year, upon the release of their album, aptly titled, “The Last Word” that they were retiring, they broke the mold with R&B groups of their generation. Unlike rock acts, who generally stay disbanded once they decide to call it quits —  most notably The Beatles, and bar one reunion tour, The Police — R&B acts, once zimmer frames and caskets come calling, have a habit of recycling the brand with younger members.

It’s hard to imagine The Rolling Stones continuing without Jagger or Richards, U2 without Bono or despite numerous personnel changes, Fleetwood Mac without Mick Fleetwood or Stevie Nicks. Of course, there are exceptions — Toto, The Eagles, Chicago — bands without one main leader. Queen without Freddie Mercury are not really Queen but three guys with Adam Lambert.  However, a quick Google search shows that  The Four Tops are still on the road, eleven years after the death of legendary lead singer Levi Stubbs. Of course, Earth Wind & Fire are still going strong decades after Maurice White left due to Parkinson’s disease.  But with Philip Bailey, Verdine White and Ralph Johnson, at least they do have original members in the group. Let’s not also forget that Lionel Richie’s departed The Commodores almost 40 years ago but it hasn’t stopped the band from touring, singing the hits he sang and wrote.

In fact, there are a slew of other R&B groups still earning a living from the road long after their original members have moved on — The Spinners, The Dells, The Stylistics, The Ohio Players — to name but a few. So why have the O’Jays decided to leave the stage with a big mic drop? Unfortunately, Eddie Levert has lost his two sons, Gerald and Sean, who would have been the most obvious successors to the group’s legacy. And it just seems very hard to imagine an O’Jays without Eddie Levert and to lesser degree Walter Williams. But then it seemed unconscionable that Earth Wind & Fire would keep going without Maurice White. It’ll be interesting to see what the Temptations do once Otis Williams retires or heads skywards to join many of his former group members. There have been a few versions of the band with slightly altered names doing the rounds but Dennis Edwards’ passing has put the emphasis firmly back on the Williams’ “official” Tempts.

Ultimately, time has a way of blurring the edges. The songs are what remains in the public’s consciousness. That’s particularly true with R&B vocal groups where an audience has a desire to see a suited group, singing the hits and doing the choreography. It’s less about the individual. Showmen and enigmatic lead singers like Jagger, Michael Jackson, Prince and Bowie are impossible to replicate, so the best you can hope to get is a cover band/act. Rock groups were generally all about these front men. It’s the band members who are largely replaceable as has been the case with the Stones after the death of Brian Jones and the retirements of Mick Taylor and Bill Wyman.

Money also plays its part. If the estates of the original band members stand to gain financially from newer incarnations then it makes sense to keep a bend on the road. Often, though it might be managers, promoters and businessmen who are pulling the strings on oldies tours. The members change so often that after a while the original line-up becomes almost irrelevant.

All of which makes the O’Jays decision to let the group’s name rest with the current long standing line-up (Eddie Levert and Walter Williams are in their mid 70’s) admirable. I can’t imagine that when they finally do their last show there won’t be an outfit somewhere “Singing the music of…” However, when  The Miami Herald probed Walter Williams recently, if this really was the end, he intimated that the terrific trio might be with us a little while longer.

“I don’t know that (if the group will quit) because I still have a desire to do it as long as I can do it without looking ridiculous. That means basically performance-wise. My voice hasn’t changed much, my vocals haven’t changed much, other than a little more knowledge of how to do it and not harm myself. I won’t be in that group they call the Old Jays.” There’s little chance of that.

Jeff Vasishta, September 2019


Otis Redding 50th Anniversary Of "(Sittin' On) The Dock Of The Bay"

Otis Redding 50th Anniversary Of “(Sittin’ On) The Dock Of The Bay”

50th Anniversary Of “(Sittin’ On) The Dock Of The Bay” – Otis Redding

Singer songwriter and SoulMusic Hall Of Fame inductee, Otis Redding was born on 9th September 1941 in Dawson, Georgia.  In 1960, he moved to Los Angeles where he began releasing singles. He returned to Georgia a year later and recorded “Shout Bamalama.”  Redding befriended guitarist Johnny Jenkins and joined his band “The Pinetoppers”. During one of Jenkins’ recording sessions at Memphis’ Stax Studios, Redding recorded a ballad he’d written titled, “These Arms of Mine”. The song quickly took off reaching number 20 on the R&B charts in 1963. What followed was the release of many hit singles, including classics “I’ve Been Loving You Too Long,” “Respect” and “Try a Little Tenderness”.

“(Sittin’ on) the Dock of the Bay” became the singer’s first million-seller and first Billboard Number One single when it was released 50 years ago. But the legendary soul singer never got to hear the finished version of his breakthrough single: He had died in a plane crash on December 10th, 1967.

Deezer’s Soul Editor Yannick Fage commented: “Like so many great talent, Otis Redding passed away too early in life, yet his contribution to soul still continues to influence us today. In honour of the 50th anniversary of ‘(Sittin’ On) The Dock Of The Bay,’ we wanted to celebrate his achievement with a special playlist that includes all of his greatest hits, as well as those of other soul legends that have filled us with so much emotion and joy.”

Deezer music streaming serviceTo commemorate 50 years since the release of “(Sittin’ on) the Dock of the Bay”, music streaming service Deezer has created two special playlists, ‘Essential Otis Redding’ and ’50 Years of Soul’





Phyllis Hyman:  The Sadness Behind The Soul

Phyllis Hyman: The Sadness Behind The Soul

Renowned writer and author Jeff Vasishta shares his reflections on meeting one of soul music’s true legends, the late and great Phyllis Hyman…

When I finally got to meet the statuesque and sultry R&B singer, Phyllis Hyman I had no idea quite what a revelation the day would be. At school I’d often gazed longingly at her album covers, mesmerized by her sheer beauty. A former leading diva at music mogul Clive Davis’ Arista Records and Broadway Star of Duke Ellington’s “Sophisticated Ladies”, when we met she had long since been eclipsed by younger artists. However, she was still a favorite of the London based magazine for which I wrote and when she won a readers poll in 1993 I was tasked with the job of interviewing her over the phone. The interview turned personal as I asked her about her romantic life.

“I don’t have a boyfriend right now but the electricity bills are paid, if you know what I mean?” she said with a throaty laugh. I didn’t get her cryptic clue.
“A vibrator, Jeff” she spelled out, leaving me speechless. We continued to talk, the usual formality between a journalist and interviewee long since dispensed. I informed her that was due to be New York the following month and she suggested that I call her and we meet for lunch. “My treat,” she said.

I’d seen Phyllis in concert many times before our interview and knew that she no longer resembled her glamorous former self but the teenager in me was elated at the prospect of meeting a singer he’d once idolized. After such a revealing interview I hoped that perhaps we could become good friends. I imagined an expensive Manhattan restaurant where we’d talk late into the afternoon, she regaling me with show-biz anecdotes, touching my hand occasionally.

I called soon after I’d checked in to my New York hotel.
“Who?” came the response after I’d said my name.
“Jeff, the journalist. I interviewed you a few weeks ago,” I repeated disbelievingly. She seemed to have completely forgotten who I was. We’d spoken for over an hour. She’d confided some of her most personal feelings. She told be about her distress when her close friend, songwriter Linda Creed died of cancer shortly after penning one of her signature songs, “Old Friend”. She spoke of her ex-husband and of course her love life. I hung up the hotel phone, convinced that she may have mistaken me for someone else. I called her manager, Glenda who listened to me with, I felt, a sense of resignation. A few minutes later Glenda, called back and told me to head over to Phyllis’ midtown apartment.

I met the singer downstairs in the lobby. At 6ft 2” in flats she wasn’t easy to miss. Instead of inviting me up she suggested I walk with her while she ran some errands. We strolled along Broadway to Times Square. I attempted to start a conversation but it was as if I wasn’t there. She hardly responded. It wasn’t long before she was spotted as she left the bank where she’d deposited a check.

“Oh my God! Phyllis Hyman,” the fan, a black woman in a business pant suit gushed. “I know you hear this all the time but I adore your music,” she went on. Other people slowed their strides, aware that someone famous was in their midst but not exactly sure who. “Girl, it’s Phyllis Hyman, the best singer ever!” the woman exclaimed to a passer by. Hyman seemed bothered by the adulation and responded with the merest of acknowledgements, trying to brush her admirer off. I couldn’t help but think that Phyllis could have been warmer, said a thank-you and engaged her in a little conversation. When we left she turned to me and said, “She needs to check herself, running up on me like that.” By now I also got the feeling that Phyllis didn’t want me around her either. She’d barely said a word. But it wasn’t her aloofness that struck me on that cloudy Spring afternoon. It was that she seemed so out of it. Stoned, high, vacant. Something wasn’t right. The only time she seemed interested in anything around her was when she spotted jazz drummer Max Roach on the street. She introduced herself. Roach was polite but didn’t seem to know who she was. Then, bizarrely as we passed someone handing out flyers for a strip club with pictures of nude women, Phyllis took some, looked at them and put them in her pocket.

I followed meekly behind her as we approached her apartment building. I felt like I was wearing a pair of too tight jeans on a scorching day at the beach. I wanted to get away from her so I could relax. But what could I say? We rode the elevator in silence to her apartment. It was small and messy with old style parquet floors. Phyllis went straight to the fridge taking out a gallon bottle of Coke, taking slugs without a glass. She then sat down on a bench in front of a wall of photos of her in her scintillating ’70’s and ’80’s prime, all disco gloss, legs, lips and hair. The contrast couldn’t have been more marked. She was swaying on the seat, overweight, slurring her words, her ample chest threatening to spill out. I didn’t know where to look.

“So I’m supposed to get you somethin’ eat something right?” she said, finally acknowledging me.
“Oh no, that’s ok. I ate something earlier,” I bluffed.
“Skinny people always say that,” she said. She stood up, went to a draw and took out a Chinese take out menu and handed it over. “You wanna order?” Earlier I imagined we’d be at a dimly lit five star restaurant. Now I was given a menu with $5 chicken and broccoli to eat alone.
“No that’s ok. I’m really not hungry,” I said.
“Ok. Well I can’t really chat. I’ve got my personal trainer coming over soon,” she said unconvincingly.
I stood up, relieved to have been given an excuse to get out of there. As I walked down the corridor I didn’t feel upset for myself. Just saddened. It was evident that Phyllis Hyman was a desperately unhappy person.

I was living full time in New York a couple of years later when on June 30th 1995 I turned on WBLS to hear the news that she’d committed suicide, an overdose of sleeping pills. It wasn’t her first attempt. I couldn’t say I was that surprised. An excellent biography was published about her 2007, “Strength Of A Woman,” detailing her ongoing battle with drugs, alcohol and her bipolar disorder. It shocked so many people in the music industry because suicides amid black entertainers were so rare. Donny Hathaway, who battled depression and schizophrenia, was the other notable casualty.

Mental illness in black entertainment circles is hardly discussed. In a merciless industry, the ravages of racism, dysfunctional families, corrupt, abusive business practices left many icons clinically depressed and near destitute, hitting the self destruct button hard. It’s often overlooked how many black entertainers die young. It seems like a whole generation has gone prematurely. And now, of course Prince, perhaps the most shocking of all. Scrolling through my iPhone these days can take a toll. Instantly I remember dozens of interviews with so many great artists, some of whom became friends, that are no longer here.

Whenever I hear “You Know How To Love Me” playing on the radio I often think back to my afternoon with Phyllis Hyman and wonder why there has to be so much sadness behind the soul.