Al Green and Minnie Riperton took minimalist bedroom soul mainstream, largely owing to their ownership of their respective upper vocal registers. Roberta Flack- her voice dubbed "the sound of melting velvet"- was a star, and her duets with classically-trained Donny Hathaway added a moody influence drawn from his jazz training. The album re-energized Robinson's flagging career, helped by the fact that it fit well with a lot of black chart music at the time, which was doubling down on the initial break between the spiritual and the carnal that birthed soul music. A Quiet Storm plays like a concept album devoted to tranquil monogamy.
"I saw seven songs carried on the back of a breeze, blowing through the record from start to finish." The nearly eight-minute title track establishes the Quiet Storm not as a meteorological phenomenon providing ambience, but as an intangible stimulant flowing through Robinson's body: "A power source of tender force." In his review, writer Robert Christgau keyed in on the album's most important contribution: ".rhythmically it seems to respond more to his internal state than to any merely physical criterion." Indeed, this is soul music aiming not for the hips, but a deeper metaphysical connection between two intimate lovers. "I finally had the musical concept I'd been seeking since hearing What's Going On," Robinson later said. The album opens like radio theater: an impossibly high-pitched synth-produced whistle- our soft warning siren- is paired with wind sound effects, which gradually give way to a loping bassline that could have been drawn from countless 60s Motown hits. "With 18 years of singing, writing, and producing behind him, he naturally passes over both self-celebration and prophecy in favor of love and happiness." "Robinson is moved neither by Marvin Gaye's macho sensibilities nor by Stevie Wonder's semi-mystical mental images, and he has more pop expertise than either," wrote Robert Palmer in Rolling Stone. Seamlessly updating the style of contemplative romantic soul music he'd invented with "You've Really Got a Hold On Me", "Ooo Baby Baby", "The Tracks of My Tears", and "More Love", Storm reasserted Robinson as a soul auteur. Robinson set out to make his own What's Going On, but whereas Gaye turned his focus so empathetically outward, Robinson looked inward. Even coming out of the tumultuous late 60s, politics never figured in Smokey's music. Here was an album rightfully celebrated for its political message that also managed to sound effortlessly smooth. Gaye's 1971 suite What's Going On in particular vexed Robinson. Meanwhile, Stevie Wonder and Marvin Gaye zoomed past him to become the label's- and to a degree, African-American popular music's- torchbearers. After setting the standard for Motown during the 1960s and being named vice president of the label, he'd split with the Miracles, and his first two post-Miracles solo albums (1973's Smokey and 1974's Pure Smokey) hadn't performed to his expectations. Listen to a 104-track (!) Quiet Storm playlist compiled by writer Eric Harvey on Spotify.īy 1974, Smokey Robinson was adrift. The Best of Luther Vandross.Underscore surveys undervalued artists, scenes, and eras of the musical past. " Funny How Time Flies (When You're Having Fun)" " I Keep Forgettin' (Every Time You're Near)"
(vocals by Luther Vandross and Patti Austin )Įndless Love: Original Motion Picture Soundtrack (vocals by Michael Henderson and Phyllis Hyman ) " (If Loving You Is Wrong) I Don't Want to Be Right" " Just My Imagination (Running Away with Me)" After the radio format became popular, songs were written to fit the format, and in that manner the radio style became a broad "super-genre" of music. The format first appeared in 1976 but initially it drew from songs recorded earlier. Quiet storm songs are a mix of genres, including pop, contemporary R&B, smooth soul, smooth jazz and jazz fusion – songs having an easy-flowing and romantic character. Slow jams with quiet storm elements continued to be produced through the 2000s and 2010s. The field adapted in the 1990s as new listeners embraced neo-soul experimentation, hip hop samples and beats, as well as more explicit themes. Quiet storm radio programs thrived in the 1980s, with many stations across the US carrying a quiet storm program at night, and a few stations broadcasting in the format all day long. This is a list of songs associated with the quiet storm radio format, widely heard in the United States starting in 1976 as a form of early evening/late night easy listening music aimed at a sophisticated African American audience.
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