Customer Reviews

Quiet Storm

5 star:		(16)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Smokey Robinson should be considered a National Treasure, or at least, a natural resource. His skills as a songwriter are paralleled by only the best in pop history (like Lennon & McCartney or Holland-Dozier-Holland). Imagine yourself not hearing "Shop Around," "The Way You Do The Things You Do," "My Girl," or "My Guy" on oldies radio! Smokey racked up these credits and dozens more while still the leader of The Miracles. After launching his solo career in 1972, Robinson released two lps ("Smokey" and "Pure Smokey") that got his feet wet. Then came this blockbuster! Smokey was inspired by the concept albums his labelmates Stevie Wonder and Marvin Gaye were doing about this time (1975). Smokey had been known to appeal to the younger crowd both as a writer and performer, but one listen to "A Quiet Storm" confirmed that this one was directed to the adults in the audience; the grown-ups. And the album was so successful that it started a whole new radio format. Yes, Smokey Robinson is to blame for the "Quiet Storm" programs that take over Black/urban radio after 10 p.m.! The title cut really sets the mood: it is jazzy, sensuous, soulful, soft and warm. Its throbbing bass line and eerie moog effects help to make it a perfect track for that special time of evening. A wind-blowing (or perhaps mind-blowing) sound effect leads to the next cut, and all others on the album, giving it a sense of unity. That next cut, "The Agony and The Ecstasy," is a much-beloved song, especially amongst his myriad female fans at live shows. The major chart success of the set was "Baby That's Backatcha," which rose to #1 on the U.S. R&B chart. "Wedding Song" was written for the wedding of Hazel Gordy and Jermaine Jackson, and was included here only at their request. It is a perfect fit for the album, as is "Happy," the love theme from "Lady Sings The Blues," which was also a minor hit for Michael Jackson. The unknown gem of the set is the drivingly funky, "Love Letters," with its clever lyric and humorous but tragic theme. The last song, "Coincidently," is almost TOO clever. But it seems out of place here. Maybe it would have gone better on the next album, "Smokey's Family Robinson," but its inclusion here really doesn't mar the final product. Smokey went on to have a lot more success as a singer in the pop marketplace. But this album is his masterpiece. If you want to check out Smokey's recent work, "Double Good Everything" contains some of his best songwriting in years, and his latest lp, "Intimate," actually takes Smokey in the hip-hop direction.

I was 16 when this album came out, I would just play the "Quiet Storm" side over and over (and over) again. As with most of the reviewers have stated, William "Smokey" Robinson has got to be one of the most underrated Songwriters/Singer's on the planet. As on this collection of songs, Smokey runs the vibe hot, warm and cool (note that I never said "cold!") That, if possible is a description of the album "Quiet Storm." Five stars!

Smokey's voice is incredibly romantic, sexy and sensual. The songs on this CD are equivalent to a lovely, breezy spring day and the music is danceable, funky, sensual and soothing. This is Smokey at his absolute finest-he never fails to satisfy.

My personal favorites on this CD are Quiet Storm, Baby That's Backatcha, Love Letters, and Coincidentally. Actually, the entire CD is excellent, regardless. Buy this CD-you will NOT be disappointed!!

Blowing softly through your speakers and gently wafting in your subconcious without hardly raising a ruckus, Smokey's "Quiet Storm" is the song and album that redefined R&B and created an entire radio format. The 7 flawless selections here are the smoothest, most effortless pieces of music Mr. Robinson ever committed to tape. The title track is a tour-de-force of understated elegance and romance set against a backdrop of buttery bass, bongos, keys and the wind blowing in the distance. The shifting, jazzy arrangement and beautiful backing vocals make this cut alone a masterpiece. My personal fave is "The Agony And The Ecstasy" which sports a simple, straightforward arrangement accented by the glorious sound of a cello moaning away in the background. The real centerpiece of this entire suite "Happy"(Love Theme From Lady Sings The Blues) is one of Smokey's most heartfelt love songs and his finest vocal moment on record. Listen, as he carefully, passionately measures every word, phrase and nuance of the lyrics! His voice sounds so sexy, and emotionally naked on the chorus ("let sadness see what happy does, let happy be where sadness was") it simply makes you shiver! The hanful of uptempo numbers ("Love Letters", "Baby That's Back Atcha$Q and the closing "Coincidentally") are all swift moving funk, but Mr. Robinson's delivery is still so smooth, they could almost be ballads. It bears noting that Smokey's singing on this record is something of a revelation. While his lovely falsetto is present in all its glory, he cut his vocals in a lower key on most of these tracks and the lower register works to his advantage, he can still reach those high notes with no effort, but the shrillness of his early hits is gone completely and the change is quite refreshing! This LP is a another great additon to a body of work that stands as nothing less than legendary.

Last night after midnight I put this album on and listened to it from beginning to end-all seven cuts and WHAT AN EXPERIENCE!The songs are all breaklessly linked by the sound of a light breeze,as if the songs are carried on the wind.The first three-the miraculous title song,"The Agony And The Ecstacy" and the more rhythmic "Baby That's Backatcha'" and "Wedding Song" just flow together as one long anthem of mature romance,set to some of the most lovely,stripped down bass and fender rhodes work I've heard.
After an awe inspiring rendering of "Happy" Smokey lays down a couple uptempo tunes in "Love Letters" and "Coincidentally",both of which have tight funky arrangements
and great Minimoog riffing.But despite the groove the overall emmotional vibe is always mellow and romantic.It is late night music of the first order,powered by one of R&B's most expressive
voices and most poetic lyricist.And this album is packed to the top with both.What is bothersome is that this 1975 recording is usually never listed alongside other classic albums of this genre during the period such as 'Hot Buttered Soul','What's Going On','Talking Book','Extentions Of A Man',etc.
'Quiet Storm' not only belongs there but quite significantly so and (honestly) it deserves one of those 2 CD 20'th Century Masters reissues EMMEDIATELY!It's definately Smokey Robinson's most powerful and influencial solo album and seems to never get the credit,or listeners due it.But take my word and that of pretty much everyone here-this album will captivate you upon the first listen and will certainly do much to swoon your sweetheart and yourself into pure musical romance.
And besides how many albums can be credited with starting a whole spesific genre of music anyway?

Smokey's music libray is like the libray of congress. It's hard to say which is his best, but if someone had a gun to my head and I had to pick, I would pick Quiet Storm..

...just like he did at the beginning of Motown. Now here he his, just like Marvin Gaye and Stevie Wonder, going beyond the pop success for a new sound, new direction, new motivations. Marvin & Stevie went their way; and "Quiet Storm" was Smokey's way.

His way was smoother, more gentler, never one to ruffle feathers like Marvin or Stevie did with their songs. That's why Smokey is the genius he is; he didn't try to do anyone else's style but his own.

The album is quintessential Smokey...his same songwriting formula he has used for decades. You can imagine that if this were the mid 60s, these tracks would sound something like "Track of My Tears" or "Ooh Baby Baby". The melodies and rhythms simply reflect what the 70s were about, using "non-native" instruments (latin percussions/rhythms), funkier beats and bass lines, and non-standard rhythms and times. Smokey is a master songwriter, always keeping his ear to what's hip, and that what "Baby That's Back Atcha" is; hip, funky, and totally Smokey. "The Agony and the Ecstasy" is old-school Smokey and those from all the 'hoods and barrios include this in their Oldies mixes (how 'bout that opening line? Vintage Smokey hooking you into the song). And the title track itself started a whole new sub-genre of R&B music...can you think of another song that has done that? Nothing more need be said.

He will be considered in the future one of the 20th century's greatest American songwriters, up there with Cole Porter, Bob Dylan, Stevie Wonder, and Bruce Springsteen. This album simply reaffirms what many already know.

Only these words could truly describe this album-Flawless, beautiful, and mesmerizing. A true classic! One of my personal favorites.

Growing up in the Bronx NYC back in the day, My Mother wore this album to death (And to this day 30 years later she still has it and still plays it). Smokey was indeed the man back in the day, this album really delivers everything the one cut that I really love is "The Wedding Song" he composed this song in December 1973 for the wedding of Jermaine (Of the Jackson 5) & Hazel Joy Jackson (Daughter of Motown Founder Berry Gordy). Your music library is not complete unless you have this timeless classic THIS IS REAL MUSIC

When funk groups, mega-member R&B bands ruled and Disco was starting to creep and crawl into everyone's conscious, Smokey went in a totally different direction. He gave birth to a musical genre with this classic, laidback, grooving, smooth album! He let everyone know, you could be in chill-mode the entire time and still capture mega sales and attention. No booty shaking, galactic, shiny, reflective costumes, or disco moves were necessary! He made a serious "love" statement with this perfect project! Grown Folks music with a silky flavor!