17 Steamy R&B Songs That Defined the Quiet Storm Sound

Time to dim the lights and indulge in some sumptuous romantic vibes.

Forget genres—some of the best listening experiences are all about vibes.

Take Quiet Storm, that iconic melting pot of lush instrumentals, silky vocals, and vulnerable lyrics that birthed some of the most incredible slow jams ever made. It’s laid-back but also quietly urgent. Soothing but insistent, ready to set your living room couches or bedrooms ablaze.

It’s the kind of music that, like New Jack Swing, you know it when you hear it.

I spent many hours listening to old Quiet Storm radio recordings when I was younger. Call me a helpless romantic, but I’ve always adored how emotionally involved listeners would get in those shows. Stories of crushes keeping folks up at night or spurned lovers wanting to get someone back in their lives. That common ground people shared helped make the vibe unforgettable.

In this post, I highlight 20 of the greatest Quiet Storm tracks from the genre’s heyday (i.e., the early-80s through the end of the 90s), as well as a few more modern canon entries. I’ll also share some background into why the movement became such a late-night radio staple.

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What is Quiet Storm?

Quiet Storm started as a late-night radio format known for playing R&B, soul, pop, and jazz records, some dating back to the 1950s. The first Quiet Storm radio show aired on Howard University’s WHUR, a station better known for its news programming than its music. Melvin Lindsay, then a station intern, was a last-minute fill-in for an ailing colleague and decided to play what he described as “beautiful black music […] the counterpart of the easy-listening stations.”

Quiet Storm’s vibes quickly became an overnight sensation due in large part to D.C.’s massive, increasingly affluent Black population. Soon, Quiet Storm late-night shows began popping up across the continental United States. By the mid-80s, many R&B artists looking for their breakthrough started recording songs that catered to the Quiet Storm audience.

It’s safe to say names like Anita Baker, Luther Vandross, Sade, and many others wouldn’t have reaped the same commercial rewards with Quiet Storm’s wind at their backs.

Beyond its sonic influences, which can still be heard in releases from Drake, the Weeknd, Bryson Tiller, and many others, the format also represents a moment when more sophistication entered R&B. Lyrics became deeper and subtler simultaneously, exploring more complex themes about love and loss. Quiet Storm music released today still emphasizes atmosphere and, in so doing, how hard it can tug on your heartstrings.

These days, there’s an added bit of nostalgia baiting in Quiet Storm programming, which now includes all manner of streaming playlists. Like the yacht rock craze—a topic I’ll be exploring in more detail soon—it’s become synonymous with a simpler time when adults actually felt comfortable expressing a desire for love, sex, and emotional fulfillment more broadly.

For more information on the format’s fascinating backstory, check out this wonderful retrospective from Vox:

17 Songs That Define the Sexy, Smooth Quiet Storm Sound

Let’s begin with the track that gave the format its namesake:

1. "A Quiet Storm" by Smokey Robinson (1975)

The song that charted a new course for R&B at large was also largely responsible for revitalizing Robinson’s career at a relatively low point. His first two solo albums, including 1974’s Pure Smokey, were both considered commercial flops. With his Motown glory days fading fast, he knew he needed a hit. Rather than glom on to political commentary, he tackled raging internal demons.

On top of proving he was still a creative force to be reckoned with, “A Quiet Storm” set a new sonic standard by which countless artists would be judged in the decades since. Clocking in at nearly eight minutes, it’s a track that invites you to luxuriate in its intricacies, from the steady bongo groove to the yearning woodwinds. The lyrical energy has also been ripped off repeatedly, couching desire in heady metaphor (“Lucky me, umbrella-free/Suddenly I'm caught up in your somber rain”).

50 years later, it’s still excellent.

2. "Let’s Get It On" by Marvin Gaye (1973)

When it comes to all-time bedroom anthems, Marvin Gaye’s “Let’s Get It On” seems inevitable to the point of being cliche. But, if you strip away that baggage, you’d be hard-pressed to find a sexier, more effortlessly smooth R&B ballad than this one. Clips of him performing the song live are a testament to how ravenous the audience’s appetite was for the mood he was selling them.

Underneath its horny veneer, there’s a deep sense of emotional longing that makes this song more complex than it may seem at first. Here’s what I noted when I first wrote about Gaye’s eponymous album back in 2023:

“I think is lost on most modern accounts of this record is how much yearning there is for an authentic expression of romance, physical or otherwise. A line like “giving yourself to me can never be wrong/If the love is true” always struck me as far more complex than it seems on first listen. Is it a total rejection of one-off, less involved encounters? If those are less true an expression of love, can they feel right?”

Try to imagine how many babies were conceived to this song. I’m not sure I can count that high, actually.

3. "Sweet Love" by Anita Baker (1986)

The Top 10 standout from Baker’s Grammy-winning album Rapture, “Sweet Love,” became a Quiet Storm staple upon its release. Her husky voice epitomized unassuming elegance, a pitch-perfect counterpoint to the male performers dominating Quiet Storm playlists. Her popularity on Black radio vaulted her from relative unknown status to global sensation, helping Rapture sell over 5 million copies in the US in the process.

A significant aspect of this song’s appeal is how universally accessible the vibes are. "I wanted to do it from a consumer standpoint," she said. "When I come home from whatever I'm doing all day, I want to put on an album that's consistent in whatever it is… fireside love songs, with jazz, blues, and gospel overtones.” It was a winning strategy.

4. "A House Is Not a Home" by Luther Vandross (1981)

The sprawling closing track off his megahit Never Too Much, “A House Is Not a Home,” cemented Luther Vandross as the poster child for male romantic longing. Despite being recorded by several other big names, including Dionne Warwick, Vandross’s soaring, pained interpretation of the lyrics has stood the test of time as the definitive version of Burt Bacharach and Hal David’s 1964 ballad.

What makes Vandross such a special talent—and arguably the most recognizable 80s star from the Quiet Storm format—is how his vocals glide gently instead of bowling you over with their sheer force. His range was awe-inspiring, but what’s incredible is how, where other crooners like Teddy Pendergrass would be flooring it during a song’s climax, Vandross eases up off the gas. It’s a tactic he’d use over and over again throughout his career to devastating effect.

5. "Smooth Operator" by Sade (1984)

The best-known track off Sade’s flawless debut album, Diamond Life, “Smooth Operator is proof that Quiet Storm staples can be more than languid slow jams. Initially dismissed by some as innocuous smooth jazz, this song is the ultimate in sultry sophistication, driven by its tight central groove, warm saxophone runs, and lead singer Helen Folasade Adu’s hypnotic contralto.

The writing on “Smooth Operator” consistently flies under the radar but is essential to its lusty, late-night aesthetic. Adu describes its titular lothario as moving from woman to woman “with minimum waste and maximum joy,” adding that the occasion is “no place for beginners or sensitive hearts.” Except maybe the song is crafted precisely for the latter group as a way to live their innermost desires vicariously through her imagery.

Any way you slice it, “Smooth Operator” is a stone-cold Quiet Storm classic.

6. "Between the Sheets" by the Isley Brothers (1983)

Sampled ad nauseum by many hip-hop, R&B, and pop producers, this 80s Isley Brothers classic is one of the most seductive tracks committed to tape. Marvin Isley’s delicious bass vamp, accentuated by some light, deft percussion touches, immediately pulls you into a lush, vivid setting that, if we’re being honest, is constructed for only one outcome.

Then there’s Ronald Isley's pitch-perfect vocal performance full of tantalizing declarations, like when he tells his partner that he’ll “take [her] there to that ecstasy.” In a 2013 interview, Isley famously told Marvin Gaye that “Between the Sheets” would “[…] knock ‘Sexual Healing’ off” its slow jam pedestal. Your mileage may vary regarding that comparison, but there’s no denying this song’s cultural staying power.

7. "I Just Wanna Stop" by Gino Vannelli (1978)

Released in 1978, Gino Vanelli’s “I Just Wanna Stop” remains the biggest hit of his career. The single peaked at No. 4 on the Billboard Hot 100 and topped the pop charts in Canada. Beyond some built-in sentimentality (Vanelli is from my hometown), this song is also emblematic of the Quiet Storm format’s ability to help artist cross genre and, let’s be frank, racial boundaries with their music.

“I Just Wanna Stop” ticks a lot of vibe boxes I’ve covered already: raw vocals, lush production, and emotionally vulnerable writing. And yet, Vanelli isn’t exactly what you picture when the term “Quiet Storm” is mentioned. Through the 70s and early-80s, Vanelli defied those expectations, becoming one of the first caucasian artists to perform on Soul Train, an appearance that led to a gig touring with Stevie Wonder in 1974.

Some may think his music is a surprising inclusion on Quiet Storm playlists, but the more I researched past programming for this post, the more I was struck by how consistently this song, in particular, has endured on late-night radio and streaming.

8. “How ‘Bout Us” by Champaign (1981)

Romantic affirmations don’t get more soulful than Champaign’s 1981 hit, “How ‘Bout Us,” easily the most popular track off their album of the same name. The funny part of the track’s backstory is it wasn’t the first time some version of the group had recorded it. The original version dates back to 1975 when an earlier incarnation dubbed themselves the Waters Brothers Band. I’m glad they got another crack at it.

Sonically, this ballad is a bit of a proxy for similar tracks that graced many Quiet Storm DJ rotations, like “Shining Star” by the Manhattans. There’s still something so sweetly magical about a lovestruck protagonist letting his or her guard down and asking, “Why not us?” We’ve all been there, scared of rejection and disappointment but infatuated enough to hold out hope anyway.

As an enduring symbol of love and tenderness, you could do a lot worse.

9. "Close the Door" by Teddy Pendergrass (1978)

You can’t have a conversation about R&B’s sexiest voices without at least mentioning the late, great Teddy Pendergrass. After leaving his post as the frontman for Harold Melvin & the Blue Notes in 1976, his smooth baritone and sex symbol status translated into a hugely successful solo career. Even after a devastating car crash left him with permanent physical limitations, he continued to chart well in R&B circles through the end of the 80s.

“Close the Door,” one of his many collaborations with Kenneth Gamble and Leon Huff for Philadelphia International, exemplifies why, at his peak, no one did sensual quite like Pendergrass. His vocals teem with a virile intensity without coming off as overly aggressive, urging his woman to let her “give you what you’ve been waiting for.” He’s supported by a swooning string arrangement by Belford Hendricks, who also worked with him on “Love T.K.O.”

It’s no wonder why it’s still a Quiet Storm mainstay all these years later.

10. "Rock Me Tonight (For Old Times Sake)" by Freddie Jackson (1985)

“Rock Me Tonight (For Old Times Sake)” was the first single off Freddie Jackson’s eponymous debut album, and what an opening statement it was. Referred to by some as a “rhythmic ballad,” the New York native instantly carved out a niche for himself as a purveyor of silky, straightforward romance. It’s no coincidence that he rose to prominence right when the initial wave of the Quiet Storm radio gold rush was cresting.

Let’s not get it twisted, however. Straightforward, in this case, isn’t a synonym for dumbed down or reductive. Instead, what Jackson does particularly well is tap into a universal human experience: having someone walk back into your life after months or years apart and, in so doing, offering you a second chance at love. “Now I've got myself together,” he sings at one point. “And I know just what I want/And right now I know that it's you.”

Right in the feels, every time.

11. Roberta Flack – "Feel Like Makin’ Love" (1974)

Despite being covered by R&B luminaries like D’Angelo, Gladys Knight & the Pips, George Benson, Lou Rawls, and many others, Roberta Flack’s “Feel Like Makin’ Love” remains the definitive version of this classic song. With gently expressive vocals that float above an infectious groove of bongos, guitars, and electric piano, you can’t fake this level of intimacy on record.

The lead single for the album of the same name, “Feel Like Makin’ Love,” also solidified Flack’s status as one of the most important female R&B voices of her generation. By topping the Hot 100 with this song, she became the first woman since 1940 to have a No. 1 hit in three consecutive years. It also garnered her three Grammy nods, including for Record and Song of the Year.

13. "Un-Break My Heart" by Toni Braxton (1996)

Quiet Storm vibes aren’t just about love in the here and now—it can also be about overcoming the pain of a past love that’s been lost to time. Enter “Un-Break My Heart,” the gargantuan mid-90s ballad by Toni Braxton. Its disposition clearly struck a chord with listeners worldwide, selling over 10 million copies and becoming one of the best-selling singles ever released.

Beyond Braxton’s impassioned vocal performance, an oft-overlooked aspect of the song’s success is Diane Warren’s songwriting. "It popped into my head, and I thought, 'I don't think I've heard that before,’” Warren told the Wall Street Journal. “I started playing around on the piano with these chords and did a key change, and then I knew, 'OK, this is magic.'”

The ironic part of all this? Braxton didn’t like the song and, at first, refused to record it. L.A. Reid supposedly convinced her to include it on Secrets, her wildly successful 1996 album. I’m sure she’s okay with how everything worked out.

14. "Never, Never Gonna Give Ya Up" by Barry White (1973)

My favorite bit of trivia about Barry White is that he never planned on being one of the most recognized male vocalists of his generation. Following his work with the Love Unlimited Orchestra, he was content to write and produce music for other singers—that is, until Larry Nunes, the businessman who helped bankroll some of his previous projects, insisted he release them himself.

“Never, Never Gonna Give Ya Up” was one of those early White hits that established him as a proxy for a deeply alluring masculinity. His deep, commanding baritone was a perfect counterpoint to the soft, supple orchestration it was often framed by, and this track is no exception. The strings and piano sway and swell at precisely the right moments, filling the gaps in between White’s breathy delivery.

Though he veered into self-parody territory towards the end of his recording career, his mid-to-late-70s hits still retain their timelessness.

15."Whip Appeal" by Babyface (1989)

Kenneth “Babyface” Edmonds is responsible for 26 R&B No. 1 hits, mainly as a writer/producer for other artists. Boyz II Men, Bobby Brown, Whitney Houston, Tevin Campbell, Chaka Khan, the list goes on and on. His solo material is often overlooked in his career arc, some of which quietly set new standards for late-80s and early-90s Quiet Storm excellence. “Whip Appeal” is unquestionably one of those tracks.

There’s a suave sleekness to Babyface’s presentation, both lyrically and vocally. The song’s all about being drawn to someone through non-verbal communication, a theme that he sells in his gently passionate performance. At one point, he describes “whip appeal” as “better than love,” which gives you an idea of the kind of fire he felt compelled to keep burning day and night.

A guy’s got to do what a guy’s got to do.

16. Alicia Keys – "Un-Thinkable (I’m Ready)" (2009)

Quiet Storm isn’t restricted to the old-school, either. Many 21st-century mainstays, especially Alicia Keys, have paid loving homage to downtempo, romantic R&B of a certain persuasion. Her track “Un-Thinkable (I’m Ready),” one that Billboard called the album’s standout, is driven by lust, yes, but also has more complicated emotions swirling around its central conceit. Like several other Quiet Storm songs on this list, it’s more layered than maybe it gets credit for.

Notably, this track is directly connected to the OVO Sound movement that, during the mid-2010s, dominated hip-hop and R&B charts and playlists worldwide. “Un-Thinkable” features writing credits for Drake and Noah “40” Shebib, who helped launch the careers of artists like The Weeknd and PartyNextDoor craft carnal crowdpleasers. Unsurprisingly, Drake is on record as an out-and-out Quiet Storm fan.

17. Earth, Wind & Fire – "After the Love Has Gone" (1979)

Let’s cap this list off with one of the most iconic bittersweet ballads ever written.

“After the Love Has Gone” was produced by the late Maurice White, frontman for Earth, Wind & Fire, and was written by the team of Jay Graydon, Chicago alum Bill Champlin, and slow jam maestro David Foster. The song was shopped around to different parties, including Motown executives and Daryl Hall & John Oates, all of whom passed. Champlin almost released a version of it as part of his 1978 solo album, Single.

According to bassist Verdine White, the track was one of the hardest for the band to record. "The track was based on a vibe,” he said. “We cut it about six, seven times, and Maurice just said, 'No, it's not right yet. We'll come back and get it tomorrow. It's not right yet.'And then one day we nailed it, and it was right. The way it felt. It sounded like Earth, Wind & Fire.”

Boy, does it ever. From the lilting precision of the horns to the elegant harmonies that never overpower Maurice’s lead vocal, every aspect of the composition comes together beautifully. The result is a ballad that completely blew me away when I saw it live in 2015. That’s the power of truly transcendent songcraft.

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Which of these classics speaks to you the most? Or did I miss a Quiet Storm gem you love? Sound off in the comments.