WEBVTT - Questlove’s Valentine’s Day Music Picks — The Love Edition

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<v Speaker 1>Quest Love Show is a production of iHeart Radio.

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<v Speaker 2>All right, people, You know I can't have this moniker,

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<v Speaker 2>this name Questlove and not display my mastery of what

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<v Speaker 2>it is that I really really do. And you know,

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<v Speaker 2>I know, I'm all things to all people. But at

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<v Speaker 2>the end of the day, I'm a curator.

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<v Speaker 1>I'm a pruner.

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<v Speaker 2>I'm a farmer of music at heart, meaning having grown

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<v Speaker 2>up in a household with three thousand records, currently owning

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<v Speaker 2>two hundred thousand records. I will say that I believe

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<v Speaker 2>that I know a finger or two around the kitchen,

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<v Speaker 2>if you will, when it comes to curating music. And

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<v Speaker 2>of course there are various times out the year where

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<v Speaker 2>a lot of my friends will tap me to make

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<v Speaker 2>them a mixtape right quick. Thanksgiving I'm always asked to

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<v Speaker 2>put together to four hour Thanksgiving mix, which is harder

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<v Speaker 2>than you think because you want something that fills the

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<v Speaker 2>room with music, but you don't want it too wordy.

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<v Speaker 2>So often, for like dinner requests, I do instrumental jazz,

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<v Speaker 2>but like vibrant because you know, if you play something

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<v Speaker 2>too mellow, then that'll bring the mood down. Of course

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<v Speaker 2>I'll get the birthday request or you know, the office

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<v Speaker 2>party request, or some of my chef friends will have

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<v Speaker 2>a opening and need a five hour playlist. And you know,

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<v Speaker 2>I do playlists like most people do the New York

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<v Speaker 2>Times puzzles, like I just I got to challenge myself

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<v Speaker 2>to discover new songs. But I will say that February

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<v Speaker 2>fourteenth of every year of my life is probably the busiest.

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<v Speaker 1>Now.

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<v Speaker 2>Back when I was in the do you want more

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<v Speaker 2>elodelf Half Life Days, yeah, I would make customize mixtapes,

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<v Speaker 2>meaning individual cassettes specifically for that person and make a

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<v Speaker 2>pretty penny doing it.

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<v Speaker 1>Nowadays, I just I want to share the love and

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<v Speaker 1>share the joy.

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<v Speaker 2>So Valentine's Days represents two types of playlists for me,

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<v Speaker 2>playlist of people in love and play list for people

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<v Speaker 2>who are depressed.

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<v Speaker 1>Because they lost love. And the thing is with slow jams.

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<v Speaker 2>I find that when I do these two playlists, oftentimes

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<v Speaker 2>the depressing playlist is the most popular one. Matter of fact,

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<v Speaker 2>my most high file client couple, the female half of this,

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<v Speaker 2>has gotten word back to me that the breakup Heartbreak

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<v Speaker 2>one is our favorite because that has the most jams

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<v Speaker 2>on it. So, you know, toxic love and us just

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<v Speaker 2>mixing it up. That's nothing new spoiler alert. When I

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<v Speaker 2>do the Earth Wind and Fire podcast, Philip Bailey, in

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<v Speaker 2>a very humorous way, breaks down the song Reasons because

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<v Speaker 2>a lot of us.

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<v Speaker 1>Are like, oh, that's my song, that's my song, and.

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<v Speaker 2>Reasons is about an affair like earth Wind and Fire

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<v Speaker 2>famously turned down two million dollars to play Reasons at

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<v Speaker 2>a wedding, only because Philip Bailey had to tell the

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<v Speaker 2>bride and groom like, dude, you do not want your

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<v Speaker 2>wedding to be ruined by a song about a couple

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<v Speaker 2>cheating on each other. So I know that we tend

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<v Speaker 2>to make toxic songs about affairs like Whitney Houston saving

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<v Speaker 2>All My Love for You, or Sweet Thing by Rufus

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<v Speaker 2>and Chaka Khan, or even Reasons by Earth Went and Fire.

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<v Speaker 1>Those are our jams.

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<v Speaker 2>But I decided to make two playlists, like one that's

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<v Speaker 2>sort of affirmational love, real true love, and the other

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<v Speaker 2>is the toxic breakup love, the sad love, the songs

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<v Speaker 2>that you want to cry to.

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<v Speaker 1>Because we like being melodramatic.

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<v Speaker 2>So usually when I make a playlist, I start with

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<v Speaker 2>either an interlude or in this case, a poem.

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<v Speaker 1>One of my proudest moments.

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<v Speaker 2>Is helping singer Cody Chestnut get to the limelight for

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<v Speaker 2>that brief period in two thousand and two when he

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<v Speaker 2>did The Seed two point zero with the Roots. But

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<v Speaker 2>he had a brilliant, brilliant, kind of do it yourself

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<v Speaker 2>record called The Headphone Masterpiece, and he opens that record

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<v Speaker 2>with a poem by poet artist Sonya Marie, and it's

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<v Speaker 2>called with Me and Mind and I don't know Man.

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<v Speaker 2>With Me and Mind is almost like as many times

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<v Speaker 2>as an artist tries to emulate the sexiness that Prince

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<v Speaker 2>represented back in his early eighties, Heyday, look up with

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<v Speaker 2>Me and Mind by Cody Chestnut and Sonya Marie and

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<v Speaker 2>Chestnut by the Ways with two t's h E S

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<v Speaker 2>n U T T all Right Cody Chestnut and Sonya

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<v Speaker 2>Marie with Me and Mind. Another song that I love

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<v Speaker 2>is uh, you know, I'm always in Michelle and Deoceella's ear.

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<v Speaker 2>One of her most brilliant projects she's ever done is

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<v Speaker 2>the Grammy nominated album Van Triloquism, which I know is

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<v Speaker 2>nominated for a Grammy.

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<v Speaker 1>I don't know if it won.

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<v Speaker 2>I know she recently won a Grammy, but I think

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<v Speaker 2>this one was just nominated and what it is is

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<v Speaker 2>it's like an interpretation of songs that we've known and love,

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<v Speaker 2>and she does puts her little twist on it. And

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<v Speaker 2>I told her, I was like, Yo, you need to

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<v Speaker 2>do part two of Van Triloquism, and I think it's

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<v Speaker 2>only right that you take your song back. And for

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<v Speaker 2>people that don't know what I mean, if you are

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<v Speaker 2>a lover of Brian McKnight's song anytime.

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<v Speaker 1>Do I well show my anytime?

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<v Speaker 2>You know that song is essentially just outside your Door

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<v Speaker 2>by Michelle and Diguelo Cello. And it senses me that

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<v Speaker 2>people don't know it's the original. And for me, I'm like, yo, Michelle,

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<v Speaker 2>when you do Ventriloquism Part two, your collection of cover songs,

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<v Speaker 2>you should redo anytime Brian McKnight as outside your Door

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<v Speaker 2>to let him know. Yeah, I see what you did.

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<v Speaker 2>Like you know, I love when an artist takes the

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<v Speaker 2>high road. Artists being reltigious to each other is not

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<v Speaker 2>my favorite thing, but you know, sometimes you got to

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<v Speaker 2>call out a bite. I don't care how classic the

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<v Speaker 2>song is, so outside your Door by Michelle and Decocello.

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<v Speaker 2>And I also appreciate the fact that she did not

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<v Speaker 2>rhyme the words waiting anticipating.

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<v Speaker 1>Which every R and B artist does anyway.

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<v Speaker 2>Next up, think of al Green's many classics, Simply Beautiful

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<v Speaker 2>is probably his most loved, quiet, intimate song. That's him

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<v Speaker 2>playing guitar on it. I didn't know he was playing

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<v Speaker 2>acoustic guitar.

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<v Speaker 1>Who knew?

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<v Speaker 2>But simply Beautiful by al Green expresses love and intimacy

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<v Speaker 2>and quietness, and it's feeling like if you really want

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<v Speaker 2>to know what a soul ballot should sound like and

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<v Speaker 2>feel like it shows sensitivity, it shows kind of a

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<v Speaker 2>there's just some really human about that song. So simply

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<v Speaker 2>Beautiful by Algreen be my third song. My fourth song

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<v Speaker 2>is Sensuality by the Isisley Brothers. You know Isley Brothers

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<v Speaker 2>are notorious for putting some of the best slow jams

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<v Speaker 2>on side two of their records. I remember one person

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<v Speaker 2>asked me once like, well, how did they make slow

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<v Speaker 2>jams in the seventies if, like cassette tapes weren't prominent.

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<v Speaker 1>Good question.

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<v Speaker 2>If you were the household that had half inch reels,

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<v Speaker 2>like if you were what they call a gear head,

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<v Speaker 2>meaning if you had a high end high five stereo

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<v Speaker 2>with tubes vacuum tubing like really good, like the good

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<v Speaker 2>System for nineteen seventy three or seventy four or seventy

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<v Speaker 2>six or whatever year. In this seventies, nine times out

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<v Speaker 2>of ten, you also had to purchase a half inch reel,

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<v Speaker 2>which is basically an adult cassette. They invented a cassette

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<v Speaker 2>to get rid of the reels, So I mean, the

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<v Speaker 2>tape is the same, but you would have to take

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<v Speaker 2>this giant reel and hook it up and it would

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<v Speaker 2>allow you to have anywhere between a half hour to

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<v Speaker 2>an hour's worth.

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<v Speaker 1>Of music on these tapes.

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<v Speaker 2>And if your parents were the house party type, you know,

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<v Speaker 2>this was their version of the playlist of streaming. So

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<v Speaker 2>you know, nowadays people hit me up, yo, just stream

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<v Speaker 2>some music so I can play it for an hour

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<v Speaker 2>and then you hook it up to your Bluetooth speakers.

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<v Speaker 2>While I well, back in the seventies, yeah, I had

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<v Speaker 2>to watch my dad like take tape and rail the

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<v Speaker 2>real tape and play his favorite song and wait for

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<v Speaker 2>the ending. And in order for us to have an

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<v Speaker 2>hour worth of music enjoyment, Dad would almost have to

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<v Speaker 2>do this like three to four hour process. So yeah,

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<v Speaker 2>Sensuality by the AlSi Brothers is one of those songs

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<v Speaker 2>that were always a mainstay on my dad's tapes. Fun

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<v Speaker 2>fact for you Soul Aquarium fans. When James Poyser and

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<v Speaker 2>I worked on Balau's Queen of Sanity, we literally I

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<v Speaker 2>remember putting Sensuality on. We went to my record room

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<v Speaker 2>in Philly, played it twice and did the same thing.

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<v Speaker 2>James used the moods that Chris Jasper use, and a

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<v Speaker 2>lot of times when I'm playing drums and a seventy

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<v Speaker 2>soul reference, I will morph or shape shift into Ernie Eisley,

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<v Speaker 2>primarily known for guitar playing, but Ernie Eisley also played

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<v Speaker 2>drums on most of the Isley Brothers songs in their

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<v Speaker 2>seventies heydays. So all those roles like in Fight the Power,

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<v Speaker 2>just you know those roles, that's an Ernie Isley role.

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<v Speaker 2>But in Sensuality, his tom tom work, he would have

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<v Speaker 2>no high hats in it and he would just hit

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<v Speaker 2>these tom times like they were like boulders rolling down

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<v Speaker 2>the hill and it's quiet. I emulated that for Queen

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<v Speaker 2>of Sanity for Balau. So shout out to drummer Ernie Isley.

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<v Speaker 2>Number five is a group from the seventies called Brainstorm

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<v Speaker 2>some of you may not be familiar with them. I

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<v Speaker 2>know that at one point they were based out of Detroit, Michigan,

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<v Speaker 2>that much I do know. I know that they were

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<v Speaker 2>on Taboo Records. Shout out to Clarence Avon. I think

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<v Speaker 2>they were one of his first clients. Singer Ella Woods

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<v Speaker 2>her vocal on it. Also there's a male singer. I

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<v Speaker 2>don't know if it's a professor R. J. Ross or

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<v Speaker 2>if it's Lamont Johnson, I'm not certain. But also if

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<v Speaker 2>you're a fan of George Michael's work with whim dion Estes,

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<v Speaker 2>he had a song called Heaven Helped Me, like in

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<v Speaker 2>eighty eight, but he first started out playing with Brainstorm,

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<v Speaker 2>and they had what we would call a quiet Storm

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<v Speaker 2>staple of a song, and that song was called this

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<v Speaker 2>Must be Heaven, and so pretty much just in the

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<v Speaker 2>late seventies, that song was a mainstay on quiet Storm,

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<v Speaker 2>Black Radio and escapable and it still works to this day.

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<v Speaker 2>Like most people gravitates towards the floaters float on, you know,

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<v Speaker 2>because they liked the whole introduction of the band and

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<v Speaker 2>the zodiac signs. But no, This Must Be Heaven is

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<v Speaker 2>to me quintessential seventies kind of just atmospheric, beautiful soul.

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<v Speaker 1>Ballads that are unsung.

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<v Speaker 2>Number six, I will say is by one of my

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<v Speaker 2>favorite singers, Minnie Julia Ripperton aka.

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<v Speaker 1>Maya Rudolph's mama.

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<v Speaker 2>Of course, Minnie Ripperton had a cult classic of a

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<v Speaker 2>group called the Rotary Connection on Chess Records, produced by

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<v Speaker 2>Charles Stephanie, who, of course will also get behind the

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<v Speaker 2>boards for Earth.

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<v Speaker 1>Wind and Fire.

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<v Speaker 2>And you know, Stevie Wonder was such a fan that

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<v Speaker 2>I believe Maya Rudolph told us on the very first

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<v Speaker 2>quest of Supreme that his way of introducing himself to

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<v Speaker 2>Minnie Ripperton was stopping by Roscoe's Chicken and Waffles to

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<v Speaker 2>get a bucket of chicken and no pun intended blind

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<v Speaker 2>knocking on her door. Hi, I'm Stevie Wonder, and instead

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<v Speaker 2>of a bouquet, he gave her a bucket of fried

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<v Speaker 2>chickens like I love your voice and any who. He

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<v Speaker 2>wanted to produce Mini Rippleton, and Motown blocked this order.

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<v Speaker 2>I don't know how that happened, but yes, Motown blocked

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<v Speaker 2>him producing Mini Ripleton, but he did it anyway. So

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<v Speaker 2>I believe that the album which is called Perfect Angel

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<v Speaker 2>is produced by a figure called El Toro negro, which

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<v Speaker 2>means the black bull, which means someone born May thirteenth,

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<v Speaker 2>which means that they are a tarus, which means that

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<v Speaker 2>was Steve Lamb Marris doing the production duties.

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<v Speaker 1>So Loving You.

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<v Speaker 2>One of the greatest songs that I believe Stevie Wonder

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<v Speaker 2>has ever written for someone besides himself. By the way,

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<v Speaker 2>for you hardcore fans out there, look up the reissue

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<v Speaker 2>of the Perfect Angel album and there's an alternate version

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<v Speaker 2>of Loving You in which Stevie has like a full

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<v Speaker 2>fledged rhythm section on there. Of course, the version we

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<v Speaker 2>all know in Love is just stripped down to just

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<v Speaker 2>Rhodes and synth and birds, which makes it more.

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<v Speaker 1>Intimate and sexy.

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<v Speaker 2>And then there's the version where it's kind of like

0:15:24.640 --> 0:15:26.200
<v Speaker 2>a slow Latin groove.

0:15:26.000 --> 0:15:28.160
<v Speaker 1>But it's very, very interesting.

0:15:28.840 --> 0:15:33.600
<v Speaker 2>So the deal is Isaac Hayes, who probably the two

0:15:33.680 --> 0:15:36.880
<v Speaker 2>things that he did to push the needle or the

0:15:37.000 --> 0:15:40.200
<v Speaker 2>envelope for it as far as music creativity in the

0:15:40.240 --> 0:15:46.760
<v Speaker 2>seventies is number one, adding orchestration to his work. Of course,

0:15:46.800 --> 0:15:51.360
<v Speaker 2>then Barry White will follow suit, and then my guys

0:15:51.680 --> 0:15:54.840
<v Speaker 2>Gamble and Huff for Philadelphia will take it even further

0:15:55.600 --> 0:16:00.840
<v Speaker 2>by having lush orchestrations in their work. But really, I mean,

0:16:01.680 --> 0:16:05.720
<v Speaker 2>I will say that Isaac Hayes is really the true

0:16:05.760 --> 0:16:11.800
<v Speaker 2>pioneer of giving a lot of space and the agency

0:16:11.960 --> 0:16:16.960
<v Speaker 2>to his orchestral arrangements on top of these like soulful

0:16:17.880 --> 0:16:24.600
<v Speaker 2>rhythmic sections, and I will say that probably of these songs, oh,

0:16:24.600 --> 0:16:29.000
<v Speaker 2>I'm sorry. The second aspect besides your orchestration is his

0:16:30.720 --> 0:16:35.480
<v Speaker 2>ability to stretch a song. Once the album format was

0:16:35.640 --> 0:16:40.240
<v Speaker 2>the epicenter of how music was delivered before nineteen sixty.

0:16:39.960 --> 0:16:41.440
<v Speaker 1>Seven, it was about forty fives.

0:16:41.440 --> 0:16:44.440
<v Speaker 2>And then when Sergeant Pepper's came out by the Beatles

0:16:44.440 --> 0:16:48.280
<v Speaker 2>and Sully, that made the album important. Like suddenly there's

0:16:48.320 --> 0:16:52.160
<v Speaker 2>things like liner notes and gatefolds, and you know, an

0:16:52.200 --> 0:16:55.880
<v Speaker 2>album could be a piece of art, not just disc

0:16:56.080 --> 0:16:58.240
<v Speaker 2>with your three hits and a bunch of cover songs,

0:16:58.280 --> 0:17:01.880
<v Speaker 2>like it'd be conceptual and all those things. So by

0:17:01.920 --> 0:17:07.679
<v Speaker 2>the time Isaaca's made the Black Moses album, he was

0:17:07.720 --> 0:17:12.760
<v Speaker 2>turning like his slow jams. Typical time would be somewhere

0:17:12.800 --> 0:17:16.840
<v Speaker 2>between twelve to nineteen minutes, almost an entire side of

0:17:16.880 --> 0:17:20.919
<v Speaker 2>an album, which you know, long slow jams. Oh Jesus

0:17:21.000 --> 0:17:23.440
<v Speaker 2>Christ so he would have a motif on all these

0:17:23.440 --> 0:17:28.159
<v Speaker 2>albums called Ike's Rap, and this sort of starts the blueprint.

0:17:28.200 --> 0:17:31.119
<v Speaker 2>This is the blueprint of which you know when you

0:17:31.200 --> 0:17:33.840
<v Speaker 2>hear those like slow jams and someone has to talk,

0:17:34.200 --> 0:17:38.800
<v Speaker 2>Hey baby, Barry White does it well? Like Barry White

0:17:38.840 --> 0:17:41.199
<v Speaker 2>and Isaac CAA's were like neck and neck as far

0:17:41.240 --> 0:17:46.320
<v Speaker 2>as they are execution these these new untested ideas. But

0:17:47.080 --> 0:17:52.560
<v Speaker 2>in terms of timing, Isaac Cay's was the first, and

0:17:52.640 --> 0:17:55.160
<v Speaker 2>the reason why they're called Ike's Rap is like he'll

0:17:55.440 --> 0:18:00.480
<v Speaker 2>usually the first three to four minutes, sometimes five minutes,

0:18:01.080 --> 0:18:04.159
<v Speaker 2>he'll just start off with a monologue where it's like

0:18:04.160 --> 0:18:06.600
<v Speaker 2>a one way conversation where he's talking to his woman

0:18:06.680 --> 0:18:10.119
<v Speaker 2>on the phone or he's just on a couch, Like

0:18:10.600 --> 0:18:14.280
<v Speaker 2>you hear him preparing the wine, you hear the champagne popping,

0:18:15.960 --> 0:18:19.560
<v Speaker 2>and you hear him serving a glass, and like it

0:18:19.600 --> 0:18:22.639
<v Speaker 2>feels like you're actually like it's like a reality show,

0:18:22.680 --> 0:18:26.080
<v Speaker 2>like you're inside of his living room as he's talking

0:18:26.119 --> 0:18:29.800
<v Speaker 2>to his lady. And for me, one of his best

0:18:29.840 --> 0:18:32.800
<v Speaker 2>Ikes rap, I believe there's like six all together, but

0:18:32.960 --> 0:18:36.360
<v Speaker 2>my favorite Ikes Rap wasn't Part three, which is called

0:18:36.400 --> 0:18:38.119
<v Speaker 2>Your Love is So Dog Going Good.

0:18:38.880 --> 0:18:41.160
<v Speaker 1>It's a nine minute just.

0:18:42.320 --> 0:18:48.080
<v Speaker 2>Masterstroke of quiet storm genius. So Ike's wrap three. Your

0:18:48.119 --> 0:18:51.320
<v Speaker 2>Love Is So Dog Go Good is my seventh choice.

0:18:52.520 --> 0:18:58.840
<v Speaker 2>My eighth choice is a band that was produced by

0:18:59.040 --> 0:19:04.280
<v Speaker 2>the grandfather of my longtime tour manager. Tina Farris has

0:19:04.359 --> 0:19:09.240
<v Speaker 2>been tour manager of the Roots for twenty five years.

0:19:09.800 --> 0:19:11.920
<v Speaker 2>We've known her for thirty back when she was a

0:19:11.960 --> 0:19:14.879
<v Speaker 2>student at She was just a student at UCLA and

0:19:14.960 --> 0:19:18.520
<v Speaker 2>we were just a band playing at UCLA, and we

0:19:18.560 --> 0:19:21.239
<v Speaker 2>met her after the show, became friends with her, and

0:19:21.280 --> 0:19:24.320
<v Speaker 2>then five years later she came to see us perform

0:19:24.400 --> 0:19:26.439
<v Speaker 2>in Paris and she knew I speak a little French,

0:19:26.440 --> 0:19:30.080
<v Speaker 2>and you know, she would get around and next thing

0:19:30.119 --> 0:19:32.760
<v Speaker 2>I know, we were asking her to be our tour manager.

0:19:32.760 --> 0:19:35.840
<v Speaker 2>And she's kind of the go to person. But her

0:19:35.920 --> 0:19:41.119
<v Speaker 2>grandfather is the legendary Harvey Fucoa who of course started

0:19:41.160 --> 0:19:43.879
<v Speaker 2>off in the legendary Duke wop group called Harvey and

0:19:43.920 --> 0:19:44.600
<v Speaker 2>the Moon Close.

0:19:45.240 --> 0:19:47.200
<v Speaker 1>He most famously.

0:19:47.119 --> 0:19:50.040
<v Speaker 2>Took the Tito the Tito Jackson of the Moon Close,

0:19:50.560 --> 0:19:55.800
<v Speaker 2>a young man named Marvin Pence Gay to Motown and

0:19:55.880 --> 0:19:58.840
<v Speaker 2>the rest is history. Harvey also co produced He was

0:19:58.840 --> 0:20:01.080
<v Speaker 2>like a father figure of Mark and so he also

0:20:01.680 --> 0:20:05.280
<v Speaker 2>helped work on the What's Going On album, also helped

0:20:05.280 --> 0:20:10.480
<v Speaker 2>write Sexual Healing. But Harvey also produced this band called

0:20:10.520 --> 0:20:14.440
<v Speaker 2>The New Birth, to whom they were also.

0:20:14.560 --> 0:20:16.840
<v Speaker 1>Doubled as a band called The Night Lighters.

0:20:17.040 --> 0:20:21.119
<v Speaker 2>There are so many unsung classics that this band has,

0:20:21.280 --> 0:20:25.560
<v Speaker 2>and again from Detroit, Michigan, one of their best songs

0:20:26.240 --> 0:20:30.280
<v Speaker 2>is It's been a long Time. If you're a fan

0:20:30.359 --> 0:20:34.880
<v Speaker 2>of Doctor Dre's work with the World Class Record Crew,

0:20:35.560 --> 0:20:38.640
<v Speaker 2>the first time we heard Doctor Dre's work, at least

0:20:38.640 --> 0:20:41.080
<v Speaker 2>on a national level a song called turn Off the

0:20:41.160 --> 0:20:44.639
<v Speaker 2>Lights where he gets Michelle Aid to sing the hook

0:20:45.440 --> 0:20:51.520
<v Speaker 2>but the music backdrop has been a long time. And yeah,

0:20:51.640 --> 0:20:58.720
<v Speaker 2>basically that song is an absolute, absolute, absolute must have.

0:20:59.200 --> 0:21:05.359
<v Speaker 2>Singer Leslee Wilson sings that song like his life depends

0:21:05.440 --> 0:21:05.800
<v Speaker 2>on it.

0:21:06.359 --> 0:21:07.399
<v Speaker 1>One of the main.

0:21:07.320 --> 0:21:10.680
<v Speaker 2>Regrets I have in life is Leslie just passed away

0:21:11.600 --> 0:21:14.280
<v Speaker 2>shortly before Christmas of last year.

0:21:14.280 --> 0:21:16.560
<v Speaker 1>I think he died in October.

0:21:17.160 --> 0:21:21.919
<v Speaker 2>But he sings that song like it's just you just

0:21:21.960 --> 0:21:25.359
<v Speaker 2>want to experience, like what some of the best ad

0:21:25.359 --> 0:21:28.760
<v Speaker 2>libs singing ever in six minutes of a slow song.

0:21:29.520 --> 0:21:33.760
<v Speaker 2>It's been a long time that's my number eight choice

0:21:33.800 --> 0:21:37.520
<v Speaker 2>for new Birth. For number nine, I say it's Love

0:21:37.560 --> 0:21:40.440
<v Speaker 2>Won't Let Me Wait by Major Harris.

0:21:41.040 --> 0:21:43.760
<v Speaker 1>I remember when the song will come on.

0:21:43.920 --> 0:21:48.600
<v Speaker 2>Major Harris, of course, was a key figure in Philadelphia.

0:21:48.800 --> 0:21:53.600
<v Speaker 2>He started off as a member of the legendary Delphonics,

0:21:54.320 --> 0:21:58.160
<v Speaker 2>and when the band sort of went their separate ways,

0:21:59.080 --> 0:22:03.040
<v Speaker 2>Major Harris into Atlantic Records and release.

0:22:02.880 --> 0:22:05.280
<v Speaker 1>The all time classic love Won't Let Me Wait.

0:22:06.040 --> 0:22:10.560
<v Speaker 2>Many know Luther Vandrosi's cover the song, but for me,

0:22:11.280 --> 0:22:16.080
<v Speaker 2>the two staples of this song that I feel that

0:22:16.200 --> 0:22:22.720
<v Speaker 2>are forever lasting in proper slow jam quiet storm songs.

0:22:23.480 --> 0:22:30.280
<v Speaker 2>First of all, it's kind of the silky tenor saxophone

0:22:30.520 --> 0:22:36.480
<v Speaker 2>that always sounds like it's someone at a real swinky,

0:22:36.760 --> 0:22:40.440
<v Speaker 2>French upscale dinner where you have to wear a tuxedo

0:22:41.160 --> 0:22:45.479
<v Speaker 2>and you ordered the best wine. And you know, like,

0:22:46.000 --> 0:22:51.119
<v Speaker 2>if you listen to the intro, that song like it

0:22:51.200 --> 0:22:56.480
<v Speaker 2>has that this is an adult affair kind of feeling

0:22:56.520 --> 0:23:00.440
<v Speaker 2>to it. And second, and most importantly, this is one

0:23:00.480 --> 0:23:05.160
<v Speaker 2>of the first songs that I believe.

0:23:06.280 --> 0:23:08.280
<v Speaker 1>Kind of captured the sound of.

0:23:09.760 --> 0:23:18.159
<v Speaker 2>A woman having somewhere between a passionate expression and an orgasm.

0:23:18.520 --> 0:23:23.440
<v Speaker 2>If you will so, I remember when the song would

0:23:23.440 --> 0:23:26.240
<v Speaker 2>come on the radio, my parents would always like, just

0:23:26.400 --> 0:23:28.960
<v Speaker 2>lower the volume when.

0:23:29.600 --> 0:23:30.800
<v Speaker 1>Yeah, they would turn that down.

0:23:31.200 --> 0:23:35.119
<v Speaker 2>So but Love Won't Let Me Wait is a song

0:23:35.200 --> 0:23:40.919
<v Speaker 2>that any true collection of Quiet Storm music cannot do without.

0:23:41.480 --> 0:23:46.200
<v Speaker 2>And my last choice for my love songs for love's

0:23:46.200 --> 0:23:50.960
<v Speaker 2>sake is of course, whenever you hear artists talk about

0:23:51.000 --> 0:23:55.560
<v Speaker 2>like who their favorite singer is, any soul singer worth

0:23:55.600 --> 0:23:59.480
<v Speaker 2>their weight and goal will say that Donnie Hathaway is

0:23:59.520 --> 0:24:04.760
<v Speaker 2>their favorite. However, there's a cover which I believe started

0:24:04.760 --> 0:24:05.959
<v Speaker 2>with blood, sweat and tears.

0:24:05.960 --> 0:24:06.919
<v Speaker 1>There's a cover.

0:24:06.960 --> 0:24:09.800
<v Speaker 2>Of I Love You more than You Ever Know that

0:24:09.880 --> 0:24:13.800
<v Speaker 2>he does. That's Live at at the Bitter End. Like

0:24:13.840 --> 0:24:17.919
<v Speaker 2>I know that this song is on his Extensions of

0:24:17.960 --> 0:24:22.600
<v Speaker 2>a Man album, but when he did his live record

0:24:22.720 --> 0:24:25.080
<v Speaker 2>Live at the Bitter End, this was not included on

0:24:25.119 --> 0:24:30.640
<v Speaker 2>the original Donnie Hathaway Live. However, since his passing, they've

0:24:30.680 --> 0:24:37.080
<v Speaker 2>released the outtakes of there's several Donnie Hathaway live performances,

0:24:37.280 --> 0:24:42.560
<v Speaker 2>and not to mention, I believe for that live album

0:24:42.640 --> 0:24:46.880
<v Speaker 2>they recorded three live shows, so I think there might

0:24:46.920 --> 0:24:51.800
<v Speaker 2>be two more live captures of him in concert, of

0:24:51.840 --> 0:24:58.600
<v Speaker 2>which they do a devastating devastating cover of I Love

0:24:58.640 --> 0:25:02.639
<v Speaker 2>You more than you'll ever know. So those are my

0:25:03.359 --> 0:25:09.000
<v Speaker 2>heart filled of love, capturing of the perfect curated love

0:25:09.040 --> 0:25:13.400
<v Speaker 2>songs for your valentine AND's needs. All right, So come

0:25:13.440 --> 0:25:16.520
<v Speaker 2>back and I will have the antidote of that which

0:25:16.560 --> 0:25:17.879
<v Speaker 2>is the heartbreak version.

0:25:18.119 --> 0:25:19.399
<v Speaker 1>All right, thank you,