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Each year SiriusXM’s Yacht Rock Radio reignites some ongoing, mostly playful skirmishes among radio people and music fans. Is “Yacht Rock” what the term’s creators define it as — ’70s/early-’80s soft rock with some element of R&B/jazz/disco fusion? Is it what SXM plays — a wider version of soft pop from the late ’70s/early ’80s? Why are we canonizing this music from pop music’s doldrums in the first place?

But if you’re eager to play along with that discussion, SXM has just launched Yacht Soul, as a pop-up format currently appearing on SiriusXM’s channel 105 through July 8, after which time it will remain available on the SXM app. The channel is hosted by George Benson, whose reminiscences about songs and artists are interspersed several times an hour.

The new channel is a reminder of R&B’s place at the center of yacht rock. However much weight you want to put on them at a fraught time for pop music, I’d rather hear Benson’s “Give Me the Night” or “Turn Your Love Around” than a lot of other hits from the same period. In turn, Benson, Quincy Jones, Al Jarreau, and George Duke & Stanley Clarke were chief among the artists who were able to cross over during the worst moments of the “disco backlash” that kept other great things happening in R&B away from pop radio in 1980-82.

Like SXM’s Yacht Rock Radio, Yacht Soul is a broad mix of mellow R&B from the same era. The hook promos include some things that seem defining (Dennis Edwards’ “Don’t Look Any Further,” Bobby Caldwell’s “What You Won’t Do for Love,” Chaka Khan’s “Through the Fire”) and others that feel less likely (Evelyn King’s “Love Come Down,” Diana Ross’ “Love Hangover,” Natalie Cole’s “Sophisticated Lady”). Chances are you just disagreed with at least one of my characterizations. Such is the discussion.

Here’s Yacht Soul at 9:30 a.m. on July 3:

Fourplay, “101 Eastbound” — early ’90s instrumental that seems like more of a fit for Smooth Jazz
Brothers Johnson, “Strawberry Letter 23”
Quincy Jones f/Patti Austin, “Something Special”
Kool & the Gang, “Too Hot” — preceded by a vignette of George Benson talking about witnessing the band’s ascent
Brenda Russell, “New York Bars” — her hits (“So Good So Right” and “Piano in the Dark”) were nearly a decade apart, in 1979 and 1988; this is from a 1983 album
Bill Withers, “Lovely Day”
Patti Labelle, “New Attitude”
Manhattans, “Shining Star”
Average White Band, “School Boy Crush”
L.T.D., “Love Ballad” — Benson talks about hearing the original for the first time: “One of the best songs I ever heard.” Later, he would have a 1979 hit with his own uptempo version
Atlanta Rhythm Section, “So Into You” — It did crack the R&B chart (No. 93) in 1977. Not the hit single, but what sounded like a longer album version
William DeVaughn, “Be Thankful for What You Got” — 1974 hit that seems prescient in this context
Bee Gees, “How Deep Is Your Love”
Lionel Richie, “All Night Long (All Night)”
El DeBarge, “Someone”
George Benson, “This Masquerade” — Benson talks about not knowing the Leon Russell original, or Russell, when the song was brought to him, and his initial reluctance to cover it, or include a vocal on the Breezin’ album

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September 18, 2024

MUSIC MONDAY: “Yacht Soul” – What It Is, Who Made It, and Why It’s Everything You Love About Yacht Rock But Cooler (LISTEN)

by Lori Lakin Hutcherson ( @lakinhutcherson )

As we sail away from summer into the (hopefully) cooler climes of autumn, a playlist filled with Yacht Soul might just be the perfect accompaniment to those post-Labor Day outdoor gatherings.

In case you’re thinking, “Sounds fun, but what exactly is ‘Yacht Soul’?,” it’s the supercool, sophisticated sibling of the “Yacht Rock” genre , a term coined fifteen years ago to describe 1970s and 1980s adult-oriented rock music infused with jazz and R&B recorded primarily in California by acts such as Steely Dan, The Doobie Brothers, Toto, Kenny Loggins and Christopher Cross.

“Yacht Soul” heightens the soul, R&B and jazz elements of the music while dropping a dollop of funk in the mix.

The following quotes from soultracks.com perhaps illuminate the distinctions best:

… Donald Cleveland says that we have Yacht Soul question entirely backwards. “ To be honest, Yacht Rock should have been called Yacht Soul from the start. Anybody with ears knows that. The only thing ‘rock’ about Yacht is the label that was on the albums as originally released, so they could be filed separately from the ‘Soul’ albums. It was just easier for the White people listening to this music with obvious soulful stylings to just keep the White ‘rock’ labeling going, even if the musicians themselves were influenced by and working from a framework of Black Soul .” Mama’s Gun lead singer Andy Platts agrees. “ Really if we’re honest, you don’t get ‘Yacht Rock’ without the evolution of Black music in the first place, from which it borrows heavily, so perhaps this just underscores the issues with appropriating and using terms like the ‘yacht’ label .”

Songs like “Just The Two of Us” by Grover Washington, Jr. and Bill Withers , “Forget Me Nots” by Patrice Rushen , “Give Me The Night” by George Benson , “Rio De Janiero Blue” by Randy Crawford and Joe Sample and “Golden Time of Day” by Maze are strong examples of the style.

Many Yacht Soul classics were produced by music legend Quincy Jones , who guided Patti Austin , James Ingram , and Michael Jackson through unforgettable tunes such as “The Heat of Heat,” “Ai No Corrida,” “One Hundred Ways,” “It’s The Falling In Love,” “I Can’t Help It , “ and “Human Nature .”

Artists such as Al Jarreau, Donny Hathaway & Roberta Flack, Keni Burke, Brenda Russell, Earth, Wind and Fire, Chaka Khan and Sade also swim in the deep seas of Yacht Soul, which came to be known as “urban contemporary” by the late 1980s and 1990s.

I want to highlight a personal favorite from this era – Jermaine Jackson ‘s Top 20 R&B hit “You Like Me Don’t You” from his 1980 album Jermaine , written and produced by Jermaine and featuring a heart-melting harmonica solo from Stevie Wonder . The this mid-tempo cut still low key slaps. Hard.

You’ll notice some white artists in the Yacht Soul waters – many who charted as well or higher on the R&B charts than the Hot 100 with singles such as “Georgy Porgy” by Toto (featuring vocals by Cheryl Lynn ), “What You Won’t Do For Love” by Bobby Caldwell and “The Lowdown” by Boz Skaggs .

Yacht Soul songs have also provided ample sample material for hip hop producers from the 1990s to present day — like Will Smith ‘s use of “Forget Me Nots” as the backbone to his 1997 hit “Men in Black” and “I Keep Forgettin” as the driving groove of 1994’s “Regulate” by Warren G . — but there’s nothing like the original jams!

We truly hope you enjoy this compilation.

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Published in Jazz/Blues/Folk , Music , Playlists , Podcasts/Audio , Pop/R&B/Dance and U.S.

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My favorite GBN mix yet. This is the perfect equivalent to a 3 or 4 CD boxed set of Yacht Soul, a compilation I didn’t even know I needed. Now if only it would come out on vinyl!

Thank u Giltz!!!

Yacht Soul on SiriusXM: Smooth Sailing with RadioInsight

SiriusXM’s Yacht Rock Radio sparks debates on defining ‘Yacht Rock’ music. The channel has now launched Yacht Soul, playing mellow R&B music from the ’70s and ’80s. The channel is hosted by George Benson and features hits from artists like Quincy Jones and Al Jarreau. The playlist includes hits like Brothers Johnson’s “Strawberry Letter 23” and Brenda Russell’s “New York Bars.” Read the full story from RadioINSIGHT here..

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The 20 greatest yacht rock songs ever, ranked

27 July 2022, 17:50

By Tom Eames

We can picture it now: lounging on a swish boat as it bobs along the water, sipping cocktails and improving our tan. Oh, and it's the 1980s.

There's only one style of music that goes with this image: Yacht rock.

What is Yacht Rock?

Also known as the West Coast Sound or adult-oriented rock, it's a style of soft rock from between the late 1970s and early 1980s that featured elements of smooth soul, smooth jazz, R&B, funk, rock and disco.

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Although its name has been used in a negative way, to us it's an amazing genre that makes us feel like we're in an episode of Miami Vice wearing shoulder pads and massive sunglasses.

Here are the very best songs that could be placed in this genre:

Player - 'Baby Come Back'

Player - Baby Come Back

Not the reggae classic of the same name, this 1977 track was Player's biggest hit.

After Player disbanded, singer Peter Beckett joined Australia's Little River Band, and he also wrote 'Twist of Fate' for Olivia Newton-John and 'After All This Time' for Kenny Rogers.

Steely Dan - 'FM'

It's tough just choosing one Steely Dan song for this list, but we've gone for this banger.

Used as the theme tune for the 1978 movie of the same name, the song is jazz-rock track, though its lyrics took a disapproving look at the genre as a whole, which was in total contrast to the film's celebration of it. Still, sounds great guys!

Bobby Goldsboro - 'Summer (The First Time)'

Bobby Goldsboro - Summer (The First Time)

A bit of a questionable subject matter, this ballad was about a 17-year-old boy’s first sexual experience with a 31-year-old woman at the beach.

But using a repeating piano riff, 12-string guitar, and an orchestral string arrangement, this song just screams yacht rock and all that is great about it.

Kenny Loggins - 'Heart to Heart'

Kenny Loggins - Heart To Heart (Official Music Video)

If Michael McDonald is the king of yacht rock, then Kenny Loggins is his trusted advisor and heir to the throne.

This track was co-written with Michael, and also features him on backing vocals. The song is about how most relationships do not stand the test of time, yet some are able to do so.

Airplay - 'Nothing You Can Do About It'

Nothin' You Can Do About It

You might not remember US band Airplay, but they did have their moment on the yacht.

Consisting of David Foster (who also co-wrote the Kenny Loggins song above), Jay Graydon and the brilliantly-named Tommy Funderburk, this tune was a cover of a Manhattan Transfer song, and was a minor hit in 1981.

Boz Scaggs - 'Lowdown'

Boz Scaggs - Lowdown (Official Audio)

We've moved slightly into smooth jazz territory with this track, which is guaranteed to put a smile on your face.

The song was co-written by David Paich, who would go on to form Toto along with the song's keyboardist David Paich, session bassist David Hungate, and drummer Jeff Porcaro.

Steve Winwood - 'Valerie'

Steve Winwood - Valerie (Official Video)

This song is probably as far as you can get into pop rock without totally leaving the yacht rock dock.

Legendary singer-songwriter Winwood recorded this gong about a man reminiscing about a lost love he hopes to find again someday.

Eric Prydz later sampled it in 2004 for the house number one track ‘Call on Me’, and presented it to Winwood, who was so impressed he re-recorded the vocals to better fit the track.

Toto - 'Rosanna'

Toto - Rosanna (Official HD Video)

We almost picked 'Africa' , but we reckon this tune just about pips it in the yacht rock game.

Written by David Paich, he has said that the song is based on numerous girls he had known.

As a joke, the band members initially played along with the common assumption that the song was based on actress Rosanna Arquette, who was dating Toto keyboard player Steve Porcaro at the time and coincidentally had the same name.

Chicago - 'Hard to Say I'm Sorry'

Chicago - Hard To Say I'm Sorry (Official Music Video)

Chicago began moving away from their horn-driven soft rock sound with their early 1980s output, including this synthesizer-filled power ballad.

The 10 greatest Chicago songs, ranked

The album version segued into a more traditional Chicago upbeat track titled ‘Get Away’, but most radio stations at the time opted to fade out the song before it kicked in. Three members of Toto played on the track. Those guys are yacht rock kings!

Michael Jackson - 'Human Nature'

Michael Jackson - Human Nature (Audio)

A few non-rock artists almost made this list ( George Michael 's 'Careless Whisper' and Spandau Ballet 's 'True' are almost examples, but not quite), yet a big chunk of Thriller heavily relied on the yacht rock sound.

Michael Jackson proved just how popular the genre could get with several songs on the album, but 'Human Nature' is the finest example.

The Doobie Brothers - 'What a Fool Believes'

The Doobie Brothers - What A Fool Believes (Official Music Video)

Possibly THE ultimate yacht rock song on the rock end of the spectrum, and it's that man Michael McDonald.

Written by McDonald and Kenny Loggins, this was one of the few non-disco hits in America in the first eight months of 1979.

The song tells the story of a man who is reunited with an old love interest and attempts to rekindle a romantic relationship with her before discovering that one never really existed.

Michael Jackson once claimed he contributed at least one backing track to the original recording, but was not credited for having done so. This was later denied by the band.

Christopher Cross - 'Sailing'

Christopher Cross - Sailing (Official Audio)

We're not putting this in here just because it's called 'Sailing', it's also one of the ultimate examples of the genre.

Christopher Cross reached number one in the US in 1980, and VH1 later named it the most "softsational soft rock" song of all time.

Don Henley - 'The Boys of Summer'

The Boys Of Summer DON HENLEY(1984) OFFICIAL MUSIC VIDEO

Mike Campbell wrote the music to this track while working on Tom Petty’s Southern Accents album, but later gave it to Eagles singer Don Henley, who wrote the lyrics.

The song is about the passing of youth and entering middle age, and of a past relationship. It was covered twice in the early 2000s: as a trance track by DJ Sammy in 2002, and as a pop punk hit by The Ataris in 2003.

England Dan and John Cord Foley - 'I'd Really Love to See You Tonight'

England Dan & John Ford Coley - I'd Really Love To See You Tonight.avi

A big hit for this duo in 1976, it showcases the very best of the sock rock/AOR/yacht rock sound that the 1970s could offer.

Dan Seals is the younger brother of Jim Seals of Seals and Crofts fame. Which leads to...

Seals & Crofts - 'Summer Breeze'

Summer Breeze - Seals & Croft #1 Hit(1972)

Before The Isley Brothers recorded a slick cover, 'Summer Breeze' was an irresistible folk pop song by Seals & Crofts.

While mostly a folk song, its summer vibes and gorgeous melody make for a perfect yacht rock number.

Christopher Cross - 'Ride Like the Wind'

Ride Like The Wind Promo Video 1980 Christopher Cross

If Michael McDonald and Kenny Loggins are in charge of the yacht rock ship, then Christopher Cross has to be captain, right? Cabin boy? Something anyway.

The singer was arguably the biggest success story of the relatively short-lived yacht rock era, and this one still sounds incredible.

Eagles - 'I Can't Tell You Why'

The eagles - I can't tell you why (AUDIO VINYL)

Many Eagles tunes could be classed as yacht rock, but we reckon their finest example comes from this track from their The Long Run album in 1979.

Don Henley described the song as "straight Al Green", and that Glenn Frey, an R&B fan, was responsible for the R&B feel of the song. Frey said to co-writer Timothy B Schmit: "You could sing like Smokey Robinson . Let’s not do a Richie Furay, Poco-sounding song. Let’s do an R&B song."

Gerry Rafferty - 'Baker Street'

Gerry Rafferty - Baker Street (Official Video)

Gerry Rafferty probably didn't realise he was creating one of the greatest yacht rock songs of all time when he wrote this, but boy did he.

The Story of... 'Baker Street'

With the right blend of rock and pop and the use of the iconic saxophone solo, you can't not call this yacht rock at its finest.

Michael McDonald - 'Sweet Freedom'

Michael McDonald - Sweet Freedom (1986)

If you wanted to name the king of yacht rock, you'd have to pick Michael McDonald . He could sing the phone book and it would sound silky smooth.

Possibly his greatest solo tune, it was used in the movie Running Scared , and its music video featured actors Billy Crystal and Gregory Hines.

Hall & Oates - 'I Can't Go for That (No Can Do)'

Daryl Hall & John Oates - I Can't Go For That (No Can Do) (Official Video)

This duo knew how to make catchy hit after catchy hit. This R&B-tinged pop tune was co-written with Sara Allen (also the influence for their song 'Sara Smile').

Hall and Oates' 10 best songs, ranked

John Oates has said that the song is actually about the music business. "That song is really about not being pushed around by big labels, managers, and agents and being told what to do, and being true to yourself creatively."

Not only was the song sampled in De La Soul's 'Say No Go' and Simply Red 's 'Home', but Michael Jackson also admitted that he lifted the bass line for 'Billie Jean'!

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Smooth playlists, smooth's all time top 500, smooth soul, smooth country hot hits, smooth chill concentration, smooth podcast picks, they don't teach this at school with myleene klass, take that: this life, runpod with jenni falconer, the news agents.

December 1, 2023 50 Songs, 3 hours, 39 minutes ℗ 2023 Warner Music Group - X5 Music Group

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Top 50 Yacht Rock Songs

Yacht rock was one of the most commercially successful genres to emerge from the '70s and yet has managed to evade concise definition since its inception. For many listeners, it boils down to a feeling or mood that cannot be found in other kinds of music: Simply put, you know it when you hear it.

Some agreed-upon elements are crucial to yacht rock. One is its fluidity, with more emphasis on a catchy, easy-feeling melody than on beat or rhythm. Another is a generally lighthearted attitude in the lyrics. Think Seals & Crofts ' "Summer Breeze," Christopher Cross ' "Ride Like the Wind" or Bill Withers ' "Just the Two of Us." Yes, as its label suggests, music that would fit perfectly being played from the deck of a luxurious boat on the high seas.

But even these roughly outlined "rules" can be flouted and still considered yacht rock. Plenty of bands that are typically deemed "nyacht" rock have made their attempts at the genre: Crosby, Stills & Nash got a bit nautical with "Southern Cross," leading with their famed tightly knit harmonies, and Fleetwood Mac also entered yacht rock territory with "Dreams" – which, although lyrically dour, offers a sense of melody in line with yacht rock.

Given its undefined parameters, the genre has become one of music's most expansive corners. From No. 1 hits to deeper-cut gems, we've compiled a list of 50 Top Yacht Rock Songs to set sail to below.

50. "Thunder Island," Jay Ferguson (1978)

Younger generations might be more apt to recognize Jay Ferguson from his score for NBC's The Office , where he also portrayed the guitarist in Kevin Malone's band Scrantonicity. But Ferguson's musical roots go back to the '60s band Spirit; he was also in a group with one of the future members of Firefall, signaling a '70s-era shift toward yacht rock and "Thunder Island." The once-ubiquitous single began its steady ascent in October 1977 before reaching the Top 10 in April of the following year. Producer Bill Szymczyk helped it get there by bringing in his buddy Joe Walsh for a soaring turn on the slide. The best showing Ferguson had after this, however, was the quickly forgotten 1979 Top 40 hit "Shakedown Cruise." (Nick DeRiso)

49. "Southern Cross," Crosby, Stills & Nash (1982)

CSN's "Southern Cross" was an example of a more literal interpretation of yacht rock, one in which leftover material was revitalized by Stephen Stills . He sped up the tempo of a song titled " Seven League Boots " originally penned by brothers Rick and Michael Curtis, then laid in new lyrics about, yes, an actual boat ride. "I rewrote a new set of words and added a different chorus, a story about a long boat trip I took after my divorce," Stills said in the liner notes to 1991's CSN box. "It's about using the power of the universe to heal your wounds." The music video for the song, which went into heavy rotation on MTV, also prominently displayed the band members aboard a large vessel. (Allison Rapp)

48. "Jackie Blue," the Ozark Mountain Daredevils (1974)

Drummer Larry Lee only had a rough idea of what he wanted to do with "Jackie Blue," originally naming it after a bartending dope pusher. For a long time, the Ozark Mountain Daredevils' best-known single remained an instrumental with the place-keeper lyric, " Ooh, ooh, ooh, ooh Jackie Blue. He was dada, and dada doo. He did this, he did that ... ." Producer Glyn Johns, who loved the track, made a key suggestion – and everything finally snapped into place: "No, no, no, mate," Johns told them. "Jackie Blue has to be a girl." They "knocked some new lyrics out in about 30 minutes," Lee said in It Shined: The Saga of the Ozark Mountain Daredevils . "[From] some drugged-out guy, we changed Jackie into a reclusive girl." She'd go all the way to No. 3. (DeRiso)

47. "Sailing," Christopher Cross (1979)

You’d be hard-pressed to find a more quintessential yacht rock song than “Sailing.” The second single (and first chart-topper) off Christopher Cross’ 1979 self-titled debut offers an intoxicating combination of dreamy strings, singsong vocals and shimmering, open-tuned guitar arpeggios that pay deference to Cross’ songwriting idol, Joni Mitchell . “These tunings, like Joni used to say, they get you in this sort of trance,” Cross told Songfacts in 2013. “The chorus just sort of came out. … So I got up and wandered around the apartment just thinking, ‘Wow, that's pretty fuckin' great.’” Grammy voters agreed: “Sailing” won Record of the Year, Song of the Year and Best Arrangement at the 1981 awards. (Bryan Rolli)

46. "Just the Two of Us," Bill Withers and Grover Washington Jr. (1980)

A collaboration between singer Bill Withers and saxophonist Grover Washington Jr. resulted in the sleek "Just the Two of Us." When first approached with the song, Withers insisted on reworking the lyrics. "I'm a little snobbish about words," he said in 2004 . "I said, 'Yeah, if you'll let me go in and try to dress these words up a little bit.' Everybody that knows me is kind of used to me that way. I probably threw in the stuff like the crystal raindrops. The 'Just the Two of Us' thing was already written. It was trying to put a tuxedo on it." The track was completed with some peppy backing vocals and a subtle slap bass part. (Rapp)

45. "Sara Smile," Daryl Hall & John Oates (1975)

It doesn't get much smoother than "Sara Smile," Daryl Hall & John Oates ' first Top 10 hit in the U.S. The song was written for Sara Allen, Hall's longtime girlfriend, whom he had met when she was working as a flight attendant. His lead vocal, which was recorded live, is clear as a bell on top of a velvety bass line and polished backing vocals that nodded to the group's R&B influences. “It was a song that came completely out of my heart," Hall said in 2018 . "It was a postcard. It’s short and sweet and to the point." Hall and Allen stayed together for almost 30 years before breaking up in 2001. (Rapp)

44. "Rosanna," Toto (1982)

One of the most identifiable hits of 1982 was written by Toto co-founder David Paich – but wasn't about Rosanna Arquette, as some people have claimed, even though keyboardist Steve Porcaro was dating the actress at the time. The backbeat laid down by drummer Jeff Porcaro – a "half-time shuffle" similar to what John Bonham played on " Fool in the Rain " – propels the track, while vocal harmonies and emphatic brass sections add further layers. The result is an infectious and uplifting groove – yacht rock at its finest. (Corey Irwin)

43. "Diamond Girl," Seals & Crofts (1973)

Seals & Crofts were soft-rock stylists with imagination, dolling up their saccharine melodies with enough musical intrigue to survive beyond the seemingly obvious shelf life. Granted, the lyrics to “Diamond Girl,” one of the duo’s three No. 6 hits, are as sterile as a surgery-operating room, built on pseudo-romantic nothing-isms ( “Now that I’ve found you, it’s around you that I am” — what a perfectly natural phrase!). But boy, oh boy does that groove sound luxurious beaming out of a hi-fi system, with every nuance — those stacked backing vocals, that snapping piano — presented in full analog glory. (Ryan Reed)

42. "What You Won't Do for Love," Bobby Caldwell (1978)

Smooth. From the opening horn riffs and the soulful keyboard to the funk bass and the velvety vocals of Bobby Caldwell, everything about “What You Won’t Do for Love” is smooth. Released in September 1978, the track peaked at No. 9 on the Billboard Hot 100 and went on to become the biggest hit of Caldwell’s career. It was later given a second life after being sampled for rapper 2Pac's posthumously released 1998 hit single “Do for Love.” (Irwin)

41. "We Just Disagree," Dave Mason (1977)

Dave Mason's ace in the hole on the No. 12 smash "We Just Disagree" was Jim Krueger, who composed the track, shared the harmony vocal and played that lovely guitar figure. "It was a song that when he sang it to me, it was like, 'Yeah, that's the song,'" Mason told Greg Prato in 2014. "Just him and a guitar, which is usually how I judge whether I'm going to do something. If it holds up like that, I'll put the rest of the icing on it." Unfortunately, the multitalented Krueger died of pancreatic cancer at age 43. By then, Mason had disappeared from the top of the charts, never getting higher than No. 39 again. (DeRiso)

40. "Crazy Love," Poco (1978)

Rusty Young was paneling a wall when inspiration struck. He'd long toiled in the shadow of Stephen Stills , Richie Furay and Neil Young , serving in an instrumentalist role with Buffalo Springfield and then Poco . "Crazy Love" was his breakout moment, and he knew it. Rusty Young presented the song before he'd even finished the lyric, but his Poco bandmates loved the way the stopgap words harmonized. "I told the others, 'Don't worry about the ' ooh, ooh, ahhhh haaa ' part. I can find words for that," Young told the St. Louis Dispatch in 2013. "And they said, 'Don't do that. That's the way it's supposed to be.'" It was: Young's first big vocal became his group's only Top 20 hit. (DeRiso)

39. "Suspicions," Eddie Rabbitt (1979)

Eddie Rabbitt 's move from country to crossover stardom was hurtled along by "Suspicions," as a song about a cuckold's worry rose to the Top 20 on both the pop and adult-contemporary charts. Behind the scenes, there was an even clearer connection to yacht rock: Co-writer Even Stevens said Toto's David Hungate played bass on the date. As important as it was for his career, Rabbitt later admitted that he scratched out "Suspicions" in a matter of minutes, while on a lunch break in the studio on the last day of recording his fifth album at Wally Heider's Los Angeles studio. "Sometimes," Rabbitt told the Associated Press in 1985, "the words just fall out of my mouth." (DeRiso)

38. "Moonlight Feels Right," Starbuck (1976)

No sound in rock history is more yacht friendly than Bruce Blackman’s laugh: hilarious, arbitrary, smug, speckled with vocal fry, arriving just before each chorus of Starbuck’s signature tune. Why is this human being laughing? Shrug. Guess the glow of night will do that to you. Then again, this is one of the more strange hits of the '70s — soft-pop hooks frolicking among waves of marimba and synthesizers that could have been plucked from a classic prog epic. “ The eastern moon looks ready for a wet kiss ,” Blackman croons, “ to make the tide rise again .” It’s a lunar make-out session, baby. (Reed)

37. "Same Old Lang Syne," Dan Fogelberg (1981)

“Same Old Lang Syne” is a masterclass in economic storytelling, and its tragedy is in the things both protagonists leave unsaid. Dan Fogelberg weaves a devastating tale of two former lovers who run into each other at a grocery store on Christmas Eve and spend the rest of the night catching up and reminiscing. Their circumstances have changed — he’s a disillusioned professional musician, she’s stuck in an unhappy marriage — but their love for each other is still palpable if only they could overcome their fears and say it out loud. They don’t, of course, and when Fogelberg bids his high-school flame adieu, he’s left with only his bittersweet memories and gnawing sense of unfulfillment to keep him warm on that snowy (and later rainy) December night. (Rolli)

36. "Eye in the Sky," the Alan Parsons Project (1982)

Few songs strike a chord with both prog nerds and soft-rock enthusiasts, but the Alan Parsons Project's “Eye in the Sky” belongs to that exclusive club. The arrangement is all smooth contours and pillowy textures: By the time Eric Woolfson reaches the chorus, shyly emoting about romantic deception over a bed of Wurlitzer keys and palm-muted riffs, the effect is like falling slow motion down a waterfall onto a memory foam mattress. But there’s artfulness here, too, from Ian Bairnson’s seductive guitar solo to the titular phrase conjuring some kind of god-like omniscience. (Reed)

35. "Somebody's Baby," Jackson Browne (1982)

Jackson Browne 's highest-charting single, and his last Top 10 hit, was originally tucked away on the soundtrack for the 1982 teen comedy Fast Times at Ridgemont High . That placed Browne, one of the most earnest of singer-songwriters, firmly out of his element. "It was not typical of what Jackson writes at all, that song," co-composer Danny Kortchmar told Songfacts in 2013. "But because it was for this movie, he changed his general approach and came up with this fantastic song." Still unsure of how it would fit in, Browne refused to place "Somebody's Baby" on his next proper album – something he'd later come to regret . Lawyers in Love broke a string of consecutive multiplatinum releases dating back to 1976. (DeRiso)

34. "Still the One," Orleans (1976)

Part of yacht rock’s charm is being many things but only to a small degree. Songs can be jazzy, but not experimental. Brass sections are great but don’t get too funky. And the songs should rock, but not rock . In that mold comes Orleans’ 1976 hit “Still the One.” On top of a chugging groove, frontman John Hall sings about a romance that continues to stand the test of time. This love isn’t the white-hot flame that leaves passionate lovers burned – more like a soft, medium-level heat that keeps things comfortably warm. The tune is inoffensive, catchy and fun, aka yacht-rock gold. (Irwin)

33. "New Frontier," Donald Fagen (1982)

In which an awkward young man attempts to spark a Cold War-era fling — then, hopefully, a longer, post-apocalyptic relationship — via bomb shelter bunker, chatting up a “big blond” with starlet looks and a soft spot for Dave Brubeck. Few songwriters could pull off a lyrical concept so specific, and almost no one but Donald Fagen could render it catchy. “New Frontier,” a signature solo cut from the Steely Dan maestro, builds the sleek jazz-funk of Gaucho into a more digital-sounding landscape, with Fagen stacking precise vocal harmonies over synth buzz and bent-note guitar leads. (Reed)

32. "Sail On, Sailor," the Beach Boys (1973)

The Beach Boys were reworking a new album when Van Dyke Parks handed them this updated version of an unfinished Brian Wilson song. All that was left was to hand the mic over to Blondie Chaplin for his greatest-ever Beach Boys moment. They released "Sail On, Sailor" twice, however, and this yearning groover somehow barely cracked the Top 50. Chaplin was soon out of the band, too. It's a shame. "Sail On, Sailor" remains the best example of how the Beach Boys' elemental style might have kept growing. Instead, Chaplin went on to collaborate with the Band , Gene Clark of the Byrds and the Rolling Stones – while the Beach Boys settled into a lengthy tenure as a jukebox band. (DeRiso)

31. "Time Passages," Al Stewart (1978)

Al Stewart followed up the first hit single of his decade-long career – 1976's "Year of the Cat" – with a more streamlined take two years later. "Time Passages" bears a similar structure to the earlier track, including a Phil Kenzie sax solo and production by Alan Parsons. While both songs' respective album and single versions coincidentally run the same time, the 1978 hit's narrative wasn't as convoluted and fit more squarely into pop radio playlists. "Time Passages" became Stewart's highest-charting single, reaching No. 7 – while "Year of the Cat" had stalled at No. 8. (Michael Gallucci)

30. "I Go Crazy," Paul Davis (1977)

Paul Davis looked like he belonged in the Allman Brothers Band , but his soft, soulful voice took him in a different direction. The slow-burning nature of his breakthrough single "I Go Crazy" was reflected in its chart performance: For years the song held the record for the most weeks spent on the chart, peaking at No. 7 during its 40-week run. Davis, who died in 2008, took five more songs into the Top 40 after 1977, but "I Go Crazy" is his masterpiece – a wistful and melancholic look back at lost love backed by spare, brokenhearted verses. (Gallucci)

29. "Biggest Part of Me," Ambrosia (1980)

Songwriter David Pack taped the original demo of this song on a reel-to-reel when everyone else was running late, finishing just in time: "I was waiting for my family to get in the car so I could go to a Fourth of July celebration in Malibu," he told the Tennessean in 2014. "I turned off my machine [and] heard the car horn honking for me." Still, Pack was worried that the hastily written first verse – which rhymed " arisin ,'" " horizon " and " realizin '" – might come off a little corny. So he followed the time-honored yacht-rock tradition of calling in Michael McDonald to sing heartfelt background vocals. Result: a Top 5 hit on both the pop and adult-contemporary charts. (DeRiso)

28. "Africa," Toto (1982)

Remove the cover versions, the nostalgia sheen and its overuse in TV and films, and you’re left with what makes “Africa” great: one of the best earworm choruses in music history. Never mind that the band is made up of white guys from Los Angeles who'd never visited the titular continent. Verses about Mt. Kilimanjaro and the Serengeti paint a picture so vivid that listeners are swept away. From the soaring vocals to the stirring synth line, every element of the song works perfectly. There’s a reason generations of music fans continue to proudly bless the rains. (Irwin)

27. "Hello It's Me," Todd Rundgren (1972)

“Hello It’s Me” is the first song Todd Rundgren ever wrote, recorded by his band Nazz and released in 1968. He quickened the tempo, spruced up the instrumentation and delivered a more urgent vocal for this 1972 solo rendition (which became a Top 5 U.S. hit), but the bones of the tune remain the same. “Hello It’s Me” is a wistful, bittersweet song about the dissolution of a relationship between two people who still very much love and respect each other a clear-eyed breakup ballad lacking the guile, cynicism and zaniness of Rundgren’s later work. “The reason those [early] songs succeeded was because of their derivative nature,” Rundgren told Guitar World in 2021. “They plugged so easily into audience expectations. They’re easily absorbed.” That may be so, but there’s still no denying the airtight hooks and melancholy beauty of “Hello It’s Me.” (Rolli)

26. "Smoke From a Distant Fire," the Sanford/Townsend Band (1977)

There are other artists who better define yacht rock - Michael McDonald, Steely Dan, Christopher Cross - but few songs rival the Sanford/Townsend Band's "Smoke From a Distant Fire" as a more representative genre track. (It was a Top 10 hit in the summer of 1977. The duo never had another charting single.) From the vaguely swinging rhythm and roaring saxophone riff to the light percussion rolls and risk-free vocals (that nod heavily to Daryl Hall and John Oates' blue-eyed soul), "Smoke" may be the most definitive yacht rock song ever recorded. We may even go as far as to say it's ground zero. (Gallucci)

25. "Dream Weaver," Gary Wright (1975)

Unlike many other songs on our list, “Dream Weaver” lacks lush instrumentation. Aside from Gary Wright’s vocals and keyboard parts, the only added layer is the drumming of Jim Keltner. But while the track may not have guitars, bass or horns, it certainly has plenty of vibes. Inspired by the writings of Paramahansa Yogananda – which Wright was turned on to by George Harrison – “Dream Weaver” boasts a celestial aura that helped the song peak at No. 2 in 1976. (Irwin)

24. "Reminiscing," Little River Band (1978)

The third time was the charm with Little River Band 's highest-charting single in the U.S. Guitarist Graeham Goble wrote "Reminiscing" for singer Glenn Shorrock with a certain keyboardist in mind. Unfortunately, they weren't able to schedule a session with Peter Jones, who'd played an important role in Little River Band's first-ever charting U.S. single, 1976's "It's a Long Way There ." They tried it anyway but didn't care for the track. They tried again, with the same results. "The band was losing interest in the song," Goble later told Chuck Miller . "Just before the album was finished, Peter Jones came back into town, [and] the band and I had an argument because I wanted to give 'Reminiscing' a third chance." This time they nailed it. (DeRiso)

23. "Heart Hotels," Dan Fogelberg (1979)

Ironically enough, this song about debilitating loneliness arrived on an album in which Dan Fogelberg played almost all of the instruments himself. A key concession to the outside world became the most distinctive musical element on "Heart Hotels," as well-known saxophonist Tom Scott took a turn on the Lyricon – a pre-MIDI electronic wind instrument invented just a few years earlier. As for the meaning of sad songs like these, the late Fogelberg once said : "I feel experiences deeply, and I have an outlet, a place where I can translate those feelings. A lot of people go to psychoanalysts. I write songs." (DeRiso)

22. "Year of the Cat," Al Stewart (1976)

Just about every instrument imaginable can be heard in Al Stewart's "Year of the Cat." What begins with an elegant piano intro winds its way through a string section and a sultry sax solo, then to a passionate few moments with a Spanish acoustic guitar. The sax solo, often a hallmark of yacht-rock songs, was not Stewart's idea. Producer Alan Parsons suggested it at the last minute, and Stewart thought it was the "worst idea I'd ever heard. I said, 'Alan, there aren’t any saxophones in folk-rock. Folk-rock is about guitars. Sax is a jazz instrument,'" Stewart said in 2021 . Multiple lengthy instrumental segments bring the song to nearly seven minutes, yet each seems to blend into the next like a carefully arranged orchestra. (Rapp)

21. "How Long," Ace (1974)

How long does it take to top the charts? For the Paul Carrack-fronted Ace: 45 years . "I wrote the lyric on the bus going to my future mother-in-law's," he later told Gary James . "I wrote it on the back of that bus ticket. That's my excuse for there only being one verse." Ace released "How Long" in 1975, reaching No. 3, then Carrack moved on to stints with Squeeze and Mike and the Mechanics . Finally, in 2020, "How Long" rose two spots higher, hitting No. 1 on Billboard's rock digital song sales chart after being featured in an Amazon Prime advertisement titled "Binge Cheat." (DeRiso)

20. "Brandy (You're a Fine Girl)," Looking Glass (1972)

Like "Summer Breeze" (found later in our list of Top 50 Yacht Rock Songs), Looking Glass' tale of an alluring barmaid in a busy harbor town pre-dates the classic yacht-rock era. Consider acts like Seals & Crofts and these one-hit wonders pioneers of the genre. Ironically, the effortless-sounding "Brandy (You're a Fine Girl)" was quite difficult to complete. "We recorded 'Brandy' two or three different times with various producers before we got it right," Looking Glass' principal songwriter Elliot Lurie told the Tennessean in 2016. The chart-topping results became so popular so fast, however, that Barry Manilow had to change the title of a new song he was working on to " Mandy ." (DeRiso)

19. "I Can't Tell You Why," Eagles (1979)

Timothy B. Schmit joined just in time to watch the Eagles disintegrate. But things couldn't have started in a better place for the former Poco member. He arrived with the makings of his first showcase moment with the group, an unfinished scrap that would become the No. 8 hit "I Can't Tell You Why." For a moment, often-contentious band members rallied around the outsider. Don Henley and Glenn Frey both made key contributions, as Eagles completed the initial song on what would become 1979's The Long Run . Schmit felt like he had a reason to be optimistic. Instead, Eagles released the LP and then promptly split up. (DeRiso)

18. "Sentimental Lady," Bob Welch (1977)

Bob Welch first recorded "Sentimental Lady" in 1972 as a member of Fleetwood Mac . Five years later, after separating from a band that had gone on to way bigger things , Welch revisited one of his best songs and got two former bandmates who appeared on the original version – Mick Fleetwood and Christine McVie – to help out (new Mac member Lindsey Buckingham also makes an appearance). This is the better version, warmer and more inviting, and it reached the Top 10. (Gallucci)

17. "So Into You," Atlanta Rhythm Section (1976)

Atlanta Rhythm Section is often wrongly categorized as a Southern rock band, simply because of their roots in Doraville, Ga. Songs like the seductively layered "So Into You" illustrate how little they had in common with the likes of Lynyrd Skynyrd . As renowned Muscle Shoals sessions ace David Hood once said, they're more like the " Steely Dan of the South ." Unfortunately, time hasn't been kind to the group. Two of this best-charting single's writers have since died , while keyboardist Dean Daughtry retired in 2019 as Atlanta Rhythm Section's last constant member. (DeRiso)

16. "Dreams," Fleetwood Mac (1977)

Stevie Nicks was trying to channel the heartbreak she endured after separating from Lindsey Buckingham into a song, but couldn't concentrate among the bustle of Fleetwood Mac's sessions for Rumours . "I was kind of wandering around the studio," she later told Yahoo! , "looking for somewhere I could curl up with my Fender Rhodes and my lyrics and a little cassette tape recorder." That's when she ran into a studio assistant who led her to a quieter, previously unseen area at Sausalito's Record Plant. The circular space was surrounded by keyboards and recording equipment, with a half-moon bed in black-and-red velvet to one side. She settled in, completing "Dreams" in less than half an hour, but not before asking the helpful aide one pressing question: "I said, 'What is this?' And he said, 'This is Sly Stone 's studio.'" (DeRiso)

15. "Minute by Minute," the Doobie Brothers (1978)

Michael McDonald was so unsure of this album that he nervously previewed it for a friend. "I mean, all the tunes have merit, but I don't know if they hang together as a record," McDonald later told UCR. "He looked at me and he said, 'This is a piece of shit.'" Record buyers disagreed, making Minute by Minute the Doobie Brothers' first chart-topping multiplatinum release. Such was the mania surrounding this satiny-smooth LP that the No. 14 hit title track lost out on song-of-the-year honors at the Grammys to "What a Fool Believes" (found later in our list of Top 50 Yacht Rock Songs) by the Doobie Brothers. (DeRiso)

14. "Lonely Boy," Andrew Gold (1976)

Andrew Gold’s only Top 10 U.S. hit is a story of parental neglect and simmering resentment, but those pitch-black details are easy to miss when couched inside such a deliciously upbeat melody. Gold chronicles the childhood of the titular lonely boy over a propulsive, syncopated piano figure, detailing the betrayal he felt when his parents presented him with a sister two years his junior. When he turns 18, the lonely boy ships off to college and leaves his family behind, while his sister gets married and has a son of her own — oblivious to the fact that she’s repeating the mistakes of her parents. Gold insisted “Lonely Boy” wasn’t autobiographical, despite the details in the song matching up with his own life. In any case, you can’t help but wonder what kind of imagination produces such dark, compelling fiction. (Rolli)

13. "Baby Come Back," Player (1977)

Liverpool native Peter Beckett moved to the States, originally to join a forgotten act called Skyband. By the time he regrouped to found Player with American J.C. Crowley, Beckett's wife had returned to England. Turns out Crowley was going through a breakup, too, and the Beckett-sung "Baby Come Back" was born. "So it was a genuine song, a genuine lyric – and I think that comes across in the song," Beckett said in The Yacht Rock Book . "That's why it was so popular." The demo earned Player a hastily signed record deal, meaning Beckett and Crowley had to assemble a band even as "Baby Come Back" rose to No. 1. Their debut album was released before Player had ever appeared in concert. (DeRiso)

12. "I'd Really Love to See You Tonight," England Dan & John Ford Coley (1976)

There aren't too many songs with choruses as big as the one England Dan & John Ford Coley pump into the key lines of their first Top 40 single. Getting there is half the fun: The conversational verses – " Hello, yeah, it's been a while / Not much, how 'bout you? / I'm not sure why I called / I guess I really just wanted to talk to you " – build into the superpowered come-on line " I'm not talking 'bout moving in ... ." Their yacht-rock pedigree is strong: Dan Seals' older brother is Seals & Croft's Jim Seals. (Gallucci)

11. "Hey Nineteen," Steely Dan (1980)

At least on the surface, “Hey Nineteen” is one of Steely Dan’s least ambiguous songs: An over-the-hill guy makes one of history’s most cringe-worthy, creepiest pick-up attempts, reminiscing about his glory days in a fraternity and lamenting that his would-be companion doesn’t know who Aretha Franklin is. (The bridge is a bit tougher to crack. Is anyone sharing that “fine Colombian”?) But the words didn’t propel this Gaucho classic into Billboard's Top 10. Instead, that credit goes to the groove, anchored by Walter Becker ’s gently gliding bass guitar, Donald Fagen’s velvety electric piano and a chorus smoother than top-shelf Cuervo Gold. (Reed)

10. "Rich Girl," Daryl Hall & John Oates (1976)

It’s one of the most economical pop songs ever written: two A sections, two B sections (the second one extended), a fade-out vocal vamp. In and out. Wham, bam, boom. Perhaps that's why it’s easy to savor “Rich Girl” 12 times in a row during your morning commute, why hearing it just once on the radio is almost maddening. This blue-eyed-soul single, the duo’s first No. 1 hit, lashes out at a supposedly entitled heir to a fast-food chain. (The original lyric was the less-catchy “rich guy ”; that one change may have earned them millions.) But there’s nothing bitter about that groove, built on Hall’s electric piano stabs and staccato vocal hook. (Reed)

9. "Fooled Around and Fell in Love," Elvin Bishop (1975)

Elvin Bishop made his biggest pop-chart splash with "Fooled Around and Fell In Love," permanently changing the first line of his bio from a former member of the Paul Butterfield Blues Band to a solo star in his own right. There was only one problem: "The natural assumption was that it was Elvin Bishop who was singing,” singer Mickey Thomas told the Tahoe Daily Tribune in 2007. Thomas later found even greater chart success with Starship alongside Donny Baldwin, who also played drums on Bishop's breakthrough single. "A lot of peers found out about me through that, and ultimately I did get credit for it," Thomas added. "It opened a lot of doors for me." (DeRiso)

8. "Baker Street," Gerry Rafferty (1978)

Gerry Rafferty already had a taste of success when his band Stealers Wheel hit the Top 10 with the Dylanesque "Stuck in the Middle With You" in 1973. His first solo album after the group's split, City to City , made it to No. 1 in 1978, thanks in great part to its hit single "Baker Street" (which spent six frustrating weeks at No. 2). The iconic saxophone riff by Raphael Ravenscroft gets much of the attention, but this single triumphs on many other levels. For six, mood-setting minutes Rafferty winds his way down "Baker Street" with a hopefulness rooted in eternal restlessness. (Gallucci)

7. "Dirty Work," Steely Dan (1972)

In just about three minutes, Steely Dan tells a soap-opera tale of an affair between a married woman and a man who is well aware he's being played but is too hopelessly hooked to end things. " When you need a bit of lovin' 'cause your man is out of town / That's the time you get me runnin' and you know I'll be around ," singer David Palmer sings in a surprisingly delicate tenor. A saxophone and flugelhorn part weeps underneath his lines. By the time the song is over, we can't help but feel sorry for the narrator who is, ostensibly, just as much part of the problem as he could be the solution. Not all yacht rock songs have happy endings. (Rapp)

6. "Ride Like the Wind," Christopher Cross (1979)

“Ride Like the Wind” is ostensibly a song about a tough-as-nails outlaw racing for the border of Mexico under cover of night, but there’s nothing remotely dangerous about Christopher Cross’ lithe tenor or the peppy piano riffs and horns propelling the tune. Those contradictions aren’t a detriment. This is cinematic, high-gloss pop-rock at its finest, bursting at the seams with hooks and elevated by Michael McDonald’s silky backing vocals. Cross nods to his Texas roots with a fiery guitar solo, blending hard rock and pop in a way that countless artists would replicate in the next decade. (Rolli)

5. "Summer Breeze," Seals & Crofts (1972)

Jim Seals and Dash Crofts were childhood friends in Texas, but the mellow grandeur of "Summer Breeze" makes it clear that they always belonged in '70s-era Southern California. "We operate on a different level," Seals once said , sounding like nothing if not a Laurel Canyon native. "We try to create images, impressions and trains of thought in the minds of our listeners." This song's fluttering curtains, welcoming domesticity and sweet jasmine certainly meet that standard. For some reason, however, they released this gem in August 1972 – as the season faded into fall. Perhaps that's why "Summer Breeze" somehow never got past No. 6 on the pop chart. (DeRiso)

4. "Lowdown," Boz Scaggs (1976)

As you throw on your shades and rev the motor, the only thing hotter than the afternoon sun is David Hungate’s sweet slap-bass blasting from the tape deck. “This is the good life,” you say to no one in particular, casually tipping your baseball cap to the bikini-clad crew on the boat zooming by. Then you press “play” again. What else but Boz Scaggs ’ silky “Lowdown” could soundtrack such a moment in paradise? Everything about this tune, which cruised to No. 3 on the Billboard Hot 100, is equally idyllic: Jeff Porcaro’s metronomic hi-hat pattern, David Paich’s jazzy keyboard vamp, the cool-guy croon of Scaggs — flexing about gossip and “schoolboy game.” You crack open another cold one — why not? And, well, you press play once more. (Reed)

3. "Lido Shuffle," Boz Scaggs (1976)

Scaggs' storied career began as a sideman with Steve Miller and already included a scorching duet with Duane Allman . Co-writer David Paich would earn Grammy-winning stardom with songs like "Africa." Yet they resorted to theft when it came to this No. 11 smash. Well, in a manner of speaking: "'Lido' was a song that I'd been banging around, and I kind of stole – well, I didn't steal anything. I just took the idea of the shuffle," Scaggs told Songfacts in 2013. "There was a song that Fats Domino did called 'The Fat Man ' that had a kind of driving shuffle beat that I used to play on the piano, and I just started kind of singing along with it. Then I showed it to Paich, and he helped me fill it out." Then Paich took this track's bassist and drummer with him to form Toto. (DeRiso)

2. "Peg," Steely Dan (1977)

"Peg" is blessed with several yacht-rock hallmarks: a spot on Steely Dan's most Steely Dan-like album, Aja , an impeccable airtightness that falls somewhere between soft-pop and jazz and yacht rock's stalwart captain, Michael McDonald, at the helm. (He may be a mere backing singer here, but his one-note chorus chirps take the song to another level.) Like most Steely Dan tracks, this track's meaning is both cynical and impenetrable, and its legacy has only grown over the years – from hip-hop samples to faithful cover versions. (Gallucci)

1. "What a Fool Believes," the Doobie Brothers (1978)

Michael McDonald not only steered the Doobie Brothers in a new direction when he joined in 1975, but he also made them a commercial powerhouse with the 1978 album Minute by Minute . McDonald co-wrote "What a Fool Believes" – a No. 1 single; the album topped the chart, too – with Kenny Loggins and sang lead, effectively launching a genre in the process. The song's style was copied for the next couple of years (most shamelessly in Robbie Dupree's 1980 Top 10 "Steal Away"), and McDonald became the bearded face of yacht rock. (Gallucci)

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Gallery Credit: UCR Staff

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This Is the Definitive Definition of Yacht Rock

By Timothy Malcolm July 12, 2019

Michael McDonald. One might say the smoothest mother in music history.

Image: Randy Miramontez / Shutterstock.com

About 10 years ago , somebody showed me a YouTube video of Michael McDonald and Kenny Loggins writing a song that’s smoother and more polished than anything else on the airwaves.

That video—lovingly spoofing the writing of the Doobie Brothers' 1978 hit “What a Fool Believes”— was the first episode of a series called Yacht Rock . Premiering in 2005 on the Los Angeles-based television incubator Channel 101, Yacht Rock struck a chord with a generation of music nerds who attempt to compartmentalize and categorize the songs they heard as children. The term “yacht rock” itself grew out of the video series, permeating our culture today as much as the music had back in the late 1970s and early '80s.

But here’s the thing about terms that permeate our culture today: They get compromised and bastardized to fit other people’s cozy narratives, typically based on their own nostalgia. Google “yacht rock” and you’ll find articles from across the media spectrum attempting to define the term , failing hard because these writers just don’t get it. There’s even a new BBC series about yacht rock , and while it went into great detail providing context on the emergence of the musical style, it still turned out to be one person’s definition that included songs that were—as some of us might say— nyacht rock.

I’m here to set the record straight—or smooth. Yacht rock is music, primarily created between 1976 and ‘84, that can be characterized as smooth and melodic, and typically combines elements of jazz, rhythm and blues, and rock. You’ll hear very little acoustic guitar (get that “Horse With No Name” out of there) but a lot of Fender Rhodes electric piano. Lyrics don’t get in the way of the song’s usually high musicality (some of the finest Los Angeles session players, including members of the band Toto, play on many yacht rock tunes.) The lyrics may, however, speak about fools. The songs are as light and bubbly as champagne on the high seas, yet oddly complex and intellectual.

And just to hammer this home: Fleetwood Mac is not yacht rock. Daryl Hall & John Oates are 98 percent not yacht rock. Those folkie songs from America, Pure Prairie League, and Crosby, Stills & Nash? Nope. Rupert Holmes's "Escape (The Piña Colada Song)"? Too wordy and not musically interesting—not yacht rock. How about "Summer Breeze" by Seals & Crofts? A little too folky, but close.

I’m not affected by personal nostalgia (I was born in 1984, just as the yacht rock era was ending); instead, I’m an objective music lover who just so happens to have been researching yacht rock for the past several years. I know the men who coined the term “yacht rock” ( they have a great podcast and actually rate whether or not a song is yacht rock ), and they can back me up on this.

So whether you’re docked for the summer or about to set sail on an adventure, allow me to steer you in the right direction. I've crafted for you the definitive yacht rock playlist—below are a few highlights:

“What a Fool Believes,” The Doobie Brothers

I won’t get any nerdier, I’ll just say that this is the song that epitomizes yacht rock. It’s effortlessly melodic, bouncy, and bright, features a prominent Fender Rhodes electric piano, and includes an ultra-smooth vocal from Michael McDonald.

“Heart to Heart,” Kenny Loggins

Loggins never quite knew whether to be a jazzy folkie or a rocker, but in between those two phases were a couple yachty gems, including this cool breeze on a warm summer day, from the 1982 album High Adventure . Just listen to Loggins’s vocal—it’s butter.

“FM,” Steely Dan

Steely Dan brought a New York edge and a habit of wanting the best players on their records to Los Angeles. In time their sound morphed into the whitest smooth jazz on the planet, aka yacht rock. “FM,” from 1978, has both that snarky exterior and smooth center, but look up the band’s classic albums Aja and Gaucho for a number of yachty delights.

“Human Nature,” Michael Jackson

Once you get to know yacht rock, you can begin traveling into yacht soul—smooth songs from top studio players that lean just a little harder on the R&B. This classic song from the 1982 album Thriller was written and performed by Toto. Jackson provides the gorgeously breezy vocal.

“Rosanna,” Toto

Speaking of Toto, these guys were and still are awesome musicians. The 1982 hit “Rosanna” proves this in spades—the drum shuffle is iconic, the twists are remarkable, and the sound is smoother than a well-sanded skiff.

“Nothin’ You Can Do About It,” Airplay

Who is Airplay? A one-album band created by mega-producer David Foster and session guitarist Jay Graydon. These guys wrote Earth, Wind & Fire’s “After the Love Has Gone,” then this absolute stunner from 1980, a bouncy, giddy, and gentle pop classic.

“I Really Don’t Know Anymore,” Christopher Cross

Emerging out of nowhere with a Grammy-winning album in 1979, Cross is the perfect yacht rock figure, a normal-looking white dude who just so happens to sing like the wind on a summer’s evening. This song, from that debut album, is essential yacht rock with a noticeable background singer—of course, Michael McDonald.

If you want to catch McDonald and sing along to some of his yacht rock classics, he’s performing Friday night at Cynthia Woods Mitchell Pavilion in The Woodlands. Chaka Khan—who also has a few yacht rock tunes in her catalog—will open. Tickets start at $39.50; prepare accordingly with this summer yacht rock playlist on Spotify . You’re welcome.

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Introducing

Too Slow to Disco – Yacht Soul

Originals by Fleetwood Mac, Toto, The Doobie Brothers, Hall & Oates, The Beach Boys, Steely Dan a.m.m. Covered by Aretha Franklin, Chaka Khan, Quincy Jones, Brothers Johnson a.m.m.

THE MAIN INGREDIENT – Summer Breeze (SEALS & CROFT)
DEE DEE BRIDGEWATER – He’s Gone (HALL & OATES)
TAVARES – I Hope You’ll Be Very Unhappy Without Me (BILL LABOUNTY)
BETTY EVERETT – God Only Knows (BEACH BOYS)
THE EBONYS – A Love Of Your Own (NED DOHENY)
POINTER SISTERS – Dirty Work (STEELY DAN)
LESLIE SMITH – Nothin’ You Can Do About It (AIRPLAY)
THE BROTHERS JOHNSON – In The Way (JEFF PORCARO/TOTO)
GREG PHILLINGANES – Lazy Nina (DONALD FAGEN)
PEABO BRYSON – Minute By Minute (DOOBIE BROTHERS)
CHAKA KHAN – Everywhere (FLEETWOOD MAC)
ARETHA FRANKLIN – What A Fool Believes (DOOBIE BROTHERS)
BILLY PAUL – Let ‘Em In (WINGS)
SIDE EFFECT – Georgy Porgy (TOTO)
QUINCY JONES – Takin’ It To The Streets (DOOBIE BROTHERS)
MILLIE JACKSON – This Is It (KENNY LOGGINS & MICHAEL MCDONALD)

The Cover Versions

“Wait… keep it on that station… is this the Doobies? That backbeat – it’s on fire! Whoa… that’s Aretha! Turn it up…”

It’s perhaps an obvious metaphor for us to reach for, but the whole Too Slow to Disco project has always viewed music a bit like ocean waves. They keep crashing back, slightly different, always bringing new things to the shore.

When we started out, our mission was to bring you the very best, over-musical-yet-under-remembered tunes – beautiful songs produced at incredible expense by the undersung geniuses of the 1970s and 80s. Next we wanted to share the musical story of the insanely talented, but often criminally overlooked, women writers and performers of that era. The waves kept crashing in though, and our story then moved bang up to date with our ‘Neo’ series, bringing you the best contemporary tune-makers who share our obsession with the AOR era.

But those beautiful waves keep crashing, and our latest project takes us to another delectably under-visited stretch of the shore: an incredible group of Black artists and their soulful takes on the smooth classics of those predominantly white Westcoast AOR/Yacht Laurel Canyon Hippies. Two worlds, paying their debts and respects to each other, in a series of brilliant covers that just jump out of the speakers. Ladies and gentlemen, be very reverent for the sound of Yacht Soul.

Our sherpa up this impressive musical mountain is none other than esteemed DJ, journalist, crate digger and renowned musicologist Greg Caz. Greg’s expertise at joining the dots of pop history made him the perfect guide for this new story and wonderful collection:

GREG CAZ: „The history of Black artists covering songs primarily associated with white writers and performers is a very long one, stretching all the way back to the early 20th century. These covers generally happened for a variety of musical and commercial reasons ranging from the desire to reach more white listeners to the simple fact that the performer really liked the song in question and felt they could find something personal and unique in it for their own version. Most popular music of the pre-Rock N’ Roll era was based on songs written for plays and films and that material, known today as the Great American Songbook, constitutes a large percentage of the midcentury Jazz repertoire. Names such as Rodgers & Hammerstein, Harold Arlen, George & Ira Gershwin, Irving Berlin, Cole Porter, Johnny Mercer, Sammy Cahn and many others are all too familiar from the credits of Jazz albums. As time went on, revolutions in the music business brought about new generations and new forms of making music and the non-performing songwriter-for-hire gradually faded into the background (even without disappearing entirely) as artists became increasingly expected to generate their own material. Even with all this, Rock and Pop artists found covering Blues and R&B songs to be a reliable source both of great material and of artistic credibility. Meanwhile, Soul and R&B artists would routinely cover current Pop-Rock songs as a way of expending their audiences and crossover potential…which brings us to the material on this latest installment of the Too Slow To Disco series.

What the tracks on this compilation all have in common is that they are songs written and/or popularized by Pop/Rock artists. In some cases the performers here are tackling these songs because they genuinely like them and find that they give them something interesting to work with. In other cases the decision to record the song in question perhaps comes from a shrewd plan to cover all the market bases. But whether the motivation was purely creative or strictly mercenary, these recordings demonstrate the folly of arbitrary genre separation and also served to introduce these artists’ fan bases to great songs they might not necessarily have gone out of their way to find.

Take the Main Ingredient’s sublime cover of Seals & Crofts’ “Summer Breeze,” for instance, one of two songs by the duo covered on 1974’s brilliant Euphrates River LP. The Isley Brothers had put their indelible stamp on S&C’s hit the previous year, and in such a definitive way that one would think no further covers were necessary. But the MI’s version more than justifies itself and actually proves as essential as the Isleys’ by virtue of Bert DeCoteaux’s gorgeous and elegant arrangement as well as Cuba Gooding’s distinctively beautiful voice.  The Pointer Sisters entered their period of greatest sustained success with their best-known lineup of Ruth, Anita and June starting in 1978 with the heavily Yacht Rock-oriented Energy LP, their first with producer Richard Perry. Their energetic cover of Steely Dan’s “Dirty Work” is one of the many standouts on an album that also saw them tackle Bruce Springsteen, Fleetwood Mac, Loggins & Messina and the Doobie Brothers.

Speaking of the Doobie Brothers, their “Takin’ It To The Streets” is brilliantly covered here by Quincy Jones and friends in a version taken from Q’s Sounds…And Stuff Like That album. Vocals are handled by a pair of veteran New York session vocalists, Luther Vandross and Gwen Guthrie, who would both soon afterwards make their mark as solo performers. Another Michael McDonald/Doobie Brothers hit that appears here is R&B stalwart Peabo Bryson’s take on “Minute By Minute” from his Paradise LP (1980). McDonald’s voice and music were well-established on urban radio formats by this time which made this big Doobies hit from the previous year, co-written with Lester Abrams of Crackin’, a natural fit for Peabo.  Michael McDonald’s colleague Kenny Loggins is represented here by a big hit he co-wrote with MM (once again), “This Is It,” which serves as a perfect jumping-off point for Millie Jackson to deliver one of her patented saucy sermons and soulful performances. It ends up sounding as if Kenny and Mike wrote it just for her.

In the case of Greg Phillinganes’ “Lazy Nina,” Donald Fagen DID write it just for him, and getting an exclusive song from Fagen (as well as getting Michael Jackson to guest on the same 1984 album) is the kind of feat that only a true studio-session MVP like Phillinganes could possibly pull off. His was a name that seemed to appear on almost every top-selling blockbuster album of the era and the stars he worked for and with were only too happy to return the favor. On many albums with Greg Phillinganes’ name in the credits you would also usually find the names of his colleagues, the members of Toto, who played a big instrumental role in shaping Michael Jackson’s world-beating success alongside Greg. “Georgy Porgy” is a song from Toto’s 1978 debut album that immediately became a big favorite on R&B stations with its hook sung by another Toto associate, Cheryl Lynn. It has been covered and sampled many times but Fantasy Records’ Jazz-Funk male-female vocal group Side Effect were perhaps the earliest to do it as it fit their style so well.

The Brothers Johnson were also key players on the LA session scene, and part of the same Quincy Jones team as Greg Phillinganes and the Toto guys. Three of the Toto guys, in fact (Steve Porcaro, David Paich and legendary drummer Jeff Porcaro) wrote “In The Way” for Louis and George, which the Brothers recorded for 1981’s Winners, their fifth album. It combines the patented BrosJo Funk with the kind of breezy LA Yacht-Rock sound that all of the record’s participants were right at the heart of creating.

That same sound is in full flow on “Nothing You Can Do About It,” a veritable West Coast/AOR classic by two of the chief architects of that sound, David Foster and Jay Graydon. First recorded by the Manhattan Transfer in 1979, it was then recorded the following year by its writers under their Airplay project, but the version we have here is the 1982 cover by Crackin’ vocalist Leslie Smith, a true Funk veteran (previously, like many of his Crackin’ bandmates, of the L.A. Carnival) who also embodies the genuine R&B side of the West Coast/AOR ethos. He is joined by many members of Crackin’ on his solo album Heartache, which also features a soulful Ned Doheny cover. And while we’re on the subject of soulful Ned Doheny covers (are there any other kind?), Trenton, New Jersey’s The Ebonys give us a smooth and spectacular version of “A Love Of Your Own,” best known of course via the version by the Average White Band, whose Hamish Stuart co-wrote the song with Ned. Jazz-R&B veteran Dee Dee Bridgewater takes a similar approach on her 1976 cover of Hall & Oates’ “She’s Gone,” which becomes “He’s Gone” in her amazing gender-switched rendition. As with many of the tracks on this collection it was recorded in LA and the seasoned players on this version include the likes of Joe Sample, Wilton Felder, Ed Greene and Ray Parker Jr. The song itself had just become a hit three years after its initial release on Atlantic, after Daryl and John had gone on to success on RCA. This self-titled Dee Dee album is on Atlantic so her being encouraged to cover it (as well as the fact that it’s a great song for her to tackle) makes a lot of sense.

The same core group of musicians could be found on Betty Everett’s Gene and Billy Page-produced final album, 1975’s Happy Endings, on which she turns in a stunning Modern-Soul version of the Beach Boys classic “God Only Knows” which bears many of the stylistic hallmarks of the main employer of the producers and players on the record: Barry White. It would be very interesting to know if Brian Wilson heard this version and what he thought of it! Billy Paul had been searching for another hit like “Me And Mrs. Jones” since 1972 for about five years when he released this cover of Paul McCartney and Wings’ recent hit “Let ‘Em In.” Despite his status as a Jazz Lounge singer-turned-Soul man, Billy had always been open to material from a wide variety of sources and had even covered Steppenwolf’s “Magic Carpet Ride” on an earlier album. So “Let ‘Em In” fit him like a glove, especially as it allowed him to add extra social significance to the song by adding the names of assorted civil rights and political leaders to the lyrics.

Like Billy Paul and many other artists featured on this collection, Tavares were also adept at adding a soulful spin to Pop material, having released their own cover of “She’s Gone” around the same time as Dee Dee Bridgewater. Their cover of AOR stalwart Bill LaBounty’s “I Hope You’ll Be Very Unhappy Without Me” is yet another shining example of how R&B-influenced the “Yacht Rock” sound, always was at its core, because, once again, it sounds like it was written just for them and sounded equally appropriate on Pop and Urban stations. Chaka Khan’s cover of Fleetwood Mac’s “Everywhere” is natural and appropriate for many reasons. Both Rufus and the Buckingham-Nicks edition of the Mac rose to prominence simultaneously in the mid-70s and the two LA-based bands often seemed to be Pop-Rock/Funk/Soul mirror images of one another (I sometimes like to refer to Rufus as “Fleetwood Black”!). Chaka is known to have broad musical tastes so for her to cover a Fleetwood Mac song is simply par for the course.

The story told by all these cover versions is one of blurred lines between genres and how musical categories are often ultimately artificial constructs that melt away when either an artist is seeking for a way to expand their audience reach, or they just quite simply hear a song they really like and feel that it offers them the opportunity to stretch their creative wings, genres be damned. As we’ve seen, many of these cases of Black artists recording songs by white writers happened in a very direct and natural way, and for logical reasons. Further proof, as if further proof were even needed, of the unifying power of great music.”

Greg Caz New York City January 2021

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Too Slow To Disco

A compilation series of Late 70s Westcoast Yachtpop you can almost dance to.

Compiled by Dj Supermarkt

marcus@tooslowtodisco.com

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The interior for the 400-foot-long Kismet that charters for $3 million per week

And since Kismet has already spent her first season in the Mediterranean and is available for charter through Cecil Wright (instead of being hidden away for a private owner like many yachts in this size range are), you, too, could experience what it’s like to live the superyacht life aboard one of the largest and most opulent vessels in the world.

The interior for the 400-foot-long Kismet that charters for $3 million per week is massive

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Renaissance underway

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The accommodations onboard the 334-foot-long H3 are spectacular

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Full-height windows in the the owner’s deck bedroom provide direct access to a private foredeck terrace, a hot tub and a mesmerizing marble fire pit. Contact Burgess for more info.

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Yacht soul (The Cover Versions)
Crate 042: Yacht Soul
Yacht Soul 2
Various
what is Yacht Soul
what is Yacht Soul

VIDEO

YACHT
Luxury Yacht Ambience 🐬 Relaxing Ocean & Healing DOLPHIN Sounds
Traditional: Skye Boat Song (Arr. D. Russell)
【PV】Yacht. / Soul Wave
Free Track No Copyrighte Ai Yacht rock,soul blues mix remix Music Instrumental license-free
Free Track No Copyrighte Ai Yacht rock,soul blues mix remix Music Instrumental license-free

COMMENTS

First Listen: SiriusXM's Yacht Soul
Here's Yacht Soul at 9:30 a.m. on July 3: L.T.D., "Love Ballad" — Benson talks about hearing the original for the first time: "One of the best songs I ever heard.". Later, he would have a 1979 hit with his own uptempo version. Atlanta Rhythm Section, "So Into You" — It did crack the R&B chart (No. 93) in 1977.
You've heard of Yacht Rock? Now there is Yacht Soul
Now there is "Yacht Soul.". Visit just about any suburban boomer backyard summer party, and you're likely to hear a healthy dose of "Yacht Rock.". The seemingly pejorative term was popularized in a series of parody videos more than a decade ago, and has stuck as a descripter of the smooth, California sound of the late 70s and early ...
MUSIC MONDAY: "Yacht Soul"
"Yacht Soul" heightens the soul, R&B and jazz elements of the music while dropping a dollop of funk in the mix. The following quotes from soultracks.com perhaps illuminate the distinctions best: …Donald Cleveland says that we have Yacht Soul question entirely backwards. "To be honest, Yacht Rock should have been called Yacht Soul from ...
Yacht Soul on SiriusXM: Smooth Sailing with RadioInsight
SiriusXM's Yacht Rock Radio sparks debates on defining 'Yacht Rock' music. The channel has now launched Yacht Soul, playing mellow R&B music from the '70s and '80s. The channel is hosted by George Benson and features hits from artists like Quincy Jones and Al Jarreau. The playlist includes hits like Brothers Johnson's "Strawberry ...
Yacht Rock Radio: Smooth-Sailing '70s & '80s Rock
It's yacht rock season all year long with music that doesn't rock the boat from artists like Michael McDonald, Kenny Loggins, and Steely Dan. ... Yacht Soul. An app-exclusive channel, Yacht Soul features nonstop soulful and funky (but still so, so smooth) R&B and soul from the late '70s and early '80s from artists like George Benson, Earth ...
The 20 greatest yacht rock songs ever, ranked
Seals & Crofts - 'Summer Breeze'. Summer Breeze - Seals & Croft #1 Hit (1972) Before The Isley Brothers recorded a slick cover, 'Summer Breeze' was an irresistible folk pop song by Seals & Crofts. While mostly a folk song, its summer vibes and gorgeous melody make for a perfect yacht rock number.
‎Yacht Soul
Listen to Yacht Soul by Various Artists on Apple Music. 2023. 50 Songs. Duration: 3 hours, 39 minutes.
SiriusXM
We're waving in our newest channel, Yacht Soul, with the help of George Benson. He's kicking it off all week with his favorite yacht soul stories and tunes ⛵ Listen here:... SiriusXM - We're waving in our newest channel, Yacht Soul,...
Yacht Soul
Playlist · Yacht Soul · 572 items · 162 likes
Set Sail With Yacht Rock On SiriusXM
July 15, 2024. It's yacht rock season all year long at SiriusXM as we bring you your favourite smooth-sailing hits from the 1970s and '80s. With channels like Yacht Rock Radio, Yacht Rock Deep Cuts, and Yacht Soul, plus exclusive shows like "Club Yacht Rock," you'll be instantly transported to turquoise seas and cool breezes.
Soulguru's Sounds On Circles 'Yacht Soul'
Grid List. Soulguru's "Sounds On Circles" - "Definitive Yacht Soul" - Monday 22nd June 2020. 7811 3 1 2h 56m. June 30, 2020. So what is 'Yacht Soul'? Smooth, well-crafted, super-engineered with the sprinkling of perfect musicianship: Yacht Soul is where soul music from the late 70s and AOR collided to create a perfect blend which has stood the ...
what is Yacht Soul
Yacht Soul music is a genre of music that emerged in the 70s and 80s. It is a fusion of soul, R&B, jazz, and pop music. The term "yacht soul" was coined by the music journalist Rob Harvilla in 2018, and it refers to the smooth, sophisticated sound that was popular among the wealthy yacht-owning class of the time. The Origins of Yacht Soul Music.
Yacht Rock Radio
SiriusXM's tribute to Yacht Rock celebrates the smooth-sailing soft rock from the late 70s and early 80s. You'll hear artists like Michael McDonald, Christopher Cross, Hall & Oates and other titans of smooth music. It's the kind of rock that doesn't rock the boat! Show Schedule. Yacht Soul Sunday Mornings.
YACHT SOUL
Welcome to the next chapter in the Too Slow To Disco universe! We are super happy to release our next official compilation on Record Store Day, July 16th/17t...
Yacht Rock Radio
Schedule. All times listed ET. Smooth-sailing soft rock. SiriusXM's tribute to Yacht Rock celebrates the smooth-sailing soft rock from the late 70s and early 80s. You'll hear artists like Michael McDonald, Christopher Cross, Hall & Oates and other titans of smooth music. It's the kind of rock that doesn't rock the boat!
Quiet Storm: Yacht Soul on Vinyl Records (Part 1)
There are few music genre names as descriptive as Quiet Storm. This smooth, sometimes jazzy style of R&B can be as subtle as a gentle rain and as powerful as...
The Ultimate Collection of Yacht Rock/70's and 80's hits
The Ultimate Collection of Yacht Rock/70's and 80's hits. This is the ultimate playlist of favorites from the 70's, 80's and in between. No fillers or obscure artists you've never heard of. Only the greatest rock, soft-rock and pop hits.
Top 50 Yacht Rock Songs
20. "Brandy (You're a Fine Girl)," Looking Glass (1972) Like "Summer Breeze" (found later in our list of Top 50 Yacht Rock Songs), Looking Glass' tale of an alluring barmaid in a busy harbor town ...
This Is the Definitive Definition of Yacht Rock
Once you get to know yacht rock, you can begin traveling into yacht soul—smooth songs from top studio players that lean just a little harder on the R&B. This classic song from the 1982 album ...
Yacht Soul
That backbeat - it's on fire! Whoa… that's Aretha! Turn it up…". It's perhaps an obvious metaphor for us to reach for, but the whole Too Slow to Disco project has always viewed music a bit like ocean waves. They keep crashing back, slightly different, always bringing new things to the shore. When we started out, our mission was to ...
Yacht rock
Yacht rock (originally known as the West Coast sound [4] [5] or adult-oriented rock [6]) is a broad music style and aesthetic [7] commonly associated with soft rock, [8] one of the most commercially successful genres from the mid-1970s to the mid-1980s. Drawing on sources such as smooth soul, smooth jazz, [1] R&B, and disco, [7] common stylistic traits include high-quality production, clean ...
Yacht Soul
Easy yacht-era R&B and soul. Let's try this again. Try again
5 Of The Largest Superyachts At The 2024 Monaco Yacht Show ...
Monaco Yacht Show 20224. Monaco Yacht Show. But as for the absolute pinnacle of luxury, it doesn't get much better than owning a superyacht. And for the select few who happen to be shopping for ...
Fourth of July Music Specials
Yacht Soul. George Benson Pop-Up: The Yacht Rock universe on SiriusXM expands by popular demand with the launch of Yacht Soul, popping up for a week on channel 105 featuring George Benson as host before docking permanently in the app as an Xtra Channel on July 9.