yacht soul album

March 19, 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.

• Brenda Russell
• Cheryl Lynn
• Earth Wind and Fire
• George Benson
• James Ingram
• Jermaine Jackson
• Lori Lakin Hutcherson
• Michael Jackson
• Patti Austin
• Quincy Jones

[…] Credit: Source link […]

[…] Source link […]

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!!!

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You've heard of Yacht Rock? Now there is Yacht Soul

Photo Credit: Greg Allen

(July 25, 2020) You’ve heard of Yacht Rock? 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 80s from such artists as Christopher Cross, Toto and Michael McDonald. And it is huge with its middle-aged, mostly Caucasian demographic. The Yacht Rock playlist on Spotify has nearly 700,000 followers, and Sirius Radio dedicates an entire station to it.

More recently, there has been much talk about a similar style of R&B music that peaked about the same time, now labeled as “Yacht Soul,” and it got me wondering: Is that really a thing? For me, it began when I was invited to the Yacht Soul Facebook Group , and heard about a dedicated radio show in the UK. Paul Clifford (who himself discovered the term from a Katie Puckrick documentary ) created the Solar Radio Yacht Soul show , and he is passionate about the style of music that it represents: “ Smooth, well-crafted, super-engineered with the sprinkling of perfect musicianship. It is where soul music from the late 70s and album oriented rock collided to create a perfect blend that has stood the test of time - thanks in large part to the meticulous songwriting and producing of the era .” Clifford, with Richard Searing, compiled  a massive Yacht Soul playlist , and he believes that the most representative songs are “Turn Your Love Around” by George Benson, “After The Love Is Gone” by Earth Wind & Fire, and “Why I Came To California” by Leon Ware.

A “ highly subjectively selected niche of songs characterized by slick production, laid back grooves, and light sometimes romantic lyrics,” is how veteran music journalist A. Scott Galloway (who is less convinced that Yacht Soul is actually a separate music category) describes it. He also perceptively adds that “ Most key seems to be the factor of the songs either being by White artists that are soulful or Black artists dabbling in shades of groovy soft rock .”

So is Yacht Soul really just rebranded Yacht Rock? Noted music lawyer (and SoulTracks contributor) Robb Patryk, says maybe not. “ The ‘soul’ often is found in the vocals, which tend to be similar to those heard on classic soul and R&B records of that same era ,” even if performed by white artists, such as Gino Vanelli. So, perhaps it is the combination of the slick production and the soulful vocal performance that makes something Yacht Soul. In other words, it is El Debarge’s singing that makes “ Someone ” Yacht Soul, while Christopher Cross’s “ Alright ” definitely isn’t. And it is the slick, pop production of Earth Wind & Fire’s  “After The Love Is Gone” that makes it a Yacht Soul exemplar, in contrast to the soulful vibe of the group’s classic ballad “Reasons.”

But our go-to soul music historian, record compilation guru 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 .”

These are the kinds of discussions that have been swirling around social media over the past few months, as Yacht Soul groups developed. And if it feels like the debates are just so much inside baseball nonsense, Purpose Music co-CEO George Littlejohn takes a more positive view of what has been special about the Yacht Soul kerfluffel: “ I still really do not exactly know what Yacht Soul is, but I do know I am always happy to see people posting and talking about soul music intelligently. And I take great joy in seeing them uncovering rare grooves ,” citing songs like Brenda Russell’s " Hello People ," Sheree Brown’s “ Got To Get Away ,” and projects by Heat, Seawind and Donna Washington that have resurfaced in Yacht Soul musings.

Maybe that’s the key here. Love or hate the term, “Yacht Soul” has music fans talking passionately, and revisiting a series of terrific songs, many of which have been lost gems for decades – and, just as importantly, giving some long overdue shine to the artists who made them. And that right there makes it all worth it.

By Chris Rizik

Check out an episode of Paul Clifford's Yacht Soul radio show

Too Slow to Disco

Yacht Soul – The Cover Versions 2

Limited 2 color gatefold double vinyl, heavy carton, postcard with dl code, CD, DL. In shops: 10.11.2023

Originals by Fleetwood Mac, Hall & Oates, Carole King, America, Bobby Caldwell, Little Feat, Seals & Crofts, The Doobie Brothers, Todd Rundgren a.m.m. Covered by Chaka Khan, Keni Burke, Richie Havens, The Isley Brothers, Dionne Warwick, Roy Ayers a.m.m.

Preorder here:

• MEL & TIM – Keep The Faith
• IMPACT – Sara Smile
• BILLY PAUL – It’s Too Late
• ESTHER PHILLIPS – I Hope You’ll Be Very Unhappy Without Me
• JOHN EDWARDS – Tin Man
• ROY AYERS – What You Won’t Do For Love
• ARNOLD MCCULLER – Gringo
• RICHIE HAVENS – Dreams
• BRENDA RUSSELL – I Want Love To Find Me
• PATTI LABELLE – Monkey See – Monkey Do
• THE MAIN INGREDIENT – Euphrates
• THE ISLEY BROTHERS – Listen To The Music
• DIONNE WARWICK – Dedicate This Heart
• CHAKA KHAN – Fate
• KENI BURKE – Love Is The Answer

Introducing

Yacht Soul – The Cover Versions 2

Welcome back, friends, to the Yacht Soul cruise that never ends!
This theme, explored at length in the previous installment of this series, is a fertile one that just keeps on giving, and give it certainly does on the tracks we have dug up for your perusal, enlightenment, edification and enjoyment on Volume 2.

For those just joining us, the concept here concerns R&B and soul artists mining the songbooks of their white contemporaries for cover versions that serve the dual purposes of potentially garnering some crossover radio airplay as well as introducing great songs to segments of the listening public who might otherwise miss them. Some of these versions might have come about because they were personal favorites of the artist in question, others might have been strongly suggested by their labels or by the publishing company, but all of them provide an entirely new perspective on what were already fantastic songs to begin with.

So there you have it – a further dig into this nebulous concept that reveals more unexpected connections and crossed paths. Understanding the hows and whys of the way these particular covers and collaborations came to be is as fascinating as just enjoying the music itself, and there really is a lot of great music to dig into this time around! We hope you enjoy listening to it as much as we did putting it together.

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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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West Coast Soul.de

Home of West Coast AOR, Yacht Rock, R&B, Sunset Disco, Funk & Soul

Marcus Liesenfeld talks about the new TSTD compilation “Yacht Soul 2” and the unifying power of great music

By Thomas Splett

Two years ago, Berlin-based Too Slow To Disco (TSTD) curator and DJ Marcus Liesenfeld aka DJ Supermarkt introduced “Yacht Soul – The Cover Versions,” a captivating collection of West Coast AOR tunes reimagined by talented black soul and R&B artists. It was evident from the start that this venture wouldn’t remain a solitary endeavor. The dusty archives were teeming with outstanding rarities and classics just waiting to be unearthed and shared with the world. Now the sequel many of us have been waiting for is here: “Yacht Soul – The Cover Versions 2.” This great follow-up continues the tradition, delivering a masterful compilation of songs hailing from the golden era of music in the 70s and 80s. What becomes strikingly evident once again is that exceptional songs transcend the constraints of genres. We had the pleasure of delving into the world of “Yacht Soul 2” with Marcus Liesenfeld himself. He shared insights about the latest edition of the Too Slow To Disco universe, his role as a guardian of vintage sounds, and the most important criterion a song has to fulfil to be included on a TSTD compilation.

Marcus, we’ve known the term “Yacht Rock” for many years, how did you come up with the term “Yacht Soul”?

Oh, I didn’t. It was in the air suddenly all over. Greg Caz (writer of our liner notes) first wrote about it as a journalist, then Katie Puckrick used it in her BBC Softrock documentary TV series. Next step: Paul Clifford openend the YACHT SOUL facebook group, and his radio show, and now this is where we are…. It is as always a joint effort! Still a very small movement…. Yacht Rock has a loyal fan base. How has your Yacht Soul concept been received by both long-time yacht rock fans and soul music aficionados?

I think it is a split thing. The pure Yacht Rock fans sometimes don’t appreciate the black music part. That’s why I never used that expression on our compialtions, instead went for Yacht Pop. To me that integration of soul, jazz, funk is the essence of the part of YACHT music I like. That soulful vibe was already all over the other TOO SLOW TO DISCO compilations. So for me it wasn’t a big step. But for some it is….

Marcus, can you give us some insight into the selection process for “Yacht Soul 2”? What criteria did you use to choose them?

There is only one way to make it on my compilation. I have to LOVE the track, because it is outstanding, and I have to be nervous to share it with the world, because I simply think everybody has to listen to it. It can sometimes be a very rare track (like this time the John Edwards and the Arnold McCuller tunes) or simply a track that is too good to be forgotten or rediscovered by a new generation (like Chaka Khan, Isley Brothers or Billy Paul).

Could you share any memorable moments or challenges you encountered while putting together “Yacht Soul 2”?

This time it took me very long to have that feeling, I made a top compilation, which is ready to go. There was always something special missing (hard to describe..) , which then – in the very end – came via two tracks, I was desperately trying to find and did not succeed for a long time…: “Gringo” by Arnold McCuller and “Tin Man” by John Edwards. The rights to the Arnold McCuller track are strangely lost. So I had to find a direct contact to Arnold himself, who first was very sceptical about this weird German DJ asking for the rights to rerelease that track for the first time, but then , in the end, he just gave it to me in a kinda “ah…fuck it…” way. He is a fun character! The John Edwards track on the other hand was a pure battle with the record company GINN MUSIC, who own the rights. For some strange reason (they called it company policy, something I just can’t accept….) they just didn’t want to give it to me. But I really, really insisted in the nicest way possible for months, and in the end I just had to pay the highest advance ever for it. The track is very special to me (Greg Caz recommended it to me), so I had to swallow the pill and go for it….

Let’s talk about some of the songs: “Sara Smile” is a beautiful cover version of the Daryl Hall and John Oates hit from Impact. Hall & Oates are a perfect example of a white duo who were heavily influenced by black Philly soul and R&B. The Temptations were a connecting link between the two groups. Please tell us about it.

Daryl Hall and John Oates were beginning to make a name (actually two names) for themselves in 1975 and the soulful “Sara Smile” became one of their earliest big hits. Two years later it was covered by Impact, a vocal group led by ex-Temptation Damon Harris. They didn’t really have to do anything to it to make it fit the R&B format since its Philly-reared originators had their own direct links to the Tempts, Hall having once been a member of the Temptones, an all-white Philly vocal group who were proteges of Eddie Kendricks. 

Speaking of Philadelphia: Billy Paul is a Philly soul singer who already cut a fine figure on “Yacht Soul 1”. His soulful version of Carole King’s “It’s Too Late” is another highlight of the compilation. Carole King’s songs have always been grateful material for outstanding R&B versions, just think of Aretha Franklin’s breathtaking version of “You Make Me Feel Like A Natural Woman”. Why do you think so many of her songs have been covered by R&B artists over the years?

The fact that so many black artists have covered her material just shows to me, how incredibly soulful her original compositions/writing has always been. Billy Paul’s version of “It’s Too Late” really demonstrates that soul and R&B connection. This influence has been a core part of King’s songwriting for the decade-plus that she had been cranking out hit after hit for countless artists throughout the 60s.

There was a trend in the 70s for R&B bands such as The Isley Brothers, who are represented on “Yacht Soul 2” with an exquisite cover of “Listen To The Music” by the Doobie Brothers, to record their own versions of well-known AOR songs. From your point of view, was it more of a nod to great songwriting or often also a commercial consideration to possibly reach new audiences with a crossover hit and make the leap out of the genre pigeonhole?

Well, we will never find out exactly. It can be both, but as long as the result is so special, unique and authentic, it is now – almost 50 years later – not so important to know. It would be terrible if we could actually hear, that they were forced to cover it. But all these acts instead just made these originals their own, which is what fascinates me.

With “Fate” in the version by Chaka Khan, we find a club classic from the 80s on the compilation. The song was written by Dominic Bugatti and Frank Musker, a congenial songwriting duo that we also met on the last Too Slow To Disco volume. The song is a good example of the generation gap. Many young people tend to associate the song with the sample of “Music Sounds Better With You” by Stardust from the 90s. Have you had any experience of this yourself?

I was thinking about including this one for a long time. Obviously it is pretty well known (to many) and not really a great discovery for the TSTD digger audience. But then I had to remind myself, that I am not doing these compilations for the “diggers”, who know everything already.  Truth is, that in countless DJ sets when I played the Chaka Khan version, there were younger people coming to me asking, sometimes in disgust… : “Who did this cover version of the Stardust track”?…. which made me realize, it is a good time to share the real story.

“Fate” is a good example of the lack of a culture of remembrance. Do you see yourself as a keeper of old songs, vintage sounds and their history?

As explained before, I think it is a great, fun part of my job as compiler or DJ to spread stories to new generations. Spotify for example simply does not mention the connection between that track and the Stardust anthem anywhere, so how should a 20 year old know?

During your research, did you discover any previously unknown musical connections between the LA scene and the soul metropolises of Detroit, Memphis and Philadelphia?

The story I try to tell with YACHT SOUL is one of blurred lines between genres and how musical categories are often ultimately artificial constructs that melt away. Further proof, as if further proof were even needed, of the unifying power of great music.

Marcus, are there any specific artists or tracks featured on the compilation that hold a special place in your heart?

Of course I love all the tracks…. But I have to say that Mel & Tim’s “Keep the faith” is one of my favorite tracks ever, and it was such a satisfying moment, when you realize, we a) found the right owner, and b) they are willing to give us the rights to use it. That kickstarted the process of actually doing volume 2. It is a core track!

What’s next for you and the “Too Slow To Disco” series? Can we expect more exciting projects in the future?

As usual, I am working on several ideas, but none of them has reached the moment of …: LETS GO! But I am confident that I will release a new one next year, like I did every year since 2014, which is crazy….! 2024 marks the celebration of “10 years of TSTD”. Who would have thought….

Marcus, thank you very much for the interview!

Thanks to you Thomas. Keep spreading that Bottled Sunshine!

Want to find out more about Yacht Soul? Read our interview with Marcus Liesenfeld about “Yacht Soul 1” from 2021 HERE !

TOO SLOW TO DISCO WEBSITE

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YACHT SOUL - The Cover Versions

Our latest project takes us to an incredible group of 16 black artists and their soulful, funky takes on the smooth classics of those West Coast AOR/Yacht Laurel Canyon Hippies.

15 Songs, 1 hour, 10 minutes

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Discoholics Anonymous

Keeping It Disco Since 2019

ALBUM REVIEW: Various Artists – Yacht Soul 2 (The Cover Versions)

• Music stream

In the world of music, there is a subculture that holds a unique fascination with a bygone era. A time when bell-bottoms and disco balls reigned supreme, and the air was filled with the sultry, soulful tunes of the 1970s. Here at Discoholics Anonymous I’ve made this my permanent vacation from the stress of modern life.

This subculture is known as Yacht Soul , a genre that encapsulates the smooth, luxurious sounds of the era, often accompanied by the image of an idyllic yacht cruising through the crystal-clear waters of a tropical paradise. At the helm of this musical voyage, we have Too Slow To Disco ‘s Marcus Liesenfeld aka DJ Supermarkt , a dedicated curator of the genre’s finest treasures.

Two years after the first voyage into this enchanting sonic world, Too Slow To Disco is back with the second edition of their Yacht Soul compilation.

The anticipation is palpable, and fans of the genre are eager to see what treasures lie in wait within the grooves of this new release. The first edition set the bar high , earning the reputation of a golden standard in the world of slow groovers, and now, Yacht Soul 2 – The Cover Versions promises to continue the legacy.

As you immerse yourself in this collection, you’ll find a treasure trove of cover versions of golden classics from the golden age of Soul and Disco, the 1970s. These songs are like time capsules, preserving the essence of an era that exuded style, glamour, and an irresistible groove, all sounding cleaner, crispier and fuller than ever… AND graciously collected for your listening pleasure.

One of the standout tracks on this compilation is Impact’s rendition of Hall & Oates’ “ Sara Smile .”

It’s a delicate and emotive interpretation that pays homage to the original while adding a new layer of soulful richness.

Chaka Khan’s “ Fate ,” originally a cover of The Dukes , sounds absolutely breathtaking in this brand new mastering, showcasing her unmatched vocal prowess and charisma.

The Doobie Brothers are no strangers to Yacht Soul , and on this album, they receive not one but two glorious makeovers. Dionne Warwick’s take on “ Dedicate This Heart ” and The Isley Brothers’ rendition of “ Listen To The Music ” infuse these classics with a fresh coat of splendor and stardust, rekindling the magic of the originals.

However, the crowning jewel of Yacht Soul 2 – The Covers is Roy Ayers’ interpretation of Bobby Caldwell’s “ What You Won’t Do For Love .” It’s a sensual, funky, and inspired performance that captures the very essence of Yacht Soul . Ayers’ mastery of the vibraphone and Caldwell’s timeless lyrics are a match made in musical heaven, creating a piece of art that transcends time and place.

Yacht Soul 2 – The Cover Versions is a delightful journey through the past, an ode to a bygone era when music was a means of escapism, a celebration of life’s pleasures, and an expression of love and desire.

As you listen to this compilation, you’ll find yourself smothered in yachty goodness, and you’ll be eager to sail the tranquil waters of this musical paradise once again, if you were a fan of the first release in the series.

Again the attention to detail, the lavish new mastering and restoration of the old originals is truly amazing to behold.

Too Slow To Disco has once again reminded us that the allure of Yacht Soul is eternal, and that even in a fast-paced world, there’s always time to slow down and savor the magic of the 1970s .

Yacht Soul 2 – The Cover Versions will be released November 10th 2023.

Various Artists – Yacht Soul 2 (The Covers) [Too Slow To Disco]

Too Slow To Disco

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Yacht Soul: The Cover Versions, Vol. 2

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YACHT SOUL - The Cover Versions 2

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Yacht Rock: Album Guide

By David Browne

David Browne

Summer’s here and time is right for dancing … on the deck of a large nautical vessel. During the late Seventies and early Eighties, the radio was dominated by silver-tongued white-dude crooners with names like Rupert and Gerry, emoting over balmy R&B beats, swaying saxes, and dishwasher-clean arrangements. Though it didn’t have a name, the genre — soft rock you could dance to — was dismissed by serious rock fans as fluffy and lame. But thanks to a web series in the mid-2000s, the style — belatedly named “ yacht rock ” — has since spawned a satellite-radio channel, tribute bands, and a Weezer cover of Toto’s “Africa.” Is the modern love of the music ironic or sincere? Hard to say, yet there’s no denying yacht rock is a legit sound with a vibe all its own that produced a surprising amount of enduring music perfectly at home in summer. (John Mayer even tips his own sailor’s hat to the genre on his new “Last Train Home” single, and even the aqua-blue cover of his upcoming Sob Rock album.) The resumption of the Doobie Brothers’ 50th anniversary tour, postponed last year due to COVID-19 but scheduled to restart in August, is the cherry atop the Pina colada.

Boz Scaggs, Silk Degrees (1976)

Before yacht rock was an identifiable genre, Scaggs (no fan of the term, as he told Rolling Stone in 2018) set the standard for what was to come: sharp-dressed white soul, burnished ballads that evoked wine with a quiet dinner, and splashes of Me Decade decadence (the narrator of the pumped “Lido Shuffle” is setting up one more score before leaving the country). Add in the Philly Soul homage “What Can I Say,” the burbling life-on-the-streets homage “Lowdown,” and the lush sway of “Georgia,” and Silk Degrees , internationally or not, set a new high bar for Seventies smoothness.

Steely Dan, Aja (1977)

The sophisticated high-water mark of yacht, Donald Fagen and Walter Becker’s masterpiece is the midway point between jazz and pop, with tricky tempo shifts, interlocking horn and keyboard parts, and pristine solos. Not settling for easygoing period clichés, these love songs, so to speak, are populated by a sleazy movie director (the gorgeous rush of “Peg”), a loser who still hopes to be a jazzman even if the odds are against him (the heart-tugging “Deacon Blues”), and a guy whose nodding-out girlfriend is probably a junkie (“Black Cow”). The most subversive cruise you’ll ever take.

The Doobie Brothers, Minute by Minute (1978)

The Doobies got their start as a biker-y boogie band, but they smoothed things out for Minute by Minute . Highlighted by “What a Fool Believes,” the unstoppable Michael McDonald-Kenny Loggins co-write, the LP piles on romantic turmoil, falsetto harmonies, and plenty of spongy electric piano. But it also proves how much personality and muscle the Doobies could bring to what could be a generic sound. McDonald’s husky, sensitive-guy delivery shrouds the unexpectedly bitter title song (“You will stay just to watch me, darlin’/Wilt away on lies from you”)  and honoring their biker roots, “Don’t Stop to Watch the Wheels” is about taking a lady friend for a ride on your hog.

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Further Listening

Seals & crofts, get closer (1976).

The Dylan-goes-electric moment of yacht, “Get Closer” validated the idea that folkie singer-songwriters could put aside their guitars (and mandolin), tap into their R&B side and cross over in ways they never imagined. In addition to the surprising seductiveness of the title hit, Get Closer has plenty of yacht-rock pleasures. In “Goodbye Old Buddies,” the narrator informs his pals that he can’t hang out anymore now that he’s met “a certain young lady,” but in the next song, “Baby Blue,” another woman is told, “There’s an old friend in me/Tellin’ me I gotta be free.” A good captain follows the tide where it takes him.

Christopher Cross, Christopher Cross  (1979)

Cross’ debut swept the 1981 Grammys for a reason: It’s that rare yacht-rock album that’s graceful, earnest, and utterly lacking in smarm. Songs like the politely seductive “Say You’ll Be Mine” and the forlorn “Never Be the Same” have an elegant pop classicism, and the yacht anthem “Sailing” could be called a powered-down ballad. Fueled by a McDonald cameo expertly parodied on SCTV , the propulsive “Ride Like the Wind” sneaks raw outlaw lyrics (“Lived nine lives/Gunned down ten”) into its breezy groove, perfecting the short-lived gangster-yacht subgenre.

Rupert Holmes, Partners in Crime (1979)

The album that made Holmes a soft-rock star is known for “Escape (The Piña Colada Song),” which sports a made-for-karaoke chorus and a plot twist worthy of a wide-collar O. Henry. But what distinguishes the album is the Steely Dan-level musicianship and Holmes’ ambitious story songs, each sung with Manilow-esque exuberance. The title track equates a hooker and her john to co-workers at a department store, “Lunch Hour” ventures into afternoon-delight territory, and “Answering Machine” finds a conflicted couple trading messages but continually being cut off by those old-school devices.

Steely Dan, Gaucho (1980)

The Dan’s last studio album before a lengthy hiatus doesn’t have the consistency of Aja, but Gaucho cleverly matches their most vacuum-sealed music with their most sordid and pathetic cast of characters. A seedy older guy tries to pick up younger women in “Hey Nineteen,” another loser goes in search of a ménage à trois in “Babylon Sisters,” a coke dealer delivers to a basketball star in “Glamour Profession,” and the narrator of “Time Out of Mind” just wants another heroin high. It’s the dark side of the yacht.

Going Deeper

Michael mcdonald, if that’s what it takes  (1982).

Imagine a Doobie Brothers album entirely comprised of McDonald songs and shorn of pesky guitar solos or Patrick Simmons rockers, and you have a sense of McDonald’s first and best post-Doobs album. If That’s What it Takes builds on the approach he nailed on “What a Fool Believes” but amps up the sullen-R&B side of Mac’s music. His brooding remake of Lieber and Stoller’s “I Keep Forgettin’” is peak McDonald and the title track approaches the propulsion of Christopher Cross’ “Ride Like the Wind.” With his sad-sack intensity, McDonald sounds like guy at a seaside resort chewing over his mistakes and regrets – with, naturally, the aid of an electric piano.

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Kenny Loggins, Keep the Fire (1979)

Loggins’ journey from granola folk rocker to pleasure-boat captain embodies the way rock grew more polished as the Seventies wore on. Anchored by the percolating-coffeemaker rhythms and modestly aggro delivery of “This Is It,” another McDonald collaboration, Keep the Fire sets Loggins’ feathery voice to smooth-jazz saxes and R&B beats, and Michael Jackson harmonies beef up the soul quotient in “Who’s Right, Who’s Wrong.” The secret highlight is “Will It Last,” one of the sneakiest yacht tracks ever, fading to a finish after four minutes, then revving back up with some sweet George Harrison-style slide guitar.

Dr. Hook, Sometimes You Win  (1979)

Earlier in the Seventies, these jokesters established themselves with novelty hits like “The Cover of ‘Rolling Stone,’’ but they soon paddled over to unabashed disco-yacht. Sometimes You Win features three of their oiliest ear worms: “Sexy Eyes,” “When You’re in Love with a Beautiful Woman” and “Better Love Next Time,” all oozing suburban pickup bars and the somewhat desperate dudes who hang out there. The album, alas, does not include “Sharing the Night Together,” recently reborn by way of its sardonic use in last year’s Breaking Bad spinoff El Camino .

Carly Simon, Boys in the Trees  (1978)

As a trailblazing female singer-songwriter, Simon was already a star by the time yacht launched. Boys in the Trees features her beguiling contribution to the genre, “You Belong to Me,” a collaboration with the ubiquitous Michael McDonald. The Doobies cut it first, but Simon’s version adds an air of yearning and hushed desperation that makes it definitive. The album also packs in a yacht-soul cover of James Taylor’s “One Man Woman” and a “lullaby for a wide-eyed guy” called “Tranquillo (Melt My Heart),” all proving that men didn’t have a stranglehold on this style.

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More smooth hits for your next high-seas adventure.

“BREEZIN’”

George Benson, 1976

The guitarist and Jehovah’s Witness made the leap from midlevel jazz act to crossover pop star with a windswept instrumental that conveys the yacht spirit as much as any vocal performance.

“WHATCHA GONNA DO?”

Pablo Cruise, 1976

Carefree bounce from a San Francisco band with the best name ever for a soft-rock act — named, fittingly, after a chill Colorado buddy.

“BAKER STREET”

Gerry Rafferty, 1978

Rafferty brought a deep sense of lonely-walk-by-the-bay melancholy to this epic retelling of a night on the town, in which Raphael Ravenscroft’s immortal sax awakens Rafferty from his morning-after hangover.

“REMINISCING”

Little River Band, 1978

The Aussie soft rockers delivered a slurpy valentine sung in the voice of an old man looking back on his “lifetime plan” with his wife. Innovative twist: flugelhorn solo instead of sax.

“WHENEVER I CALL YOU ‘FRIEND’ ”

Kenny Loggins and Stevie Nicks, 1978

After its ethereal intro, this rare genre duet grows friskier with each verse, with both Loggins and Nicks getting more audibly caught up in the groove — and the idea of “sweet love showing us a heavenly light.”

“LOTTA LOVE”

Nicolette Larson, 1978

Neil Young’s sad-boy shuffle is transformed into a luscious slice of lounge pop by the late Larson. Adding an extra layer of poignancy, she was in a relationship with Young around that time.

“STEAL AWAY”

Robbie Dupree, 1980

Is it real, or is it McDonald? Actually, it’s the best Doobies knockoff — a rinky-dink (but ingratiating) distant cousin to “What a Fool Believes” that almost inspired McDonald to take legal action.

“TAKE IT EASY”

Archie James Cavanaugh, 1980

Cult rarity by the late Alaskan singer-songwriter that crams in everything you’d want in a yacht song: disco-leaning bass, smooth-jazz guitar, sax, and a lyric that lives up to its title even more than the same-titled Eagles song.

“BIGGEST PART OF ME”

Ambrosia, 1980

Ditching the prog-classical leanings of earlier albums, this trio headed straight for the middle of the waterway with this Doobies-lite smash. Bonus points for lyrics that reference a “lazy river.”

“I CAN’T GO FOR THAT (NO CAN DO)”

Daryl Hall and John Oates, 1981

The once unstoppable blue-eyed soul duo were never pure yacht, but the easy-rolling beats and shiny sax in this Number One hit got close. Hall adds sexual tension by never specifying exactly what he can’t go for.

“COOL NIGHT”

Paul Davis, 1981

The Mississippi crooner-songwriter gives a master class on how to heat up a stalled romance: Pick a brisk evening, invite a female acquaintance over, and suggest . . . lighting a fire.

“KEY LARGO”

Bertie Higgins, 1981

Yacht’s very own novelty hit is corny but deserves props for quoting from not one but two Humphrey Bogart films ( Key Largo and Casablanca ).

“AFRICA”

The same year that members of Toto did session work on Michael Jackson’s Thriller, they released the Mount Kilimanjaro of late-yacht hits.

“SOUTHERN CROSS”

Crosby, Stills, and Nash, 1982

The combustible trio’s gusty contribution to the genre has choppy-water rhythms and enough nautical terminology for a sailing manual.

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Yacht Soul 2 – The Cover Versions

There we are again: Too Slow To Disco is back with another wonderful compilation, the second in the Yacht Soul series. R&B and soul artists covering the songbooks of their white contemporaries. Starting out with the 1973 Mel & Tim track “Keep The Faith” from their self-titled Stax album. A song written by Mark James, probably best known for co-writing “Always On My Mind”. It’s a wonderful midtempo soul swayer which just happens to send good vibes. The group Impact only released two albums and one of them, “The Pac Is Back”, features the Hall & Oates classic “Sara Smile”. Former Temptations singer Damon Harris offers a sweet and sensitive version here. I always liked Carole King’s “It’s Too Late”. Gamble & Huff produced Billy Paul ‘s 1972 version. A great bluesy, some kind of jazzy version of the track with Billy’s typical, imaginative vocals.

Singer, songwriter and musician Bill LaBounty wrote “I Hope You’ll Be Very Unhappy Without Me” in 1975 for his debut album. The song has been covered numerous times. Randy Crawford for example did a version. But here, the mighty Esther Phillips is featured from her 1979 LP “Here’s Esther…Are You Ready”, produced by Harvey Mason. The track reminds me of the E,W&F classic “That’s The Way Of The World”. It also features sensational backing vocals by Alex Brown, Stephanie Spruill, and Roy Galloway, among others. I love, love, love “Tin Man”. Originally written by Dewey Bunnell, of America fame, it found its best catalyst with singer John Edwards . Never released on his two LPs, it only came out as a single in 1996, although it had been recorded decades earlier. A true gem! I don’t need to get into detail on Roy Ayers ‘ version of “What You Won’t Do For Love”. His version off his “No Stranger To Love” LP can’t be topped.

The great Arnold McCuller covered Little Feat’s “Gringo” for his 1984 LP ” A Part Of Me That’s You”. A great indie soul cut with Michael Paulo on sax. It gets better with each listen. I haven’t yet heard a proper cover version of Stevie Nicks’ “Dreams”. I think this is better left untouched. Yes, there is an interesting version by Dianne Reeves, probably the only one which counts. But other than that? I always liked the almost quirky vocal style of Richie Havens whose 1979 version of the song is featured here, but it doesn’t really take off. Bill LaBounty is back again for “I Want Love To Find Me”, recorded by the wonderful Brenda Russell . This remains a classic. Nice add! And it’s always a joy to hear Patti LaBelle ‘s version of the Michael Franks gem “Monkey See – Monkey Do”. It’s from her 1978 “Tasty” album.

We also get the Seals & Crofts classic “Euphrates”, recorded by The Main Ingredient with Cuba Gooding in 1974, another cult song. As is “Listen To The Music”, the Doobie Brothers staple released by the Isley Brothers on their 1973 “3+3” LP. Michael McDonald and Paul Anka wrote “Dedicate This Heart”, released by Dionne Warwick on her “No Night So Long” album in 1981 and not really among her best works. Chaka Khan ‘s version of “Fate” is included here as well and the album closes with Keni Burke . His take on Todd Rundgren’s “Love Is The Answer” still sounds amazing. A wonderful conclusion to another brilliant compilation from Too Slow To Disco. The album is out as a 2LP vinyl set.

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The 10 Best Yacht Rock Albums To Own On Vinyl

Climb aboard for the smoothest records you'll ever own.

In 2006, a group of buddies produced a series of short videos called “Yacht Rock.” The videos defined yacht rock as a genre of smooth music, born out of Southern California between 1976 and 1984, and featuring exceptional musicianship with roots in R&B, jazz and folk rock. Its stars: Michael McDonald, Kenny Loggins, Toto and Steely Dan.

The last 11 years have tested the genre’s buoyancy. Since 2006, yacht rock has been co-opted by Big Radio, whose yacht playlists include flimsy AM gold like Bertie Higgins and California corporate rock like the Eagles. Luckily the originators of the term, through their podcast Beyond Yacht Rock, have helped to set the parameters of the genre.

Good yacht rock is frequently credited to many of the same names: established players like multi-instrumentalist Jay Graydon, producer David Foster, percussionist Victor Feldman, and hard-working-studio-band-turned-80s-superstars Toto. And it’s heavier on R&B and jazz than folk rock, incorporating the work of Quincy Jones, Michael Jackson and others.

With that, here are the 10 best yacht rock albums to start your collection - or, shall I say, to christen your vessel.

Shop Till You Drop

Record reviews.

Toto: Toto IV (1982, Columbia)

The album that shot Toto into superstardom is a perfect primer for the yacht rock sound. “Rosanna,” with drummer Jeff Porcaro’s iconic shuffle technique, makes multiple left turns, a crucial component of most yacht songs. You’ll know this album for “Rosanna” and No. 1 smash “Africa,” but the slow groove of “Waiting For Your Love” shows the band’s ability to dip into soul and R&B, a trait that helped them on cuts like “Human Nature” and “The Lady in My Life” off another yacht rock album, Michael Jackson’s Thriller. Toto could also bring the heat with mid-tempo stunners like “Make Believe” and “Good For You.” A deep listen of Toto IV reveals a group of professionals rarely wasting notes.

Boz Scaggs: Silk Degrees (1976, CBS)

If yacht rock is a marriage of jazz, R&B and singer-songwriter folk rock, Boz Scaggs’ breakout Silk Degrees is one of the earliest attempts at matrimony. Boz employed David Paich, David Hungate and Jeff and Joe Porcaro for the album, and their work here would set a template for the Toto sound (combine “Lowdown” and “Lido Shuffle” and you get something near “Rosanna”). There’s a few too many strings here, Boz gets a little too lyrical (Yacht Rock isn’t necessarily a lyricist’s genre) and the bass is so up front that it can feel like disco. But if you want to know the roots of yacht rock, Silk Degrees is a good choice.

Michael McDonald: If That’s What it Takes (1982, Warner Bros.)

Two crucial instruments in yacht rock: the Fender Rhodes keyboard and McDonald’s husky, blue-eyed soul tenor. If That’s What it Takes, McDonald’s solo debut after leaving the Doobie Brothers, has plenty of both. “I Keep Forgettin’ (Every Time You’re Near)” is essential yacht, a chill-out anthem featuring half of Toto, who also appear on the ballad “That’s Why” and slightly discofied “No Such Luck.” McDonald’s buddy Loggins co-writes “I Gotta Try,” one of many yacht anthems about fools looking to change their luck. And make no mistake: McDonald is the poster boy for fools constantly searching for small victories.

Kenny Loggins: High Adventure (1982, Columbia)

Loggins isn’t always yacht rock. Sometimes, like on High Adventure, he’s far too tender (“The More We Try”) or he’s far too heavy (“Swear Your Love”). But there’s a lot of yacht rock range on this enormously fun album, from the Latin-tinged “Heartlight” to the gritty “If It’s Not What You’re Looking For.” Then there’s Loggins’ version of “I Gotta Try” and, finally, a quintessential yacht rock hit, “Heart to Heart.” Loggins is a little lighter and slightly more soulful on his 1979 album Keep the Fire, which includes the stunning “This Is It.” He’s certainly an essential artist in the yacht canon, but always step lightly with Loggins. The guy is a chameleon.

Dane Donohue: Dane Donohue (1978, Columbia)

There are countless yacht rock albums either lost in bargain bins or available only as imports, from the 1980 self-titled album by Airplay (listen to the quintessential “Nothin’ You Can Do About It”) to 1978’s Blue Virgin Isles by Swedish singer Ted Gardestad. Dane Donohue’s 1978 self-titled debut is another, featuring Graydon, Feldman, members of Toto and Los Angeles studio professionals like Larry Carlton, Jai Winding and Steve Gadd. “Can’t Be Seen” has a distinct yacht sound, as does the crisp “Woman,” which features backing vocals from J.D. Souther and Stevie Nicks. You’ll tell quickly that Donohue is a third-rate vocal talent for the genre (McDonald or, say, Al Jarreau would elevate these tracks), but the point is the smooth, polished sound. Yacht rock is a player’s genre.

Steely Dan: Aja (1978, ABC)

Steely Dan’s importance to yacht rock can’t be overstated. They introduced the world to McDonald (“Any World [That I’m Welcome To]” off Katy Lied ) and curated an inner circle of studio professionals versed in jazz, R&B and soul, who would later perfect the yacht sound. Arguably the Dan is smoothest on the 1980 smash Gaucho , but Aja finds Walter Becker and Donald Fagen comfortably hitting a middle-ground stride. You’ve probably heard much of the album already, from the slithering journey of “Deacon Blues” to the percolating “Peg,” but what’s amazing about Aja is its ability to position Steely Dan as a mainstream hit factory while remaining expansive and adventurous (the title track, “I Got the News”).

Patti Austin: Every Home Should Have One (1981, Qwest)

Yacht rock is popularly considered a white man’s genre, but its roots are in the R&B and jazz that manifest itself as yacht soul on outstanding albums like Austin’s Every Home Should Have One. Examples? “Do You Love Me?” sounds awfully like Loggins’ “I Gotta Try.” And one could imagine McDonald singing “The Way I Feel.” “Love Me to Death” could have been a Michael Jackson outtake, or it’s just a rewrite of “Off the Wall.” The album’s high point is the slow burn “Baby, Come to Me,” which includes James Ingram’s smooth delivery, plus Toto’s Lukather on guitar and Foster on synthesizer. Check George Benson’s Give Me the Night and the Pointer Sisters’ Special Things for more examples of yacht soul.

Al Jarreau: Breakin’ Away (1981, Warner Bros.)

If there’s an album that showcases the yacht rock sound at its cleanest, Breakin’ Away may take the trophy. All of the pertinent studio personnel is on the album, from Toto to Graydon - who’s on as producer - laying down an adventurous, crisp template for Jarreau ( R.I.P .) to deliver his sharp, joyous tenor, complete with plenty of scatting. “We’re In This Love Together” and the title track (with Earth, Wind & Fire horns, a Graydon specialty) are mid-tempo yacht rock beauties. Elsewhere Jarreau experiments with jazzier flavors, but the musicianship is still top-notch. Check out Jarreau’s Jarreau from 1982 as another prime yacht rock attempt; both are albums you’ll want to spin on a bright summer morning.

Pages: Pages (1981, Capitol)

Before Richard Page and Steve George formed half of mid-1980s MTV stars Mr. Mister, their buttery voices were integral components of the yacht rock sound, contributing backing vocals on countless tracks. Their 1981 self-titled release (they also released a self-titled album in 1978 that’s more funkified) is pure yacht. Graydon produced half of the album, and Jeff Porcaro shows up frequently behind the kit. The flip-side of the album is more adventurous, but side A is pound-for-pound the best example of the genre you’ll find on vinyl, and one of the best finds of the sound (Pages’ previous Future Street is a little more proggy but still a treat). Seize Pages and you’ll soon find yourself on some roof deck singing along with Page and George.

Christopher Cross: Christopher Cross (1979, Warner Bros.)

Critics may scoff at Cross’ self-titled debut, a massive success that won five Grammys and scored four top-20 hits, but the album is impeccably performed and produced. Nearly everyone involved on the album is a yacht rock mainstay, from producer Michael Omartian down to the usual suspects, Graydon, Feldman and McDonald, who contributes those iconic backing vocals in “Ride Like the Wind.” “Never Be the Same” and “Say You’ll Be Mine” are both solid mid-tempo hits for the era. And then there’s “Sailing.” It’s actually a sonic outlier for the yacht rock genre, heavy on acoustic guitar and strings. But its message fits the genre (a fool searching for inner peace), and yeah, it’s still undeniably smooth.

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Timothy Malcolm can be found in a variety of publications across the New York metropolitan area. His writing can also be found there. He enjoys guessing No. 1 hits of the 1980s, visiting breweries, trying any beverage once, watching baseball and hiking for long distances across the Hudson Valley and Catskills of New York.

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A beginner’s guide to yacht rock in five essential albums

Yacht rock, soft rock – call it what you will. Here are five brilliant albums that define the genre in all its bearded, Hawaiian shirted glory

Was there really ever a genre called yacht rock ? Prior to the 2005 online comedy series of the same name, what we now know of as yacht rock was simply soft rock, largely of the 1970s variety, but occasionally dipping into the 80s as well. It was music that was smooth, slick and did little to challenge the listener in the way that heavy metal or punk rock would. Yet  sold in the multi-millions, made superstars of its creators, and was beloved by industry professionals for the stellar musicianship and high production values. And above all, it was detested by the critics.

Today, yacht rock is the ultimate guilty pleasure genre. Its patron saints - almost exclusively men, generally bearded – never appeared on posters that graced adolescents’ walls. Yet bands and artists such as The Doobie Brothers , Loggins & Messina and Christopher Cross made sweet, soulful music featuring some of the finest musicians of the era and sounding so, so perfect in the process.

Unlike prog, hair metal or krautrock, the boundaries of what constitutes yacht rock are blurred. There’s little to link the jazzy noodlings of Steely Dan , Boz Scaggs’ smooth pop and the later, 80s pop-rock of Hall & Oates beyond the fact that the various members of Toto appeared on many of these albums, making them kind of a yacht rock mafia.

Yacht rock, soft rock, call it what you will: the men who made it are laughing all the way to the bank in their Hawaiian shirts and well-sculpted facial hair while the rest of us celebrate their music in all its frictionless glory. Critics be damned, these are the five essential yacht rock albums for those who want to plunge into the genre.

Loggins & Messina - Full Sail (1973)

Kenny Loggins was a boyish-looking yet handsomely bearded fellow with a penchant for country-esque ballads. Jim Messina had been in Buffalo Springfield and country rockers Poco . The pair teamed up to record some of Loggins’ material and ended up becoming an unlikely success story, notching up hits with  1971 single The House At Pooh Corner and the following year’s Your Mama Don’t Dance , later covered by hair metallers Poison.

But 1973’s Full Sail was their apex. Featuring the ultimate yacht rock album cover (two men, one yacht), the album itself contains everything from the calypso frivolity of Lahaina , and the smooth jazz of Travellin’ Blues to the joyously upbeat My Music and hit ballad Watching The River Run . This is yacht rock’s ground zero. Boys, what did you unleash?

Boz Scaggs - Silk Degrees (1976)

An early member of the Steve Miller Band , guitarist and vocalist Boz Scaggs’ solo career had begun 1969. But nothing had clicked with the record buying public until he hooked up with David Paich, Jeff Porcaro and David Hungate, all of whom were on the verge of forming Toto , and recorded his seventh solo album, Silk Degrees . A masterful mix of smooth pop and slick ballads, it spawned hits in the shape of It’s Over , Lowdown , We’re All Alone (made famous by Rita Coolidge) and the pulsating Lido Shuffle , a bona fide dancefloor filler.

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Steely Dan - Aja (1977)

Arguments rage as to whether these protagonists of achingly cool and clever jazz rock belong in the yacht rock genre, but hey, if the people who made the Yacht Rock online series say the are, who are we to argue?

Their sixth album, Aja , saw Walter Becker and Donald Fagan stretching out into longer form pieces of music that were funkier and jazzier than they’d ever been before, capping it off with one of the most pristine production jobs ever – such were their levels of perfectionism that six crack session guitarists tried and failed to lay down the guitar solo on Peg to their satisfaction (it was the seventh, Jay Graydon, who nailed it). Bonus yacht rock points: auxiliary Dan backing vocalist/keyboard player Michael McDonald was also a member of The Doobie Brothers.

The Doobie Brothers – Minute By Minute (1978)

In 1974, Steely Dan guitarist Jeff ‘Skunk’ Baxter moved across to hugely successful blues rockers The Doobie Brothers on a free transfer. The following year, he suggested recruiting Dan backing singer/pianist Michael McDonald as a replacement for the Doobies’ ailing guitarist/vocalist Tom Johnstone.

With his blue-eyed soul croon and knack for writing uptempo R&B-infused songs, McDonald helped nudge the band towards smoother waters. By 1978’s Minute By Minute , they had fully transformed from moustachioed chooglers into yacht rock kingpins. The album’s blend of soft rock and R&B reached its apotheosis on the majestic What A Fool Believes – co-written with Kenny Loggins, naturally – which ultimately helped turn McDonald into a bigger star than the band. For the record, the singer’s 1986 Sweet Freedom compilation is also yacht rock gold.

Christopher Cross - Christopher Cross (1979)

When Christopher Cross released his self-titled debut album in December 1979, no-one knew who he was. A year later, he’d racked up four Top 20 hits and swept the boards at the Grammy Awards.

It’s not hard to see why: Cross’ spectacular voice was matched by the brilliance of his songs. Everyone knows Ride Like The Wind , featuring that Michael McDonald fella on backing vocals, but it was the mellower Sailing that hit the No. 1 spot ( Ride… only managed No. 2). A year later Cross’ theme to the movie Arthur won him and co-writer Burt Bacharach an Oscar.

Cross was no slouch as a musician either: Steely Dan had asked him to play on their albums and he even filled in for a sick Ritchie Blackmore at a Deep Purple US show back in 1970.

Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.

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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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Which albums are turning 20 in 2024?

Posted: March 16, 2024 | Last updated: March 17, 2024

2004 was an early year into the new millennium, showcasing how music continues to elevate and change with different eras. Hip-hop, R&B, rock, pop, and country dominated the Billboard charts and radio airwaves. For some artists, it was their year for breaking into the business; for other artists, it was closing a chapter and starting anew. So, with that in mind, let's revisit 2004 and check out these albums celebrating their 20th anniversary in 2024.

'Confessions' by Usher

After the success of his third album, 8701, little did people know that Usher was about to drop his best-selling album to date with Confessions. While some of the album's themes focused on love and relationships, the themes weren't so much based on truths in Usher's personal life but rather in the lives of his collaborators Bryan-Michael Cox and Jermaine Dupri. In addition to Cox and Dupri, Usher worked with Lil Jon, Just Blaze, Dre & Vidal, and Jimmy Jam and Terry Lewis. Some of the album's hit singles included "Burn," "My Boo," "Yeah!" and the eponymous single, which helped push Confessions to become the 21st century's best-selling album by a Black artist. 

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'Under My Skin' by Avril Lavigne

Just a year after releasing her debut album, Avril Lavigne released her sophomore album,  Under My Skin. Lavigne blended elements of her alternative, grunge, and nu-metal sound, and it was evident on her tracks like "Don't Tell Me," "Nobody's Home," and "My Happy Ending." It's no wonder that Lavigne was a fan favorite on shows like MTV's Total Request Live.

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'Destiny Fulfilled' by Destiny's Child

Destiny Fulfilled marks the final album released by Destiny's Child, marking the end of the group but a new beginning for the members' solo careers. The trio teamed up with a number of producers, including Rodney Jerkins, Sean Garrett, Rich Harrison, 9th Wonder, Rockwilder, and more. The album included four singles such as "Lose My Breath," "Soldier," and "Cater 2 U." 

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'Encore' by Eminem

After the success of his 2002 album, The Eminem Show , Eminem returned in 2004 with Encore. In a matter of ten days post-release, the rapper sold over 1.5 million copies, and it debuted at No. 1 on Billboard 200. Some of the album singles included "Like Toy Soldiers" and "Just Lose It." Naturally, almost half of the songs are co-produced by frequent collaborator Dr. Dre. 

'The College Dropout' by Kanye West

Early in Kanye West's career, he was known for producing songs for rappers like Talib Kweli and Jay-Z, but he was ready to showcase to the world he was more than just a producer. West introduced himself as a rapper with his debut album,  The College Dropout. It helped to jumpstart his career as the next big thing in hip-hop with hit tracks like "Through the Wire," "All Falls Down," and "Jesus Walks." 

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'Breakaway' by Kelly Clarkson

After winning the first season of American Idol, Kelly Clarkson was ready to prove that she could follow up her debut album. A year later, she released her sophomore album,  Breakaway , to rave reviews. Continuing with a sound blending pop and rock elements, Clarkson's album soared across the charts with hit singles like "Because of You" and "Since U Been Gone." 

'Kamikaze' by Twista

Twista released his most successful album to date with his 2004 project Kamikaze. The rapper teamed up with Kanye West on production for two of his singles, "Slow Jamz" and "Overnight Celebrity." In proper West form, the production included samples from songs like Dionne Warwick's "A House Is Not A Home" and Lenny Williams' "Cause I Love You."  

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'Unwritten' by Natasha Bedingfield

It was back in 2004 when Natasha Bedingfield shook up the pop scene with her debut album,  Unwritten. In addition to the eponymous single, other hit tracks included "Single" and "These Words." 

'Tha Carter' by Lil Wayne

Two years after releasing his third solo album, 500 Degreez , Lil Wayne returned with his fourth project, Tha Carter. It was the beginning of his Carter series, named in reference to his surname. With production handled mostly by frequent collaborator Mannie Fresh, the album's top singles included "Bring It Back" and "Go DJ."  

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'Love. Angel. Music. Baby.' by Gwen Stefani

Throughout the '90s and early 2000s, Gwen Stefani was known as the lead singer of the band No Doubt. In 2004, she decided to embark on a solo career with her debut album,  Love. Angel. Music. Baby. Stefani expanded her sound a bit, working with producers like The Neptunes, Dr. Dre, Andre 3000, and Jimmy Jam and Terry Lewis. Some of the album's hit singles include "Rich Girl," "Hollaback Girl," and "Luxurious." 

'Afrodisiac' by Brandy

Brandy was ready to experiment more with her sound on her fourth album,  Afrodisiac. She teamed up with producers like Kanye West, Organized Noize, and Timbaland to help bring that sound to fruition. Some of the album's hit singles include "Who Is She 2 U" and  "Talk About Our Love," helping the album peak at No. 3 on the Billboard 200. 

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'American Idiot' by Green Day

After going through a slight slump in their career, Green Day was ready to make a comeback with their seventh album,  American Idiot. Their alternative and punk rock sound was evident on tracks like "Boulevard of Broken Dreams," "Wake Me Up When September Ends,"  and the eponymous single. Not only did the album become the band's best-selling first-week project, but they also won a Grammy Award for Best Rock Album. 

'Goodies' by Ciara

Ciara had some of R&B and hip-hop's finest producers and songwriters on her debut album,  Goodies. She brought a new sound to Atlanta R&B, which helped dub her as the princess of crunk&b. With singles like  "1, 2 Step," "Oh," and the album title track, Ciara was poised to bring a new flair to the R&B industry. 

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'Back to Bedlam' by James Blunt

Although James Blunt released his debut album, Back to Bedlam , in the fall of 2004, his third single, "You're Beautiful, "  helped push him into mainstream status. The song helped the album peak at No. 2 on the Billboard 200. 

'Get Lifted' by John Legend

Before John Legend signed to Kanye West's record label, he was known for singing hooks and playing the piano on other artists' songs. In 2004, Legend released his debut album,  Get Lifted, which featured the hit singles "Used to Love U" and his Grammy Award-winning hit "Ordinary People."  

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'How to Dismantle an Atomic Bomb' by U2

Rock band U2 had one of the year's best-selling albums, How to Dismantle an Atomic Bomb. In its first week of being released, the album sold over 800,000 copies, which also goes to show how the early 2000s was a sign of the times of having tangible copies of albums. Hit singles like "City of Blinding Lights" and "Vertigo" helped the group earn Grammy Awards for Best Rock Song and Best Rock Album. 

'The Red Light District' by Ludacris

In 2004, rapper Ludacris released his fifth studio album, The Red Light District. He teamed up with several producers, including Polow Da Don, Salaam Remi, Organized Noize, and Timbaland, as well as a number of featured artists like DMX, Nate Dogg, Sleepy Brown, and Bobby V. Ludacris is a master at making songs deemed to his haters like on "Get Back" but he also knows how to make smooth rap love songs like "Pimpin' All Over The World." 

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'When The Sun Goes Down' by Kenny Chesney

Kenny Chesney took over the country music airwaves with his album When The Sun Goes Down. The title track features Uncle Kracker, and it's the perfect song to play for a smooth line dance. Some of Chesney's other hit singles include "There Goes My Life," "I Go Back," and "The Woman With You." 

'Beautifully Human: Words and Sounds Vol. 2' by Jill Scott

Four years after releasing her debut album, neo-soul singer Jill Scott returned with her sophomore project  Beautifully Human: Words and Sounds Vol. 2. She made sure to give fans a self-confident anthem with the lead single "Golden," encouraging people to see all the good things in their lives. However, it's Scott's slow jams that really shine with her smooth and ethereal vocal tone on tracks like "Cross My Mind" and "The Fact Is (I Need You)." 

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'Feels Like Home' by Norah Jones

Just two years after releasing her successful debut album, Come Away With Me, Norah Jones returned with her sophomore project,  Feels Like Home. With her hit lead single like  "Sunrise,"  Jones continued her winning streak of selling over one million copies of the album in its first week of release. 

'Free Yourself' Fantasia

After winning the third season of the singing competition show American Idol, Fantasia released her debut album,  Free Yourself. She worked with some of R&B's most in-demand producers, such as Jermaine Dupri, Bryan-Michael Cox, The Underdogs, Missy Elliott, and Jazze Pha, to name a few. Fantasia knows how to counter the ups and downs of relationships on her singles like the album title track and "Truth Is." 

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'Feels Like Today' by Rascal Flatts

Rascal Flatts' third album, Feels Like Today , became one of the group's best-selling albums. The project featured four singles, including "Bless The Broken Road," " Fast Cars And Freedom," and the album title track. Feels Like Today topped both the Country Album and Billboard 200 charts. 

'Lyfe 268-192' by Lyfe Jennings

R&B singer Lyfe Jennings gave a glimpse into his love life on his debut album,  Lyfe 268-192. Jennings has the type of grit in his soulful tone that was often heard more with singers that were popular in the '70s and '80s. He added commentary before each song to help introduce the theme. The album's second single,  "Must Be Nice," helped push Jennings to be on the radar for the newest sensation in R&B. 

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'Hot Fuss' by The Killers

Rock band The Killers came onto the scene in 2003 with their first single, "Mr. Brightside," and released their debut album, Hot Fuss , the following summer. With their mix of alternative, punk, and new wave sound, they were able to win fans over, and Hot Fuss reached the top ten on the Billboard 200. 

'Mind Body & Soul' by Joss Stone

Joss Stone's sophomore album, Mind Body & Soul , is the perfect title for a singer known for beaming with soulful and funky musicianship. Stone was only 17 years old at the time but had a voice beyond her years. It's no wonder she was mentored and produced by soulful singer Betty Wright to help hone her sound. Some of the album's hit singles include "You Had Me" and "Spoiled." 

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