yacht rock guitar tone

Christopher Cross: I filled in for Ritchie Blackmore on Deep Purple's US debut

In a new book about Yacht Rock, Ride Like The Wind hitmaker Christopher Cross reveals how he filled in for a sick Ritchie Blackmore at Deep Purple's first US show

Did AOR legend Christopher Cross really fill in for Ritchie Blackmore at Deep Purple’s first ever American show? That’s the claim he makes in Greg Prato’s new book about Yacht Rock , which is published this week. The Yacht Rock Book: The Oral History of the Soft, Smooth Sounds of the 70s and 80s tells the story of soft rock through the voices of those who made it, from Walter Becker to Dave Mason and beyond.

In this excerpt, Christopher Cross talks about his grounding in electric guitar, and how he came to fill in for Blackmore at a show at The Jam Factory in San Antonio, Texas.

Playing electric guitar is not a thing that people know I do, really. I’m more known as a songwriter-singer. So that’s my time to kind of blow a little bit and have a little bit of fun with that, interacting with the players [onstage]. Not that many people know that I grew up playing guitar in Texas with Eric Johnson, Billy Gibbons, and Stevie Ray Vaughan, so it’s part of what I do.

[I was friends with] Stevie, rest his soul, and his brother Jimmie, and then of course Billy I still see quite a bit. I run into him quite a bit. Eric Johnson has been on almost every record I’ve made. He’ll be on the new one, as well. But Eric and I remain very, very close. I miss Stevie—as everybody does in Austin. But yeah, I see the guys a lot.

It would have been interesting [to have collaborated with Stevie]. He used to come out to gigs and sit in at the end. But the thing about him was he was younger. So he was sort of like ‘the kid in town.’ And people were sort of like, ‘OK, let the kid sit in at the end.’ He was so much better than everybody else. So it was amazing to watch him grow as a player. He was always pretty gifted, but it’s crazy how good he got. And I used to leave my fraternity club gigs where I played cover music and go down to the Rome Inn where Stevie was playing his own stuff. But maybe for fifty people. He was always very dedicated to what he wanted to do and didn’t ever really sort of sell out.

I had a promoter friend who I did a lot of kind of gopher work for and stuff like that. And I had a local band, and Joe [Miller] was promoting that [Deep Purple] show, at a place called the Jam Factory. It was their very first show in the United States ever and someone advised them to get flu shots. So they did, and Ritchie Blackmore got very sick. And so the decision was made that they didn’t really want to cancel the show if they could help it. And Joe Miller—who was kind of managing me at the time—said, ‘Y’know, there’s this guitarist in town who’s a big fan of Ritchie’s and he could probably step in.’

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The singer [Ian Gillan] was in favour of it, I remember, but Joe pretty much ran the band and was the one that made the decision that it was better to play than not play. So I came down, and I had a Flying V and long hair, and I’m this big Ritchie fan. So we played the songs that I knew and then we jammed some blues. And they told the crowd Ritchie wouldn’t be there. It was a great moment for me. And then, when they left town, I went to the airport and got to meet Ritchie, and he thanked me for covering for him. He was cool. But what’s funny is, Eagle Rock Records, which released Dr. Faith , my last album in 2011, they have Deep Purple on the label. So Max Vaccaro, who runs the label, says he mentioned the story to Jon Lord, and Jon Lord said that never happened, ever.

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So Max Vaccaro was kind of like, ‘I think you’re bullshitting.’ Eric [Johnson] had a band called Mariani at the time, and they opened the show. So when Max said Jon Lord said it didn’t happen, I called up Eric, and I said, ‘Man, is this a flashback or something? Am I imagining this?’ He goes, ‘No way. I was there. We opened and you played with them. Jon Lord’s lying.’

But it’s like I told Max later: ‘This is something that Jon Lord wanted to forget and I wanted to remember.’ Because it was a nightmare for them.

It was just horrible. Their very first show, and their star, Ritchie, was a pretty big part of it. But it’s a very cool thing.

I should probably [try to find photographic evidence of that show] at some point.

Greg Prato’s The Yacht Rock Book: The Oral History of the Soft, Smooth Sounds of the 70s and 80s is out this week, and can be pre-ordered now .

Editor’s Note: According to Setlist.FM , the show in question did not take place on Deep Purple’s debut US tour (which was in late 1968), but on the American leg of the In Rock tour, in 1970.

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Contributing writer at Classic Rock magazine since 2004. He has written for other outlets over the years, and has interviewed some of his favourite rock artists: Black Sabbath, Rush, Kiss, The Police, Devo, Sex Pistols, Ramones, Soundgarden, Meat Puppets, Blind Melon, Primus, King’s X… heck, even William Shatner! He is also the author of quite a few books, including Grunge Is Dead: The Oral History of Seattle Rock Music , A Devil on One Shoulder And An Angel on the Other: The Story of Shannon Hoon And Blind Melon , and MTV Ruled the World: The Early Years of Music Video , among others.

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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.

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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.

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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').

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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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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)

Top 100 Classic Rock Artists

Gallery Credit: UCR Staff

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• Best Yacht Rock Songs to Play on Your Boat

Whether sailing the high seas or cruising on a tranquil lake, there’s no denying the magical combination of boating and music. And nothing quite fits the bill like yacht rock songs when it comes to creating the perfect ambiance for your boat party. With their smooth melodies and laid-back vibes, yacht rock tunes are the ideal soundtrack to accompany your nautical adventures. 

Curate the ultimate playlist for your next boat party with these suggestions so you can set sail with style and groove to the sounds of the sea.

What Is Yacht Rock and Why Is It Perfect for Boating?

Yacht Rock emerged in the late ’70s and early ‘80s , epitomizing the era’s smooth, soft rock music. Characterized by its polished production, jazz-influenced arrangements and evocative lyrics, yacht rock often features leisure, escapism and coastal lifestyle themes. These songs would be played aboard luxury yachts, capturing the essence of sunny days, ocean breezes and carefree adventures on the water.

Yacht rock songs for boats’ relaxed yet sophisticated nature make it a perfect complement to any boating experience. As the boat glides through the water, the soothing rhythms of the best lake songs create an atmosphere of tranquility and joy, taking your boat party to a new level of enjoyment.

Crafting the Perfect Boating Playlist

To create the ultimate summer boating songs playlist, we considered various factors contributing to the perfect sailing ambiance. The selected songs boast uplifting beats, catchy melodies and lyrics that evoke images of boats, sailing and the sea. Moreover, we’ve included diverse songs to cater to different musical tastes.

Best Boat Songs of All-Time

With so many options out there, we’re excited to share our top songs about boats and sailing and the best songs to listen to on a boat. 

• “Sailing” by Christopher Cross: With its gentle guitar strums and Christopher Cross’s velvety vocals, “Sailing” is an anthem for seafarers. The song’s serene melody and poetic lyrics encapsulate the feeling of being on the open water, making it a must-have for your boat party playlist. As you cruise along, “Sailing” will have everyone swaying to the rhythm, embracing the true spirit of yacht rock.
• “Escape (The Piña Colada Song)” by Rupert Holmes: A yacht rock classic, “Escape” brings a touch of whimsy to your boat party. This catchy tale of love and adventure pairs perfectly with the carefree ambiance of boating. The song’s playful vibe and sing-along chorus will have your guests joining in the fun, creating unforgettable memories on the water.
• “Brandy (You’re a Fine Girl)” by Looking Glass: “Brandy” is a timeless yacht rock gem that narrates the tale of a sailor’s love for a barmaid. Its upbeat tempo and memorable hooks make it an essential addition to your boat party playlist. As you listen to the story unfold, you’ll be transported to coastal taverns and endless maritime horizons.
• “Yacht Rock” by JD & The Straight Shot: The eponymous “Yacht Rock” is a modern tribute to the genre. With smooth instrumentals and polished vocals, this song embodies the very essence of summer boating songs. As you sail into the sunset, “Yacht Rock” will warmly embrace you, ensuring a truly unforgettable boat party experience.

• “Sail On” by Commodores: Smooth and soulful, “Sail On” by the Commodores is a yacht rock favorite that perfectly captures the essence of sailing. The mesmerizing vocals of Lionel Richie and the mellow instrumentation make it a sublime addition to your boat party playlist. As you sail into the horizon, “Sail On” will evoke feelings of serenity and nostalgia.
• “Southern Cross” by Crosby, Stills & Nash: “Southern Cross” is a yacht rock sensation that vividly depicts a sailor’s journey and longing for adventure. With its dreamy harmonies and evocative lyrics, this song embodies the wanderlust spirit of boating. As you navigate the waters, “Southern Cross” will ignite a sense of exploration and freedom.
• “Key Largo” by Bertie Higgins: Set the perfect mood for your boat party with “Key Largo” by Bertie Higgins. This romantic ballad takes inspiration from the beautiful Florida island, offering a gentle and relaxing vibe. As you anchor in tranquil waters, “Key Largo” will fill the air with enchanting melodies, creating a magical experience on your boat.
• “Into the Night” by Benny Mardones: “Into the Night” is a yacht rock classic that weaves a tale of passion and romance under the moonlight. With its soulful vocals and captivating melody, this song is perfect for setting a dreamy and intimate atmosphere at your boat party. As the stars twinkle above, “Into the Night” will take you on a magical journey through the night skies.
• “Reminiscing” by Little River Band: As the sun sets on your boat party, let the nostalgic vibes of “Reminiscing” fill the air. This boating playlist gem has smooth harmonies and a gentle rhythm that will transport you back to cherished memories and create an ambiance of camaraderie and friendship. It’s the perfect tune to share stories and laughter with your guests.
• “Moonlight Feels Right” by Starbuck: “Moonlight Feels Right” is a funky and fun yacht rock song that will have everyone dancing on deck. With its catchy marimba riffs and chorus, this tune infuses your boat party with playful energy and excitement. So, let loose and dance under the moonlit sky as “Moonlight Feels Right” fills the night with joy.

Honorable Mentions

Whether you use them to create a more extensive playlist or keep them on standby for future voyages, these yacht rock gems will elevate your boat party’s ambiance. Let the melodies of these honorable mentions serenade you as you create unforgettable memories on your nautical journey. Here are our best boat party songs: 

• “Dance with Me” by Orleans: A captivating blend of folk and yacht rock, “Dance with Me” offers a smooth and romantic melody that sets the perfect tone for a slow dance on deck. This timeless classic will create a memorable moment for you and your guests as you sway together beneath the stars.
• “Cool Change” by Little River Band: “Cool Change” is an introspective Yacht Rock anthem that captures the essence of tranquility and self-discovery. Its calming rhythm and soul-stirring lyrics make it an excellent addition to your boat party playlist, especially during introspection on the open waters.
• “Steal Away” by Robbie Dupree: The captivating vocals and soft rock style of “Steal Away” make it a must-have on your Yacht Rock boat party playlist. This tune exudes a sense of freedom and adventure, making it the perfect companion as you explore new horizons on your boat journey.
• “On and On” by Stephen Bishop: Stephen Bishop’s soothing voice and the mellow instrumentation of “On and On” create an atmosphere of pure relaxation. As you glide across the water, this yacht rock classic will add a touch of serenity to your boat party experience.

As you set sail on your boat party adventure, let the smooth melodies of yacht rock be your trusted companions. The carefully curated playlist will transport you and your guests to a world of blissful boating, where the worries of the shore are left behind. Grab your sunglasses, feel the wind in your hair and embark on a memorable journey with the ultimate yacht rock playlist for your boat party.

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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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From yacht-rock reinventions to Viking metal: here are this week's essential guitar tracks

Lend your ears to hot new tunes from John Mayer, Blood Red Shoes, Amon Amarth, Samia, Blackberry Smoke and more

Exhale, for Friday has arrived, and the weekend is almost here. Of course though, we can’t in good conscience send you off without filling your ears with guitar goodness.

We’ve got an eclectic but bountiful plate of material this week, with everything from John Mayer’s yacht-rock reinvention, to a nice, calming slice of pure Viking metal from Amon Amarth, some straight-from-the-swamps Southern rock from Blackberry Smoke, Deftones-y shoegaze metal from Blanket and a whole lot more.

Turn up the volume then, and usher in the weekend in style.

John Mayer – Last Train Home

Someone call Steve Lukather! If you thought the early ‘80s stylings of John Mayer’s upcoming eighth studio effort, Sob Rock , would extend only to its cover , its first single, Last Train Home , will comprehensively disprove you of this notion.

Head-fake or not, Last Train Home is almost as much an unsettlingly accurate sonic period piece as it is a new single. The snare sounds like it’s been recorded from the top of Everest, the front-and-center synth riff is creamy and inoffensive, but perfectly engineered to stick into your head, while Mayer gets cheered on ( I Want to Know What Love is -style) with some emphatic, gospel-esque backing vocals from Maren Morris in the final chorus. 

A hot-pink Silver Sky in hand, Mayer delivers the guitar goods perfectly – no more, no less. Underneath the gloss of the synth, Mayer’s propulsive and funky rhythm work makes for wonderful seasoning, while his leads – spiked with just the right touch of gain – break through the song’s laboratory-like facade with enough panache to grab your attention, but with the restraint of a seasoned veteran who knows not to steal the show.

Oh, did we mention that the aforementioned synths are played by session ace and former Toto man Greg Phillinganes? Those flavorful conga rhythms? From the hands of another Toto alumnus, Lenny Castro.

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Point is, for Last Train Home , Mayer had a crystal-clear vision. And just as he has when making a power trio blues-rock live album , or filling a stadium (or 20) with Dead & Company, or conquering radio with pop smashes , he executed it with breathtaking skill. (JM)

Blanket - Where the Light Takes Us

You wait decades for another band to capture the atmospheric metal majesty of Deftones, then two arrive at once, each putting their own distinct spin on the influential Sacramento icons’ sound. At the start of the year, Liverpudlian metalcore outfit Loathe took Chino Moreno and co’s template into heavier realms, and now Blackpool post-metallers Blanket are leaning into the ’tones’ shoegazier side.

Where the Light Takes Us comes from new album Modern Escapism , and it’s brimming with absolutely breathtaking tones that have us craving a good look at guitarists Simon Morgan and Bobby Pook’s pedalboards. The verses offer rich, modulated cleans with lashings of delay and reverb, juxtaposed with a colossal distorted chorus and an angular harmonized outro. In short, it casts a wide sonic net – and the band are fully aware of their far-reaching ambitions.

“We don't really fit in with the post-rock people, we don't really fit in with the math rock people, we don't really fit in with the metal crowd but I like that,” says Pook. “If we don't fit into any of those cliques, then we’ve found our own thing.” (MAB)

Amon Amarth – Masters of War 

In celebration of the 20th anniversary of their third studio album The Crusher , heavy metal’s resident Vikings Amon Amarth have unsheathed their axes to re-record a version of its second, carnage-inducing track, Masters of War .

Immediately apparent – aside from the change in pitch – is the upgrade in production value: while the original packs a considerable punch, this version sounds larger, clearer, and more sonically enveloping, allowing the riff work and octave dual guitar lines penned by guitarists Olavi Mikkonen and Johan Söderberg to really shine. (SR)

Counting Crows – Bobby and the Rat-Kings 

Among the many musical names that have announced a comeback this year, last month’s news that Counting Crows were returning with their first album in over seven years was met with particular enthusiasm.

Now, following the full release of Buttery Miracle, Suite One , we can all rest easy knowing our enthusiasm was wholly justified and expectations have fully been met. Elevator Boots , the first single from the record, paved the way for the rest of the highly anticipated offering, with new track Bobby and the Rat-Kings successfully continuing the record’s fine pre-release form. 

Bookended by a series of oversized Baba O'Riley -esque six-string strums, the opening exchanges give way to five-and-a-half minutes of pumping powerchords, catchy vocal hooks, subtle harmonic flourishes, and an extended, stripped-back section that precedes a frantically exquisite finale.

If you’re checking out Bobby and the Rat-Kings , you might as well check out the entire album while you’re at it. It’s only four songs long. (MO)

Blood Red Shoes - A Little Love

Long before Royal Blood blew up the two-piece alternative-rock formula, fellow Brighton outfit Blood Red Shoes were wringing maximum volume from a guitar-and-drums-only setup. Now 17 years into their career, the band have launched their first material since 2019’s fifth album, Get Tragic .

Laura-Mary Carter can be relied upon to deliver big sounds and even bigger riffs, and A Little Love is no exception, with a scuzzy verse and – when it’s safe to do so – danceable chorus. The song’s outro finds her flexing her lead chops, too, with an intense wah freakout worthy of Tom Morello’s wildest moments.

Side-note: A Little Love is the second song in the band’s history to feature a can of hairspray as an instrument, apparently. So now you know. (MAB)

Samia – Show Up

Having injected some much-needed life into the doldrums of 2020 with The Baby – an electrifying, cathartic, impossible-to-pin-down debut album for the ages – Samia is already back with a companion piece to the album, a new EP called Scout .

Its first single, Show Up , is a gorgeous, widescreen ode to friendship tinged with love and the exhilaration of community on one hand, and anxiety and restlessness on the other. 

From the song’s water-y opening riff to the towering wash of cleansing distorted power chords in the chorus, Samia’s stellar guitar-work on Show Up adds still another dimension to her already-affecting lyrics. 

If you missed The Baby , definitely go back and give it a spin, and if you like what you hear, be on the lookout for Scout . We certainly will be. (JM)

Creeper – Midnight

Arriving ahead of their forthcoming EP American Noir – which itself drops July 30 – Midnight is out first taste of new Creeper music since the group’s sophomore full-length, Sex, Death & the Infinite Void .

The track retains the same MCR-esque, operatic emo-rock stylings that define Creeper’s sound, and while the vocal interplay between Will Gould and Hannah Greenwood takes center stage for the most part, a blazing solo courtesy of guitarist Ian Miles ensures the six-string gets its time in the spotlight. (SR)

Scale the Summit – The Land of Nod (feat. Courtney LaPlante)

A little over a week ago, Chris Letchford unveiled two remarkable things: the first track from Scale the Summit’s forthcoming album Subjects – entitled Jackhammer Ballet – and, perhaps more importantly, a Kiesel CL7 with 168 programmable LEDs embedded in the fingerboard .

Now, the guitarist has unsheathed the luminescent monstrosity once again for a playthrough of the album’s second single, The Land of Nod . 

The track – which features vocals from Spiritbox's Courtney LaPlante – sees Letchford display lead guitar skills in abundance, with a plentiful supply of multi-string alternate picking, chugging palm-muted riffs and lush melodies to digest. (SR)

Blackberry Smoke – All Over the Road

Many try to reproduce that holy grail, golden-era-of-classic-rock sound through their six-string escapades, yet only a handful ultimately succeed. One such band who succeeds in spades is Blackberry Smoke, whose most recent album You Hear Georgia  serves up 10 tracks of pure rock ‘n’ roll bliss. 

Among the many honorable mentions is All Over the Road, which sees guitarists Charlie Starr and Paul Jackson lock into a pristine high-gain sound to serve up a sumptuous concoction of double-tracked rock riffs and raucous bottle-slide lead lines. The guitar tones are to die for in All Over the Road , as is Starr’s hypnotic lyrical flow, with one open-strum chord line propping up the track’s driving, high-octane hook.

Mixed among the melting pot of straight-out-of-the-'70s classic rock progressions and 12-bar-blues-inspired cameos are a number of six-string stabs and drum fills that keep things ticking along nicely, before a full-blown slide solo closes things out in style.

If you’re craving some classic rock-inspired romps to get your weekend started, All Over the Road – and the rest of Blackberry Smoke’s new album – is as good a starting point as any. (MO)

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Mike is Editor-in-Chief of GuitarWorld.com, in addition to being an offset fiend and recovering pedal addict. He has a master's degree in journalism from Cardiff University, and over a decade's experience writing and editing for guitar publications including MusicRadar , Total Guitar and Guitarist , as well as 20 years of recording and live experience in original and function bands. During his career, he has interviewed the likes of John Frusciante, Chris Cornell, Tom Morello, Matt Bellamy, Kirk Hammett, Jerry Cantrell, Joe Satriani, Tom DeLonge, Ed O'Brien, Polyphia, Tosin Abasi, Yvette Young and many more. In his free time, you'll find him making progressive instrumental rock under the nom de plume Maebe .

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If you are passionate about playing the guitar, but often find yourself short on practice time, or frequently on-the-go and in need of musical inspiration, then the Steve Stine Guitar Podcast can help you improve your skills and stay motivated. Join Steve Stine as he chats with fellow musicians and educators, and shares valuable guitar lessons to help you learn new songs, grasp music theory, and create your own solos. Whether you are an experienced guitarist or just starting out, this podcast is perfect for you.

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• 4.9 • 139 Ratings
• MAR 21, 2024

Unleashing Studio-Quality Guitar Tones with Top Plugins and Amp Sims: A Guide by Steve Stine

Ever wondered how to inject studio-quality guitar tones directly into your recordings without the hassle of micing amps? Strap in as your host, Steve Stine, pulls back the curtain on the transformative world of guitar plugins and amp sims. I'm here to share my personal arsenal of the most reliable and high-quality software that's elevating my music—and can do the same for yours. From what’s already at your fingertips within your DAW to the game-changing offerings of Neural DSP, STL Tones, and others, this episode is your ticket to finding that perfect sound, whether you're a bedroom rocker or a studio professional. This journey through the digital landscape isn't just about gear; it's about the nuance of capturing the essence of guitar icons and the powerhouses of tone. Discover how artist-inspired plugins from Neural DSP can bring the likes of John Petrucci and Gojira right into your creative space. Practical, insightful, and packed with my firsthand experience, you're getting a front-row seat to a masterclass in guitar recording excellence. Say goodbye to traditional constraints and hello to unlimited sonic possibilities with my guide to the best guitar plugins and amp sims in the business.

Tim Pierce Tells the Story Behind Recording Bon Jovi's Runaway

Strap in for a ride on the wild strings of Tim's guitar as he shares the untold stories from the early days of Bon Jovi, and beyond. In a candid conversation, Tim—a revered session guitarist with a knack for finding himself in the right place at the right time—recounts the magic of recording "Runaway," a track that catapulted Bon Jovi into the limelight. He peels back the curtain on the hustle of a young Jon Bon Jovi, the camaraderie amongst rock's unsung heroes, and the bittersweet symphony of paths diverged when he opted to tour with Rick Springfield instead. But that's just scratching the surface. Tim doesn't just regale us with tales of yesteryear; he brings us into the studio, dissecting the art of nailing that perfect guitar solo and the surprising simplicity behind iconic tracks laid down with minimal resources. We're then whisked forward in time to Tim's chance reunion with John Bon Jovi, leading to an impromptu holiday solo that now echoes through the aisles of every Home Depot each December. So tune in, and let's celebrate the serendipity and enduring bonds that music weaves into the fabric of our lives.

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Striking a Chord: My Journey from Rock to Jazz Fusion Mastery

Have you ever found yourself on the edge of a musical cliff, looking into the unknown depths of a genre that feels worlds away from your own? That's where I stood, guitar in hand, as I prepared to leap into the intricate world of jazz fusion. In a tale of unexpected turns, I recount the thrilling saga of channeling my rock and metal-honed skills into the sophisticated melodies and rhythms of the Brecker Brothers. Alongside my narrative, I peel away the layers of what it takes to internalize and execute music that's not just new but complex to the core. It's a journey that's as much about self-discovery as it is about musical mastery. Through the lens of my own experiences, this episode illuminates the artistry involved in transforming horn-driven compositions to the guitar's strings, all while diving into the delicate ecosystem of a new band. We'll explore the essential elements of paying homage to the original pieces while injecting a dose of personal style that reflects the unique qualities every musician brings to the stage. Whether you're a music aficionado or an artist on the lookout for your next creative adventure, this episode promises to inspire and embolden you to step beyond the boundaries of the familiar and into the exhilarating expanse of artistic growth and transformation.

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How I Use Compression with my Guitar Tone?

Compression is a great effect that you can use whether you are playing live and need more "balance" to your tone, or want to make those solos stand out, or in the studio, when you need to make your guitar mix more stable. Let's chat about it.... Tune in now and learn more! Links: Steve’s Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He

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Soloing with Arpeggios with Steve Stine

Arpeggio, also known as a "broken chord," denotes a chord in which each note is audibly heard separately. Specifically, they’re the notes that make up the chords played separately. Arpeggio helps musicians bridge the gap between strumming chords and running scales.  By using this technique in a solo, you can better match the passing chords in the progression to create a more meaningful story sound. In today’s episode of Steve Stine Guitar Podcasts, Steve shows how to play arpeggios and do it solo. He also specifies that visualizing arpeggio will make it easier for you to play it. Tune in now and learn more techniques! Highlights: (02:06) Building Out Arpeggios a Little Bigger.(05:36) Visualizing the Arpeggio. (08:38) Moving From Scale to Arpeggio.(12:40)The Problem With the G-Sharp.(14:55) Using Shapes for the D Major.(16:29)Looking For Unique Ways to Approach Your Playing.(18:14)Fretboard Freedom Webinar.Links: Steve’s Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He

• FEB 2, 2023

Getting Better at Barre Chords with Steve Stine

Learning the Barre Chords the first time is difficult. Thus holding the strings all at once make the guitarists frustrated but learning it will definitely be worth it. In today’s episode of Steve Stine Guitar Podcasts, we are looking at 3 ways to make your Barre Chords easier to play and execute. Often, the angle of your wrist and your elbow can have a big impact on the ability to play effective Barre Chords, so hopefully this will help you! Want to learn about the easy ways to play your barre chord? Tune in now and check out this new episode! Take care, stay positive, and keep practicing!   Highlights: (00:25) The Arm Angle in Holding A Guitar(01:09) Three Things to Remember About Barre Chords(02:50) Which Is Easier to Use Electric or Acoustic Guitar?(04:11) Approches in Making the Barre Chord(06:47) Common Problems of Finger Positioning (07:20) Adjustments That Needs to Be Adressed(10:11) Start Practicing at the Easiest WayLinks: Steve’s Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He

• © 2024 Steve Stine Guitar Podcast

Customer Reviews

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Theory lessons are fantastic!

I've only gotten through the music theory podcasts... This is the best / easiest breakdown of music theory I've ever come across. Steve is a natural teacher. Only thing I'd change is Dan needs to not interrupt (I'm sure he's a great guy and knows his stuff too) it takes away from the flow of what Steve is talking about and often makes things more confusing rather than clarifying.

I wish Steve Stine had been my guitar teacher when I was 14.

Great content, but one issue

Hey Steve, love the podcast. Now I’m listening to the podcast, not watching. I think it’s great that you acknowledge the people who watch your show live, but could you not stop your teaching to answer questions in the chat that have nothing to do with the content? Just seems to stop the flow, just a suggestion.

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• Type: Staged Opera Live
• Singers: Dmitry Korchak
• Conductor: various   
• Orchestra: various  
• Stage Director:   
• Costume Designer:   

Information about the Recording

• Published by: OoV   
• Date Published: 2023   
• Format: Streaming
• Quality Video: 3 Audio: 3
• Subtitles: nosubs   
• Video Recording from: YouTube      FULL VIDEO

ADDITIONAL INFORMATION ON THIS PERFORMANCE

Dmitry Korchak (born February 19, 1979 in Elektrostal/Moscow Oblast) is a Russian tenor and conductor.

Korchak received his musical education at the Moscow Choral Academy. In 2004 he won prizes at the “Francisco Viñas” International Singing Competition in Barcelona and at the Plácido Domingo Operalia International Competition in Los Angeles.

As a singer he has appeared at La Scala in Milan, the Vienna State Opera, the Berlin State Opera Unter den Linden, the Paris Opera Bastille, London’s Covent Garden and New York’s Carnegie Hall. He has collaborated with artists such as Daniel Barenboim, Riccardo Chailly, Plácido Domingo, Lorin Maazel, Zubin Mehta and Kent Nagano.

From 2017 to 2020, Dmitry Korchak was Principal Guest Conductor at the Novosibirsk Academic Opera and Ballet Theater, where he directed his own festival, and Guest Conductor at the Mikhailovsky Theater in Saint Petersburg.

Korchak has made several guest appearances at the Kissinger Sommer, the Salzburg Festival and the Rossini Festival in Pesaro, where he also worked as a conductor. Korchak also worked with the Bavarian Radio Orchestra and the Chicago Symphony Orchestra, among others.

Comment ( 1 )

Thank you for this, he’s brilliant!

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News from non-English countries

"They fell to the ground with screams": Russian Guards fired at children single near Moscow - there is a casualty

2023-08-20T20:58:57.477Z

Highlights: In Russia, in the city of Elektrostal (Moscow region), during demonstrations, Rosgvardia soldiers began shooting at spectators with children from machine guns with blank cartridges. One child received serious damage from a rebounded cartridge case. In the video, a child can be heard crying and screaming violently. It is also interesting that Russia recently arranged a solemn farewell to Vladimir Shestakov, convicted for the murder of a child, who became a mercenary of PMC "Wagner" and was liquidated in the war in Ukraine.

In Russia, in the city of Elektrostal (Moscow region), during demonstrations, Rosgvardia soldiers began shooting at spectators with children from machine guns with blank cartridges.

So far, one injured child is known.

This was reported by the local Telegram channel of the Cheka-OGPU.

"Small children were clutching their heads screaming and falling to the ground. Not without injuries. The child received serious damage from a rebounded cartridge case," the report said.

One of the witnesses to the incident posted a video. It was her child who was shot by the Russian Guards. In the video, a child can be heard crying and screaming violently.

After the woman realized that her child had been wounded, she called her husband and doctor.

Meanwhile, Russian occupier Ivan Alekseev in the war in Ukraine after a drunken quarrel killed his colleague and tried to cover up the crime, saying it was the work of "Ukrainian saboteurs."

It is also interesting that Russia recently arranged a solemn farewell to Vladimir Shestakov, convicted for the murder of a child, who became a mercenary of PMC "Wagner" and was liquidated in the war in Ukraine.

• The suspect in the murder of a military volunteer was released from custody
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