Yacht rock, a genre born in the mellow afterglow of the ’70s, remains one of music’s most intriguing paradoxes. Despite achieving significant commercial success, it has always resisted a simple, concrete definition. For many, identifying yacht rock is an intuitive experience, a matter of feeling rather than strict categorization. It’s that unmistakable vibe, a sonic signature that sets it apart from other musical styles: you simply know Yacht Rock Songs when you hear them.
Certain elements consistently appear in yacht rock songs. Melody reigns supreme, prioritizing smooth, easy-listening tunes over heavy beats or complex rhythms. Lyrical themes often lean towards the lighthearted and breezy, evoking a sense of carefree sophistication. Think of tracks like Seals & Crofts’ “Summer Breeze,” Christopher Cross’s “Ride Like the Wind,” or Bill Withers’ “Just the Two of Us.” These are the quintessential yacht rock songs, music perfectly suited to soundtracking a leisurely cruise on a luxury yacht, gliding across calm, azure waters.
However, the beauty of yacht rock lies in its fluidity. Even these loosely defined “rules” can be bent and broken without losing that essential yacht rock essence. Many artists not strictly defined as “yacht rock” have dipped their toes into the genre. Crosby, Stills & Nash, with “Southern Cross,” infused their signature harmonies with a nautical theme, while Fleetwood Mac’s “Dreams,” despite its melancholic lyrics, possesses a melodic sensibility that aligns with the yacht rock sound.
This genre’s undefined nature has allowed yacht rock to become surprisingly broad and inclusive. From chart-topping hits to hidden gems, we’ve curated a list of 50 top yacht rock songs to set your sails to and enhance your listening experience.
50. “Thunder Island,” Jay Ferguson (1978)
Younger audiences might recognize Jay Ferguson primarily for his compositions for the NBC sitcom The Office, where he also humorously portrayed the guitarist in Kevin Malone’s band, Scrantonicity. However, Ferguson’s musical journey began in the ’60s with the band Spirit. He later formed a group with a future member of Firefall, foreshadowing his ’70s shift towards the yacht rock sound exemplified by “Thunder Island.” This infectious single steadily climbed the charts after its release in October 1977, breaking into the Top 10 by April of the following year. Producer Bill Szymczyk played a crucial role in its success, bringing in his friend Joe Walsh to add a memorable, soaring slide guitar solo. Despite the success of “Thunder Island,” Ferguson’s subsequent attempt to recapture the magic with the 1979 single “Shakedown Cruise” proved to be a quickly fading chart entry.
49. “Southern Cross,” Crosby, Stills & Nash (1982)
Crosby, Stills & Nash’s “Southern Cross” offers a more literal interpretation of yacht rock, showcasing how Stephen Stills revitalized existing material. He sped up the tempo of “Seven League Boots,” a song originally written by brothers Rick and Michael Curtis, and layered in new lyrics explicitly about a sailing trip. “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 explained in the liner notes for the 1991 CSN box set. “It’s about using the power of the universe to heal your wounds.” The music video for “Southern Cross,” which became a staple on MTV, further reinforced the nautical theme, featuring the band members prominently on a large sailboat.
48. “Jackie Blue,” The Ozark Mountain Daredevils (1974)
Drummer Larry Lee initially conceived “Jackie Blue” as a song about a male drug dealer working as a bartender. For a considerable period, The Ozark Mountain Daredevils’ most recognizable track remained an instrumental piece with placeholder lyrics like, “Ooh, ooh, ooh, ooh Jackie Blue. He was dada, and dada doo. He did this, he did that … .” Producer Glyn Johns, a fan of the track’s musicality, offered a pivotal suggestion that ultimately unlocked the song’s potential. “No, no, no, mate,” Johns advised. “Jackie Blue has to be a girl.” The band quickly reworked the lyrics in about 30 minutes, transforming Jackie from a “drugged-out guy” into a “reclusive girl.” This lyrical shift proved transformative, propelling “Jackie Blue” all the way to No. 3 on the charts.
47. “Sailing,” Christopher Cross (1979)
It’s difficult to imagine a more definitive yacht rock song than “Sailing.” The second single, and first chart-topping hit, from Christopher Cross’s self-titled 1979 debut album delivers an intoxicating blend of dreamy strings, gentle vocals, and shimmering, open-tuned guitar arpeggios. These guitar tunings were a direct homage to Cross’s songwriting idol, Joni Mitchell. “These tunings, like Joni used to say, they get you in this sort of trance,” Cross told Songfacts in a 2013 interview. “The chorus just sort of came out. … So I got up and wandered around the apartment just thinking, ‘Wow, that’s pretty f***in’ great.’” The Grammy Awards echoed this sentiment, with “Sailing” winning Record of the Year, Song of the Year, and Best Arrangement at the 1981 ceremony, solidifying its place among the greatest yacht rock songs.
46. “Just the Two of Us,” Bill Withers and Grover Washington Jr. (1980)
The collaboration between vocalist Bill Withers and saxophonist Grover Washington Jr. yielded the sleek and sophisticated “Just the Two of Us.” Initially presented with the song, Withers insisted on refining the lyrics. “I’m a little snobbish about words,” he admitted in a 2004 interview. “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 further enhanced with upbeat backing vocals and a subtle, yet distinctive, slap bass line, completing this yacht rock classic.
45. “Sara Smile,” Daryl Hall & John Oates (1975)
“Sara Smile” epitomizes smoothness, marking Daryl Hall & John Oates’ initial breakthrough into the US Top 10. This song was a heartfelt tribute to Sara Allen, Hall’s long-term girlfriend, whom he met when she was working as a flight attendant. Hall’s lead vocal, recorded live, is remarkably clear and resonant, floating above a velvety bassline and polished backing vocals that hint at the duo’s R&B influences. “It was a song that came completely out of my heart,” Hall reflected in a 2018 interview. “It was a postcard. It’s short and sweet and to the point.” Hall and Allen’s relationship, which inspired this iconic yacht rock song, lasted nearly three decades before ending in 2001.
44. “Rosanna,” Toto (1982)
“Rosanna,” a defining hit of 1982, was penned by Toto co-founder David Paich. Despite popular speculation, the song wasn’t actually about Rosanna Arquette, even though keyboardist Steve Porcaro was romantically involved with the actress at the time. The song’s driving force is drummer Jeff Porcaro’s distinctive “half-time shuffle,” reminiscent of John Bonham’s drumming on “Fool in the Rain.” Layered vocal harmonies and prominent brass sections further enrich the track, creating an undeniably infectious and uplifting groove that embodies yacht rock at its finest.
43. “Diamond Girl,” Seals & Crofts (1973)
Seals & Crofts were masters of soft rock, enriching their sweet melodies with enough musical sophistication to transcend fleeting trends. While the lyrics of “Diamond Girl,” one of their three No. 6 hits, might be perceived as somewhat generic and overly romantic, built on clichés like, “Now that I’ve found you, it’s around you that I am,” the song’s sonic texture is undeniably luxurious. Emerging from a quality hi-fi system, every nuance – the stacked backing vocals, the crisp piano – is presented in rich analog detail, making it a standout yacht rock track.
42. “What You Won’t Do for Love,” Bobby Caldwell (1978)
Smoothness defines “What You Won’t Do for Love” from its opening horn riffs and soulful keyboard chords to the funky bassline and Bobby Caldwell’s velvety vocals. Released in September 1978, this track reached No. 9 on the Billboard Hot 100, becoming Caldwell’s signature hit. Its enduring appeal is evident in its later sampling for rapper 2Pac’s posthumous 1998 hit single “Do for Love,” showcasing the song’s timeless quality and influence beyond the yacht rock genre.
41. “We Just Disagree,” Dave Mason (1977)
Dave Mason’s hit song, “We Just Disagree,” which reached No. 12, owed much of its success to Jim Krueger. Krueger composed the track, contributed harmony vocals, and played the captivating guitar figure that defines the song. “It was a song that when he sang it to me, it was like, ‘Yeah, that’s the song,'” Mason told Greg Prato in a 2014 interview. “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.” Sadly, the talented Krueger passed away from pancreatic cancer at the young age of 43. “We Just Disagree” marked the peak of Mason’s chart success, with subsequent singles failing to reach similar heights.
40. “Crazy Love,” Poco (1978)
Inspiration struck Rusty Young unexpectedly while he was paneling a wall. Having spent years in the shadows of Stephen Stills, Richie Furay, and Neil Young within Buffalo Springfield and then Poco, “Crazy Love” became his defining moment. Young presented the song to his Poco bandmates even before completing the lyrics, but they were immediately captivated by the way the placeholder words harmonized. “I told the others, ‘Don’t worry about the ‘ooh, ooh, ahhhh haaa‘ part. I can find words for that,” Young recounted to the St. Louis Dispatch in 2013. “And they said, ‘Don’t do that. That’s the way it’s supposed to be.'” Their instincts were correct. Young’s first major vocal performance became Poco’s only Top 20 hit, cementing its place in yacht rock history.
39. “Suspicions,” Eddie Rabbitt (1979)
Eddie Rabbitt’s transition from country music to crossover pop stardom was significantly boosted by “Suspicions.” This song, exploring the anxieties of a man suspecting infidelity, climbed into the Top 20 on both pop and adult-contemporary charts. Adding to its yacht rock credentials, co-writer Even Stevens revealed that Toto’s David Hungate played bass on the recording. Despite its pivotal role in his career, Rabbitt confessed that he wrote “Suspicions” quickly during a lunch break on the final 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.”
38. “Moonlight Feels Right,” Starbuck (1976)
No sound in rock music is more inherently yacht rock than Bruce Blackman’s distinctive laugh. Humorous, unexpected, and slightly smug, punctuated with vocal fry, it arrives just before each chorus of Starbuck’s signature song. The reason for this laughter remains ambiguous, perhaps a simple reaction to the enchanting glow of moonlight. “Moonlight Feels Right” is one of the more peculiar hits of the ’70s—soft-pop hooks mingling with marimba and synthesizer textures that could have been borrowed from a classic progressive rock epic. “The eastern moon looks ready for a wet kiss,” Blackman croons, “to make the tide rise again.” It’s a uniquely lunar, romantic encounter captured in song.
37. “Same Old Lang Syne,” Dan Fogelberg (1981)
“Same Old Lang Syne” stands as a masterclass in concise and poignant storytelling. Its emotional weight lies in what remains unspoken between the two protagonists. Dan Fogelberg crafts a moving narrative about former lovers who unexpectedly meet in a grocery store on Christmas Eve and spend the evening catching up and reminiscing. Their lives have diverged—he is a disillusioned musician, she is trapped in an unhappy marriage—yet their lingering affection for each other is palpable, though unspoken. They fail to bridge the gap, and as Fogelberg bids farewell to his old flame, he is left with bittersweet memories and a sense of unfulfilled longing to keep him company on a snowy December night, which later turns to rain.
36. “Eye in the Sky,” The Alan Parsons Project (1982)
“Eye in the Sky” by The Alan Parsons Project is a rare gem, resonating with both progressive rock aficionados and soft rock enthusiasts. The arrangement is characterized by smooth contours and plush textures. When Eric Woolfson’s vocals enter, expressing romantic deception over Wurlitzer keys and muted guitar riffs, the effect is akin to a slow-motion descent onto a memory foam mattress. However, “Eye in the Sky” is more than just smooth listening; it’s artful. Ian Bairnson’s seductive guitar solo and the title phrase, evoking a sense of god-like omniscience, elevate it beyond typical yacht rock fare.
35. “Somebody’s Baby,” Jackson Browne (1982)
Jackson Browne’s highest-charting single and final Top 10 hit, “Somebody’s Baby,” was initially featured on the soundtrack of the 1982 teen comedy Fast Times at Ridgemont High. This placement seemed somewhat incongruous for Browne, known for his earnest singer-songwriter style. “It was not typical of what Jackson writes at all, that song,” co-composer Danny Kortchmar noted in a 2013 interview. “But because it was for this movie, he changed his general approach and came up with this fantastic song.” Despite its success, Browne remained uncertain about its fit within his usual work, initially excluding “Somebody’s Baby” from his subsequent album, a decision he later regretted. Lawyers in Love, his next proper album, broke a streak of consecutive multiplatinum releases dating back to 1976, perhaps suggesting the commercial appeal of “Somebody’s Baby” was greater than he initially realized.
34. “Still the One,” Orleans (1976)
Part of yacht rock’s charm is its balanced approach—incorporating elements of various genres without fully committing to any single one. Songs might be jazzy, but not overly experimental. Brass sections are welcome, but not too funky. And while yacht rock songs should have a rock sensibility, they shouldn’t rock too hard. Orleans’ 1976 hit “Still the One” perfectly embodies this balance. Set against a steady, chugging groove, frontman John Hall sings about an enduring romance. This love isn’t a fiery passion, but rather a comfortable, medium-level warmth that sustains over time. The tune is inoffensive, catchy, and enjoyable—hallmarks of yacht rock gold.
33. “New Frontier,” Donald Fagen (1982)
“New Frontier” paints a quirky scenario: an awkward young man attempts to initiate a Cold War-era romance, hoping for a lasting, post-apocalyptic relationship, within the confines of a bomb shelter. He tries to woo a “big blond” with starlet looks and a fondness for Dave Brubeck. Few songwriters could pull off such a specific lyrical concept, and arguably only Donald Fagen could make it so catchy. “New Frontier,” a standout solo track from the Steely Dan mastermind, builds upon the sleek jazz-funk of Gaucho, evolving it into a more digitally influenced soundscape. Fagen layers precise vocal harmonies over synth textures and bent-note guitar leads, creating a uniquely Steely Dan-esque yacht rock song.
32. “Sail On, Sailor,” The Beach Boys (1973)
The Beach Boys were in the process of reworking a new album when Van Dyke Parks presented them with an updated version of an unfinished Brian Wilson song. The final piece was to give Blondie Chaplin the microphone for what would become his defining moment with the Beach Boys. Despite its quality, “Sail On, Sailor” only barely cracked the Top 50 upon its initial release. The song was re-released, but Chaplin soon departed the band. “Sail On, Sailor” stands as a testament to how the Beach Boys’ signature sound could have continued to evolve. Instead, Chaplin went on to collaborate with The Band, Gene Clark of the Byrds, and the Rolling Stones, while the Beach Boys transitioned into a long-lasting, but perhaps less creatively adventurous, phase as a legacy act.
31. “Time Passages,” Al Stewart (1978)
Al Stewart followed up his breakthrough hit, 1976’s “Year of the Cat,” with “Time Passages” two years later, adopting a more streamlined approach. “Time Passages” shares structural similarities with its predecessor, including a Phil Kenzie saxophone solo and production by Alan Parsons. While both songs’ album and single versions coincidentally share the same running time, “Time Passages”‘ narrative was less complex and more radio-friendly. “Time Passages” became Stewart’s highest-charting single, reaching No. 7, while “Year of the Cat” had peaked at No. 8.
30. “I Go Crazy,” Paul Davis (1977)
Paul Davis might have looked like he belonged in the Allman Brothers Band, but his gentle, soulful voice steered him in a different musical 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 longest stay on the Billboard charts, peaking at No. 7 during its impressive 40-week run. Davis, who passed away in 2008, charted five more songs in the Top 40 after 1977, but “I Go Crazy” remains his masterpiece—a wistful and melancholic reflection on lost love, supported by spare, heartbroken verses.
29. “Biggest Part of Me,” Ambrosia (1980)
Songwriter David Pack hastily recorded the original demo of “Biggest Part of Me” on reel-to-reel tape as his family was running late. “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.” Pack worried that the hastily written first verse, with its somewhat corny rhymes of “arisin,'” “horizon,” and “realizin‘,” might detract from the song. He employed the classic yacht rock strategy of enlisting Michael McDonald to add heartfelt background vocals. The result was a Top 5 hit on both pop and adult-contemporary charts, proving the effectiveness of yacht rock’s smooth formula.
28. “Africa,” Toto (1982)
Stripping away the countless cover versions, nostalgic associations, and overuse in TV and film, the core appeal of “Africa” remains undeniable: one of the most memorable choruses in music history. It hardly matters that the band members were white musicians from Los Angeles who had never actually been to Africa. Verses referencing Mount Kilimanjaro and the Serengeti paint such vivid imagery that listeners are easily transported. From the soaring vocals to the evocative synth line, every element of the song works flawlessly. There’s a reason why generations of music fans continue to enthusiastically “bless the rains” – “Africa” is a truly timeless yacht rock anthem.
27. “Hello It’s Me,” Todd Rundgren (1972)
“Hello It’s Me” was the first song Todd Rundgren ever wrote, initially recorded by his band Nazz and released in 1968. For his 1972 solo rendition, which became a Top 5 U.S. hit, he increased the tempo, refined the instrumentation, and delivered a more urgent vocal performance. However, the essence of the song remained unchanged. “Hello It’s Me” is a wistful, bittersweet reflection on a dissolving relationship between two people who still hold deep affection and respect for each other—a mature breakup ballad devoid of the cynicism and eccentricity that would characterize 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.” While he may attribute its success to familiarity, the airtight hooks and melancholy beauty of “Hello It’s Me” are undeniable, cementing its place as a yacht rock classic.
26. “Smoke From a Distant Fire,” The Sanford/Townsend Band (1977)
While artists like Michael McDonald, Steely Dan, and Christopher Cross are more readily associated with defining yacht rock, few songs encapsulate the genre’s essence as perfectly as The Sanford/Townsend Band’s “Smoke From a Distant Fire.” This Top 10 hit from the summer of 1977 remains the duo’s only charting single. From its subtly swinging rhythm and prominent saxophone riff to the light percussion and Daryl Hall and John Oates-esque vocals, “Smoke From a Distant Fire” could be argued as the definitive yacht rock song. It could even be considered ground zero for the genre’s sonic blueprint.
25. “Dream Weaver,” Gary Wright (1975)
Unlike many songs on this list, “Dream Weaver” stands out for its minimalist instrumentation. Beyond Gary Wright’s vocals and keyboard parts, the only additional layer is Jim Keltner’s drumming. However, despite lacking guitars, bass, or horns, the track is rich in atmosphere and vibe. Inspired by the writings of Paramahansa Yogananda, introduced to Wright by George Harrison, “Dream Weaver” possesses a celestial quality that helped propel it to No. 2 in 1976. Its ethereal sound sets it apart within the yacht rock landscape.
24. “Reminiscing,” Little River Band (1978)
For Little River Band, the third attempt proved to be the charm with “Reminiscing,” their highest-charting single in the U.S. Guitarist Graeham Goble wrote “Reminiscing” for singer Glenn Shorrock with a specific keyboardist, Peter Jones, in mind. Unfortunately, scheduling conflicts prevented Jones, who had contributed to Little River Band’s first charting US single, 1976’s “It’s a Long Way There,” from participating initially. The band recorded the track twice without Jones, but were dissatisfied with the 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, with Jones on board, they captured the magic, creating a yacht rock classic.
23. “Heart Hotels,” Dan Fogelberg (1979)
Paradoxically, “Heart Hotels,” a song about profound loneliness, appeared on an album where Dan Fogelberg played almost all the instruments himself. One notable exception became the song’s most distinctive musical feature: saxophonist Tom Scott’s performance on the Lyricon, a pre-MIDI electronic wind instrument invented just a few years prior. Reflecting on the themes of his melancholic songs, 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.”
22. “Year of the Cat,” Al Stewart (1976)
“Year of the Cat” by Al Stewart is a rich tapestry of instrumentation. Beginning with an elegant piano introduction, it unfolds to include strings, a sultry saxophone solo, and a passionate Spanish acoustic guitar interlude. The saxophone solo, a recurring element in many yacht rock songs, was not initially Stewart’s idea. Producer Alan Parsons suggested it at the last minute, a suggestion Stewart initially resisted. “Alan, there aren’t any saxophones in folk-rock. Folk-rock is about guitars. Sax is a jazz instrument,” Stewart recounted in a 2021 interview. Multiple extended instrumental sections contribute to the song’s nearly seven-minute length, yet each seamlessly blends into the next, creating an orchestrated and luxurious listening experience, characteristic of top yacht rock songs.
21. “How Long,” Ace (1974)
How long does it take to reach the top of the charts? For Paul Carrack-fronted Ace, it took 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. Carrack subsequently joined Squeeze and Mike and the Mechanics. In 2020, “How Long” climbed even higher, reaching No. 1 on Billboard’s rock digital song sales chart after being featured in an Amazon Prime advertisement titled “Binge Cheat,” demonstrating the enduring appeal of this yacht rock classic.
20. “Brandy (You’re a Fine Girl),” Looking Glass (1972)
Similar to “Summer Breeze,” Looking Glass’s narrative of an alluring barmaid in a bustling harbor town predates the recognized yacht rock era. Acts like Seals & Crofts and one-hit wonders like Looking Glass can be seen as pioneers of the genre. Ironically, the seemingly effortless “Brandy (You’re a Fine Girl)” proved surprisingly challenging to perfect. “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 success of “Brandy” was so immediate and widespread that Barry Manilow had to change the title of his new song to “Mandy.”
19. “I Can’t Tell You Why,” Eagles (1979)
Timothy B. Schmit joined the Eagles just as the band was beginning to fracture. However, his arrival started on a high note. He brought with him the beginnings of what would become his first showcase moment with the group, an unfinished song fragment that evolved into the No. 8 hit “I Can’t Tell You Why.” For a brief period, the often-contentious band members united around the newcomer. Don Henley and Glenn Frey both contributed significantly as the Eagles completed the song for what would become their 1979 album The Long Run. Schmit had reason for optimism, but the Eagles released the album and then promptly disbanded.
18. “Sentimental Lady,” Bob Welch (1977)
Bob Welch initially recorded “Sentimental Lady” in 1972 as a member of Fleetwood Mac. Five years later, after leaving the band that had achieved even greater success, Welch revisited one of his strongest songs. He enlisted two former Fleetwood Mac bandmates who had appeared on the original version—Mick Fleetwood and Christine McVie—to contribute to the new recording, with Lindsey Buckingham, a newer member of Fleetwood Mac, also making an appearance. This 1977 version is warmer and more inviting than the original, reaching the Top 10 and becoming a yacht rock staple.
17. “So Into You,” Atlanta Rhythm Section (1976)
Atlanta Rhythm Section is frequently miscategorized as a Southern rock band, simply because of their origins in Doraville, Georgia. Songs like the seductively layered “So Into You” demonstrate how little they actually shared with bands like Lynyrd Skynyrd. As Muscle Shoals session musician David Hood aptly described them, they are more like the “Steely Dan of the South.” Sadly, time has not been kind to the group. Two of the writers of their highest-charting single have since passed away, and keyboardist Dean Daughtry retired in 2019, leaving Atlanta Rhythm Section without any original members.
16. “Dreams,” Fleetwood Mac (1977)
Stevie Nicks was attempting to channel her heartbreak following her separation from Lindsey Buckingham into songwriting, but struggled to concentrate amidst the activity of Fleetwood Mac’s Rumours sessions. “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.” A studio assistant guided her to a quieter, previously unnoticed space within Sausalito’s Record Plant. The circular room was filled with keyboards and recording equipment, and featured a half-moon bed in black-and-red velvet. She settled in and wrote “Dreams” in under 30 minutes, but first inquired about the unusual studio space from the helpful assistant. “I said, ‘What is this?’ And he said, ‘This is Sly Stone’s studio.'”
15. “Minute by Minute,” The Doobie Brothers (1978)
Michael McDonald harbored doubts about the album Minute by Minute, even previewing it for a friend with trepidation. “I mean, all the tunes have merit, but I don’t know if they hang together as a record,” McDonald recounted to UCR. “He looked at me and he said, ‘This is a piece of shit.'” Record buyers overwhelmingly disagreed, making Minute by Minute the Doobie Brothers’ first chart-topping, multiplatinum release. Such was the popularity of this smooth album that the title track, a No. 14 hit, lost out on the Grammy Award for Song of the Year to another Doobie Brothers’ song, “What a Fool Believes,” also featured on Minute by Minute.
14. “Lonely Boy,” Andrew Gold (1976)
Andrew Gold’s sole Top 10 U.S. hit, “Lonely Boy,” tells a story of parental neglect and underlying resentment. However, these dark themes are subtly concealed within an irresistibly upbeat melody. Gold narrates the childhood of the titular lonely boy over a driving, syncopated piano figure, detailing the feelings of betrayal when his parents introduce a younger sister. At 18, the lonely boy leaves for college, distancing himself from his family, while his sister marries and has a son, unknowingly repeating her parents’ patterns. Gold maintained that “Lonely Boy” was not autobiographical, despite striking similarities to his own life. Regardless of its origins, the song showcases a remarkable imagination capable of crafting compelling and darkly nuanced fiction within a yacht rock framework.
13. “Baby Come Back,” Player (1977)
Peter Beckett, originally from Liverpool, relocated to the United States to join a now-forgotten band called Skyband. After regrouping and forming Player with American J.C. Crowley, Beckett’s wife returned to England. Coincidentally, Crowley was also experiencing a breakup. From these shared experiences of lost love, “Baby Come Back,” sung by Beckett, emerged. “So it was a genuine song, a genuine lyric – and I think that comes across in the song,” Beckett explained in The Yacht Rock Book. “That’s why it was so popular.” The demo of “Baby Come Back” quickly secured Player a record deal, requiring Beckett and Crowley to assemble a band even as the song climbed to No. 1. Their debut album was released before Player had ever performed live.
12. “I’d Really Love to See You Tonight,” England Dan & John Ford Coley (1976)
Few songs boast choruses as expansive and memorable as the one England Dan & John Ford Coley deliver in their first Top 40 single. The build-up to the chorus is equally engaging: conversational verses like “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” transition into the powerfully direct come-on, “I’m not talking ’bout moving in … .” Their yacht rock lineage is strong: Dan Seals’ older brother is Jim Seals of Seals & Crofts, further solidifying their place in the genre.
11. “Hey Nineteen,” Steely Dan (1980)
“Hey Nineteen,” at least superficially, is one of Steely Dan’s most straightforward songs. It depicts an aging man making a cringeworthy and unsettlingly creepy attempt to flirt with a younger woman. He reminisces about his fraternity days and laments her ignorance of Aretha Franklin. (The bridge’s meaning remains more ambiguous: Is someone sharing “fine Colombian”?) However, the lyrics alone didn’t propel this Gaucho classic into the Billboard Top 10. The groove is the true driving force, anchored by Walter Becker’s smooth bassline, Donald Fagen’s velvety electric piano, and a chorus as smooth as top-shelf tequila.
10. “Rich Girl,” Daryl Hall & John Oates (1976)
“Rich Girl” is a paragon of economical pop songwriting: two A sections, two B sections (the second extended), and a fade-out vocal vamp. Its concise structure makes it endlessly replayable. This blue-eyed soul single, the duo’s first No. 1 hit, critiques a supposedly entitled heiress to a fast-food fortune. (The original lyric was the less catchy “rich guy”; this single word change may have significantly boosted its commercial appeal). However, there’s no hint of bitterness in the groove, built on Hall’s sharp electric piano chords and staccato vocal hook, making it a quintessential yacht rock anthem.
9. “Fooled Around and Fell in Love,” Elvin Bishop (1975)
“Fooled Around and Fell In Love” became Elvin Bishop’s biggest pop chart success, permanently altering his introductory line from “former member of the Paul Butterfield Blues Band” to a solo star in his own right. However, a common misconception arose: “The natural assumption was that it was Elvin Bishop who was singing,” vocalist Mickey Thomas explained in a 2007 interview. Thomas later achieved 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.” “Fooled Around and Fell in Love” remains a yacht rock favorite, highlighting Thomas’s smooth vocals.
8. “Baker Street,” Gerry Rafferty (1978)
Gerry Rafferty had already experienced chart success with his band Stealers Wheel’s hit “Stuck in the Middle With You” in 1973. His first solo album after the band’s breakup, City to City, reached No. 1 in 1978, largely due to the hit single “Baker Street” (which frustratingly spent six weeks at No. 2). Raphael Ravenscroft’s iconic saxophone riff often takes center stage, but “Baker Street”‘s success is multifaceted. For six captivating minutes, Rafferty meanders down “Baker Street” with a sense of hopefulness intertwined with restless longing, creating a truly enduring yacht rock classic.
7. “Dirty Work,” Steely Dan (1972)
In just about three minutes, Steely Dan crafts a soap opera-esque narrative of an affair between a married woman and a man fully aware of his exploitation, yet too infatuated to end the relationship. “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 delicately sings in a surprisingly tender tenor. A weeping saxophone and flugelhorn underscore his lines. By the song’s conclusion, listeners can’t help but sympathize with the narrator, who is arguably as complicit in the situation as he might be a victim. “Dirty Work” demonstrates that not all yacht rock songs have happy endings.
6. “Ride Like the Wind,” Christopher Cross (1979)
“Ride Like the Wind” ostensibly tells the tale of a hardened outlaw racing towards the Mexican border under the cover of night. However, there’s nothing remotely dangerous about Christopher Cross’s gentle tenor voice or the upbeat piano riffs and horns propelling the song. These contradictions are part of its charm. This is cinematic, high-gloss pop-rock at its finest, overflowing with hooks and elevated by Michael McDonald’s silky backing vocals. Cross pays homage to his Texas roots with a fiery guitar solo, seamlessly blending hard rock and pop in a way that countless artists would emulate in the decade that followed, cementing its status as a top yacht rock song.
5. “Summer Breeze,” Seals & Crofts (1972)
Jim Seals and Dash Crofts were childhood friends from Texas, but the mellow grandeur of “Summer Breeze” suggests they were always destined for ’70s Southern California. “We operate on a different level,” Seals once stated, sounding every bit the Laurel Canyon resident. “We try to create images, impressions and trains of thought in the minds of our listeners.” This song’s fluttering curtains, inviting domesticity, and sweet jasmine scent certainly achieve that standard. Curiously, they released this gem in August 1972, as summer was transitioning into fall. Perhaps this timing contributed to “Summer Breeze” never climbing beyond No. 6 on the pop chart, despite its undeniable yacht rock perfection.
4. “Lowdown,” Boz Scaggs (1976)
As you put on your sunglasses and start your engine, the only thing hotter than the afternoon sun is David Hungate’s slick slap-bass emanating from your speakers. “This is the good life,” you might murmur to yourself, casually tipping your baseball cap to the bikini-clad group on a passing boat. Then, you instinctively press “play” again. What other song but Boz Scaggs’ silky “Lowdown” could perfectly soundtrack such a moment of paradise? Everything about this track, which cruised to No. 3 on the Billboard Hot 100, is equally idyllic: Jeff Porcaro’s precise hi-hat rhythm, David Paich’s jazzy keyboard vamp, and Scaggs’ cool, understated vocals flexing about gossip and “schoolboy game.” You open another cold drink—why not?—and, inevitably, press play once more on this yacht rock essential.
3. “Lido Shuffle,” Boz Scaggs (1976)
Scaggs’ extensive career began as a sideman with Steve Miller and already included a fiery duet with Duane Allman. Co-writer David Paich would later achieve Grammy-winning fame with songs like “Africa.” Yet, for this No. 11 hit, they drew inspiration, or perhaps “borrowed” from an earlier source. “‘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 explained in a 2013 interview. “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.” Paich subsequently recruited this track’s bassist and drummer to form Toto, further solidifying the yacht rock connections.
2. “Peg,” Steely Dan (1977)
“Peg” is blessed with several hallmarks of the yacht rock genre: it’s featured on Steely Dan’s quintessential Steely Dan album, Aja. It possesses an impeccable, airtight quality, blending soft-pop and jazz sensibilities. And it features yacht rock’s unofficial captain, Michael McDonald, at the helm (though only as a backing vocalist, his signature chorus chirps elevate the song to another level). Like most Steely Dan tracks, “Peg”‘s lyrical meaning is both cynical and enigmatic. Its legacy has only grown over time, from hip-hop samples to faithful cover versions, cementing its place as a top yacht rock song.
1. “What a Fool Believes,” The Doobie Brothers (1978)
Michael McDonald not only guided the Doobie Brothers in a new musical direction upon joining in 1975, but he also transformed them into a commercial powerhouse with the 1978 album Minute by Minute. McDonald co-wrote “What a Fool Believes”—a No. 1 single and Grammy winner; the album also topped the charts—with Kenny Loggins and sang lead vocals, effectively launching, or at least popularizing, the yacht rock genre in the process. The song’s style became a template for the next few years (most notably in Robbie Dupree’s 1980 Top 10 hit “Steal Away”), and McDonald became the bearded figurehead of yacht rock. “What a Fool Believes” undeniably earns its place as the number one yacht rock song.
Image of classic rock artists
