yacht rock revue wikipedia

About Yacht Rock Revue™

What is left for Yacht Rock Revue to prove? This top-notch group of musicians has already rocked onstage with John Oates, Eddie Money (RIP), and both versions of the band Player. They’ve trademarked the term “yacht rock,” both metaphorically and literally (U.S. Registration Number 3834195). From humble beginnings in a basement, touring in partnership with Live Nation and Sirius XM, they now headline sold-out shows across the country, from Webster Hall in New York to the Wiltern in L.A. While rising from bars to amphitheaters, they’ve ticked every box on the Rock Star Accomplishments bingo card. Except for one: Writing and singing their own songs.

Yacht Rock Revue’s first original record is ten songs inspired by the smoooooth sounds of the Seventies and Eighties. They’ve brazenly titled it Hot Dads In Tight Jeans – forgive them for bragging, but that’s what they are – and it returns Yacht Rock Revue to their roots in original music.

“I had a midlife crisis. That’s why we made this album,” says Nick Niespodziani, the group’s singer, guitarist, and spiritual leader. “Everyone in the band is a dad now, so we needed to make this happen, before we become grandpas. I’ve sung ‘Escape’
by Rupert Holmes at least a thousand times, and if that isn’t paying your dues, I don’t know what is.”

It’s rare that musicians in their 40s chase their rock star dreams. You’d have to be crazy to try. YRR knew they were underdogs, but resolved to take one more shot at the Top 40, and maybe even become a Cinderella story of midlife fulfillment.

Yacht Rock Revue began in the least-yachtiest of states, 2,000 miles from breezy Marina del Rey. Niespodziani and Pete Olson met in the fourth grade in suburban Indiana, went on to Indiana University in the late Nineties, formed the band Y-O-U, then escaped – Rupert Holmes reference intended – to Atlanta. One night, Y-O-U tucked their tongues deep in their cheeks and played a show of Yacht Rock songs. The rowdy (a nice way of saying drunk), sold-out crowd loved it.

When the club owner asked them to do it again, Niespodziani didn’t want to. But the club owner had an ace up his sleeve: money.

Over the years, YRR (there’s also a Dave, a Greg, and literally three guys named Mark) have turned themselves into human wine spritzers, playing 120 to 150 shows a year, mastering Yacht Rock’s slick chords and mellow grooves, and partying like it’s 1979. What began as a joke among friends soon put a ripple in the zeitgeist, starting a national trend through YRR’s concerts, lauded as “unabashedly joyous affairs” by Entertainment Weekly. They accumulated an extensive wardrobe of white belts and polyester shirts. Yacht Rock Revue were revered and well-compensated! Their life was a tenor sax solo! This is what every musician wants.

But even as YRR was sailing the smooth seas of tribute-band superstardom, and the band members all became dads, Niespodziani was still writing original songs.

These new tunes had the spirit of Yacht Rock, but were more modern – akin to Phoenix or Air, the hip bands that adapted Yacht for a younger audience. They brought the songs to a hot producer, Ben Allen, who’s worked with Gnarls Barkley, Animal Collective, and Neon Indian. Allen gave the songs a lustrous shine, for both new audiences and their ever-loyal fans, the Nation of Smooth. Niespodziani and Olson even co-wrote a song, “Big Bang,” with Yacht Rock master Matthew Wilder, famous for his massive 1983 hit “Break My Stride.”

“Step,” the record’s first single, is a peppy number replete with falsetto and bumping bass, a cross between the Bee Gees and Steely Dan’s “Peg.” It’s also the mission statement for the album in a way, because it’s about deciding who you want to be, and making space for that in your life. The seven-piece band display tight chops, and the songs incorporate Yacht Rock Revue’s sense of humor, especially on the funky, pro-margarita “Bad Tequila,” the flute-fired “Another Song About California,” and opening track “The Doobie Bounce,” where Niespodziani brags, “I used to sleep on couches/Now I sleep on nicer couches.”

Hot Dads In Tight Jeans is as plush and shiny as Kenny Loggins’ beard. And YRR are already dropping these new songs into their sets, to great response from longtime fans who are thrilled to hear new smooth. While others in YRR’s position stick with the tried-and-true, Niespodziani hopes the album will let them welcome aboard new fans, too. To paraphrase a notable mariner… they’re gonna need a bigger yacht.

“Here’s how I see it,” Niespodziani concludes, sliding into a waiting limousine. “We have only one fewer hit than Player did, and Player is immortal. We built this Yacht Rock thing on the power of memories and good vibes. None of that is changing; we’re just gonna make a few new memories as well.”

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The accidental success of Yacht Rock Revue

One night in 2008, singers Nicholas Niespodziani and Peter Olson and drummer Mark Cobb, then members of the Atlanta-based indie rock band Y-O-U, showed up to their weekly residency at 10 High with an unusual set list. “As a gag, we thought we’d play cheesy soft rock hits from the 1970s, stuff that you’d hear in the dentist’s office,” says Niespodziani. The fans ate it up, so they did it again. And again. It wasn’t long before Y-O-U had given way to Yacht Rock Revue.

Today the Atlanta tribute band/comedy troupe has become a booming business. On August 22, the act returns to Piedmont Park for the fifth annual Yacht Rock Revival, where thousands of so-called Nation of Smooth faithful sing along to hits from Hall & Oates, Steely Dan, and other soft rock icons—some of whom show up to play alongside the band. To keep up with booking demands, they’ve even spawned Yacht Rock Schooner, a second cover act. Recently Niespodziani discussed their career trajectory.

On playing alongside recording artists like Robbie Dupree, Firefall, and Journey singer Steve Augeri . . . They come and they realize that while we’re not taking ourselves seriously, we are taking the music seriously. We approach Little River Band as if it’s AC/DC.

On accidentally reuniting the Atlanta band Starbuck . . . Jimmy Cobb, the bass player in Starbuck, played with us a few times, and we put him and another former band member on the poster for the 2012 show. Before the gig, the band’s singer, Bruce Blackman, showed up with our flyer in his hand, asking, “What is this?” He was a little pissed. Backstage, these guys talked for the first time in 30 years. Bruce came on stage that night, and the next year they got the whole band back together.

On being named both “Best Overall Music Act in Atlanta” and “Best Place to Get Drunk With Your Dad” . . . We’re pretty proud of the “Drunk with Your Dad” distinction. We actually had a fan in Charlotte who came up to us with his pregnant wife and said, “Oh man, we got pregnant the last time you were here. We went in the club’s bathroom while you guys were on stage!” Clearly, we’re setting a mood.

On the calendar: On August 22, coast to the smooth sounds of easy-listening at Yacht Rock Revival at Piedmont Park. pleaserock.com

This article originally appeared in our August 2015 issue.

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Yacht Rock Revue explain why they're charting a new course with original music

Sarah Rodman is the Entertainment Editor, covering TV and music for EW.

After nearly a dozen years confidently steering the S.S. Nostalgia, playing the beloved soft rock hits of the ’70s and ’80s to packed crowds wearing captain’s hats, Yacht Rock Revue are charting a new course by releasing their first album of original material. Hot Dads in Tight Jeans won’t be released until Feb. 21, but EW is bringing you the first single, “Step,” right here.

“We wanted to hit a note that was both retro and could be right now,” says shades-sporting co-frontman Nick Niespodziani of the synthy-smooth jam. “We wanted it to be outside of time.”

That musical mood dovetails nicely with the vibe of a group that began on a lark in 2007 and has steadily grown into an act that crisscrosses the country to play for its own devoted fans. The Atlanta septet can draw thousands of people to sing along to spot-on renditions of hits by Hall & Oates, Toto, Kenny Loggins, Christopher Cross, and other artists whose names some in the audience have forgotten, or never knew, but whose hits have endured, such as “Brandy (You’re a Fine Girl),” by Looking Glass. While there may have been an element of irony for some attendees at the beginning, the shows tend to be unabashedly joyous affairs.

Niespodziani, drummer Mark Cobb, and co-frontman Peter Olson were all in a band called Y-O-U in the early 2000s that enjoyed some regional success but ended up petering out. “We were all splitting off to do other things,” says Niespodziani. “Peter was thinking about moving to Colorado and I had started law school and we were all kind of ready for what was happening after music. Because when you’re 27 and you haven’t made it yet, you’re an ancient guy. And in the midst of that we did this one Yacht Rock show and then all of a sudden it became what it is now. We’ve got an office, and a band, and a 401k.”

Soon they will have that album of original material as well as a documentary detailing their unlikely route to success as they rose from bar band to amphitheater band.

In addition to sharing “Step,” the group also curated the ultimate Yacht Rock Spotify playlist for EW, and we chatted with Niespodziani about the band’s step toward original songwriting and mixing up the smooth classics in their set.

ENTERTAINMENT WEEKLY: You’ve finally decided to make original music, again. How much anxiety do you have about fan reception since they’re used to you playing songs they love? NICK NIESPODZIANI: We played it for the first time at our big Atlanta show in August at Chastain Park Amphitheater in front of 7,000 people. I was pretty nervous because all these songs that we play, everybody knows every word. Like, every song we play would be the encore for whatever artist it is that we’re covering. So how do you put up a song that people have never heard before, at all, against those songs? I was originally super nervous about it, but our fans really surprised me. I expected everybody to leave for the bathroom or the bros to start booing. But they stayed and they got into it, and the reception everywhere we’ve been with it has been awesome. People are into it. So I’m much less nervous now than I was before.

The album itself is not a “yacht rock” record but is obviously in a similar wheelhouse and has a cheeky humor to it. Do you get the sense that you’ve built up enough goodwill from the fans since you’ve been playing for so long that they’re open to original songs? Yeah, and I’ve noticed, especially over the last three or four years, when we go places, whether it’s the people at the venue or the fans that we’ve talked to, they treat us like artists. In the beginning, I felt like a glorified stripper where people just wanted to pull my hair and see if it was real and it was more of a novelty thing. But now I feel like we’ve earned that respect from our fans and they’re open to it, or at least they have been so far. I’m hoping that that streak continues.

How did you decide that now was the time for you guys to try this? I was kind of going through my midlife crisis checklist, choices like “I could wreck a red sports car” or “I could have an affair with a busty nurse.” And I was like, “You know what I really should do is make an album with my ’70s soft rock band.” So we threw the idea around and were like, “Why not try it,” talking about that goodwill we built up with our fans. The cool thing for me especially is that I’ve made a lot of records over the years, little side projects that had no budget and no hope for people to hear them. And this experience has been the opposite of that. We were able to get an incredible producer and make a cool video all with the power of the Yacht Rock machine that we’ve built behind it. And it’s been really inspiring and fun.

Who produced it? Ben Allen, he’s from here in Atlanta. He produced Walk The Moon and Animal Collective’s big records and he just did the new Kaiser Chiefs record, which is [a hit] in the UK right now. He did Gnarls Barkley. He’s a close friend of mine and I was kind of nervous, even though we hang out and go to the gym together, to ask him about making a record with Yacht Rock because I thought there would be this stigma because he produces Deerhunter and all these super hipster bands. And he was immediately like, “Yeah, let’s do it. That sounds really fun.”

A song like “Step” could probably slip into your sets with relative ease since it has that blue-eyed soul falsetto thing happening that spans from disco, like a sliver of Giorgio Moroder, to a group like Hall & Oates to something like Beck’s song “Debra.” Yeah, we definitely leaned on more on that ’80s side of the coin, Hall & Oates and even some ’80s David Bowie and some of the synthier stuff like Giorgio Moroder. That just strikes closer to our personal taste and I think it’s easier to see how that fits in with modern music. Whereas if you make something that’s just like a Steely Dan rip, that’s really a very segmented thing off to the side.

We didn’t want to come out with something that could maybe be viewed as a novelty single for the first thing. When you’re a cover band coming out with original music, getting taken seriously is the first hurdle that you have to leap over. So “Step” felt like the right choice because it’s a mission statement for the whole album in a way. It’s about deciding who you want to be and making the space for that in your life.

I guess in my view everyone is putting on an act of some sort. We pretend to be these coked-up ’70 dudes, but we are who we are inside and I’m inspired by people like Lizzo and Pete Buttigieg and Puddles The Clown. It’s definitely an act that all of them are doing, but the heart of what they’re doing is true. The center of it emotionally is honest and unapologetic. And that’s what “Step” is about. And that’s what this whole album is about for us. Because we are a bunch of 40-year-old dads who are trying to make our first record that people listen to, why not just bear hug it instead of run away from it?

Do you ever think how wild it is that you all have built a career out of this, particularly since you’re not a straight tribute band of one group? All the time. It’s crazy. If you would’ve told me when we did the first show “that this is going to be your career,” I would have slapped you in the face. There’s just no way. I never imagined doing something like this. And it’s funny because I feel like in that early band, I thought music was all about what’s inside of you as an artist and that if I can find inside myself this great, soul-wrenching truth that will be the reason that I become famous and whatever. And I think over the years with Yacht Rock — grudgingly at first — I started to realize that music is actually about the shared experience and being there in the room together, having fun, and just escaping from life for a while. And I feel like it’s been this 11-year penance that I’ve gone through, and now I’ve come out on the other side and I have a completely different view of what music is and what it should be. That’s what inspired this record and it makes me so happy to do what I do now.

Which is funny on one level because probably for 90 percent of what you’re performing, the original artist is sick to death of playing that song. But you all have now performed some of these songs so many times that it is entirely possible that you are as sick of singing something like “Africa” as Toto is. And yet you always legitimately seem like you are having fun. It’s funny you mention “Africa.” That’s the only song we have to play at every show. And I think it kind of goes through waves. It’s like a Saturday Night Live joke where they keep repeating the same thing and it gets really monotonous and not funny. And then if you repeat it for long enough, it becomes funny again. It got to where it got old for a while and now it’s really fun to sing that song, even though I’ve probably sung it 2,000 times, literally. It’s not a problem.

Coldplay has to sing “Yellow” every night no matter what. There are five or six other songs they have to sing every night no matter what. We don’t have to do that. We have thousands of songs to choose from. So, in some ways, it’s been a blessing that we can stay fresher because we can always change out songs and add new songs.

Let’s talk about this playlist. You have a pretty wide range here, including yacht rock staples like Michael McDonald’s “I Keep Forgettin'” but also songs from Lake Street Dive and “Juice” by Lizzo. How do you all even define yacht rock now? For me, yacht rock is more of a vibe and an energy than necessarily “soft rock music made in Los Angeles between 1976 and 1984.” It’s more about when the song comes on, does it put a smile on your face in the first 10 seconds? If you use that as your first barrier to entry, then what can be considered yacht rock becomes a lot more wide. If you’re out cruising on your boat on Saturday afternoon, what’s going to feel good?

“Juice” is going to feel good. Yeah. And it feels like the transition from “I Keep Forgettin'” into “Juice” doesn’t feel like a hard left turn. It feels natural. I guess our perspective is that people are going to need yacht rock now and in the future, and what it can be is a lot wider than the strict dictionary definition. Lake Street Dive, they’re a genre-bender for me. I think that they have a lot of different influences. And again, it’s the positive energy behind it is what makes it yacht rock.

How did you pick the classic ones to intersperse in there? We wanted to make sure that anybody who hasn’t gotten familiar with the yacht rock yet — which I don’t know who that might be at this stage — got a good dose of the healthy vitamins of what real, 100-percent yacht rock is. So we picked the ones that felt right to us and then also had something in common with our record.

You’re in your forties now. Is this sustainable? Can you do this until you retire? That’s a great question. If “Bad Tequila” [from the upcoming album] ends up being like “Steal Away” was for Robbie Dupree, then I definitely can. That’s what this move is, just to see if we could have one song that makes people feel the same way that I felt when I danced with my wife to “Steal Away” at my wedding. And I’ve talked to Robbie about that. And he has this relationship with that song where he got tired of it and he loves it again. But for us, in the next 20 years, I don’t want to get morbid about it, but a lot of these bands that we love and the classic rock artists are going to age out of touring. And there’s going to be a void there and I hope that we will be positioned to help fill it. It’s weird to think about but it is true. It gives us a little bit of job security.

In the last few years, several other bands in this vein have popped up. How do you feel about that? I imagine it’s hard to be mad about other cover bands when you’re a cover band. It’s great that this music has become so popular and imitation is finest form of flattery, right? So when I see these bands doing our dance moves, or wearing the sailor outfits like we used to 10 years ago or adding the same songs to their setlists, that’s cool. Part of me wants to say, “Go get your own unoriginal idea.” But like you said, there’s no honor among thieves, really. So it’s fine. I got nothing but love for any of them. I think what we do stands on its own.

Yacht Rock Revue will hit the road for the Hot Dads in Tight Jeans tour Jan. 9 and will be pulling into ports across the country, from Boston to Los Angeles.

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How Yacht Rock Revue stopped worrying about being a cover band and made original music

A good-time persona accented by tight jeans and mirrored sunglasses wasn't always a natural fit for Nicholas J. Niespodziani, the Yacht Rock Revue vocalist who grew up in Columbus, Indiana.

Niespodziani thought his Bloomington band Y-O-U would find indie-rock success after moving to Atlanta in 2002. Although Y-O-U enjoyed moderate success, the band didn't become a career for Niespodziani and fellow Hoosiers Peter Olson and "Question" Mark Cobb.

A music career arrived by accident. The members of Y-O-U devoted a one-off show in 2007 to "smooth music" that ruled the pop charts from 1975 to 1982. The just-for-laughs experiment turned into a weekly residency at an Atlanta nightclub.

"The next thing you know we have 401(k)s and an office," Niespodziani said.

Yacht Rock Revue is now a thriving concert draw that schedules two-night stands in many cities, including Indianapolis this weekend .

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But in the beginning, Niespodziani considered covers of songs popularized by Toto, Boz Skaggs and Kenny Loggins to be the opposite of his musical aesthetic.

"My view of selling out was informed by the bands I listened to growing up, which were Nirvana and Pearl Jam and Beastie Boys," he said. “It was really weird for me. I was pretty defiant about it, honestly. I thought I was too cool to be doing yacht rock for a long time. I was very reluctant. As it got bigger and bigger, I had a darker and darker attitude about it.”

The former law school student eventually appreciated Yacht Rock Revue as a better option than practicing law.

“I had a series of moments over a few years where I realized that getting to make a living in music is such a special gift,” he said. “I came to enjoy it.”

On Feb. 21, the transition from Y-O-U comes full circle with the release of an album filled with original Yacht Rock Revue songs: "Hot Dads in Tight Jeans."

Sailing in uncharted waters

The seven members of Yacht Rock Revue previewed "Hot Dads in Tight Jeans" by releasing the song "Step" in October.

“Already our first single has been heard by more people than listened to Y-O-U in the 10 years we were in that band,” Niespodziani  said. ‘It kind of feels like a comeback story.”

The band released four original songs on a 2013 EP, but "Hot Dads" will stand as Yacht Rock Revue's debut album.

The synthesizer-and-saxophone texture of "Step" resembles yacht rock without sounding dated.

"I wouldn’t say our album is purely yacht rock," Niespodziani said. "It’s somewhere in between yacht rock and more modern stuff we love like Air and Tame Impala and LCD Soundsystem."

An Indiana influence

When Yacht Rock Revue performs Jan. 10-11 at the Egyptian Room in Old National Centre, Niespodziani will play a room he once frequented as an audience member.

He recalls catching Bela Fleck at the Egyptian Room, as well as the Flaming Lips at Broad Ripple's Vogue nightclub and Stone Temple Pilots in an agriculture building at the Indiana State Fairgrounds in 1993.

“My love for rock ‘n’ roll began in Indianapolis, I think,” Niespodziani said.

Five members of Yacht Rock Revue — Niespodziani, fellow vocalist Olson, drummer Cobb, keyboard player Mark Bencuya and saxophone player David B. Freeman — attended Indiana University.

Niespodziani moonlights in a musical project known as Indianapolis Jones, and Indianapolis sports-talk radio personality JMV is the presenting sponsor of the Jan. 10 performance. 

More than Christopher Cross

Niespodziani credits an online video series titled "Yacht Rock" for giving a modern label to yesteryear's smooth music, not to mention his band's name.

From 2005 to 2010, a dozen "Yacht Rock" short films crafted tongue-in-cheek mythology for Michael McDonald, Daryl Hall & John Oates and other soft-rock stars. 

Niespodziani said he associates yacht rock with sonic elements such as the "milky tone" of a Fender Rhodes electric piano and an "unaggressive approach" to playing drums.

He said detached emotional expression often accompanies the breezy lyrics of yacht rock.

Although the creators of the "Yacht Rock" short films maintain a website to give "yacht or nyacht" opinions about songs, Niespodziani and his Yacht Rock Revue band mates aren't sticklers about their repertoire.

"It’s in my best interest for yacht rock to have as broad of a definition as possible," Niespodziani said. "When you’re playing live and you get to the end of the show, you could play 'Sailing' by Christopher Cross or you could play 'More Than a Feeling' by Boston. The reaction you’re going to get from the crowd for the Boston song is many levels higher."

Yacht Rock Revue

>> WHEN: 8 p.m. Jan. 10-11.

>> WHERE: Egyptian Room in Old National Centre, 502 N. New Jersey St.

>> TICKETS: $20.

>> INFO: Visit livenation.com or call 800-745-3000.

IndianapoLIST: Obsessed with Indianapolis? Subscribe to our newsletter

Contact IndyStar reporter David Lindquist at [email protected] or 317-444-6404. Follow him on Twitter: @317Lindquist .

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'Yacht rock is a vibe:' Yacht Rock Revue brings chill tunes to Massachusetts

If the words “yacht rock” bring anything to mind, it’s probably the dulcet tones of Michael McDonald and Kenny Loggins, or West Coast-centric, boat-owning, soft-rocking, good time tunes.

“But more than that, yacht rock is a vibe,” Nicholas Niespodziani, who sings in the band Yacht Rock Revue, told GBH’s Morning Edition co-host Jeremy Siegel. “You know, you're drinking a piña colada on the beach, chilling out, this is the music to put on.”

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Yacht Rock Revue, icons of the nostalgia-heavy soft-rock genre popular in the 1970s and ’80s, are in Hyannis Thursday evening and at the Leader Bank Pavilion in Boston Friday.

“The exchange of energy between the band and the audience is incredible at our shows, particularly in Boston,” Niespodziani said. “We recorded our first live album in Boston and there's just something about Massachusetts, Smooth-achusetts, if you will, that that really connects.”

Niespodziani and Peter Olson, who also sings in the band, met growing up in Indiana. They formed a band called Y-O-U in the ’90s and started playing shows in Atlanta.

“We had an indie rock band but never really made it, and we were kind of on the back end of that, in our late 20s trying to figure out what was next,” Olson said.

The band did a yacht rock-themed show almost at random, playing a one-off for one-hit wonders of the 1970s, Olson said.

“We did one show and it sold out, and then we did another show and it sold out. And then all of a sudden it's becoming more popular and we're quitting our jobs and getting an office and buying a van and becoming a real band,” Olson said. “And it's been a wild journey. We keep wondering, when is it going to fade out? But it's only getting stronger 15 years in.”

The band has since grown to 10 members who tour nationwide for much of the year.

In Yacht Rock Revue’s early days, audiences seemed to be drawn to the music a bit more ironically, Olson said. He’d see people elbowing one another when Rupert Holmes’ “Escape (The Piña Colada Song)” came on.

"If you pay close attention, once you know what yacht rock is, you'll realize that it's everywhere." -Nicholas Niespodziani

But yacht rock’s power comes from its ever-presence, Niespodziani said.

“These are wonderfully crafted songs, and there's something about them that actually never left,” Niespodziani said. “It's almost like they'd been in the subconscious part of our brains in that they've actually been spinning in like, your grocery store and your dentist's office and at your hardware store. If you pay close attention, once you know what yacht rock is, you'll realize that it's everywhere.”

It’s also just fun, Olson said.

“You don't have to feel guilty about enjoying the songs,” Olson said. “They're fun to listen to. They're fun to vibe out to or to rock out to. And there's nothing wrong with that. There's nothing to be ashamed of with that.”

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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.

Anchors Aweigh

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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