I have always said that I listen to music with my imagination. Over the years, this has lead me to delve into any and all types of music as it seems that almost all genres have something to say to me, often depending on time of day, weather and certainly mood. Often I will be rolling my eyes while listening; my hardwired rock & roll and R&B sensibilities will often detect that what I’m listening to is decidedly bereft of soul and may even be described as cornball, schmaltzy or just plain bad. But I get something from it, all the same.

Music can take me to a time and place and help me almost to “pretend”, to really feel like I am in my bedroll by a cowboy campfire, spinning with arms outstretched in a drugged-out haze in San Francisco or walking to a downtown club to hear some cats blow. It transports me. More recently there are a couple of genres I have been studying and I’ve immersed myself. One is quiet storm, a classy suburban sub genre of soul that was popular with middle class blacks in the late-Seventies and into the Eighties. I reported on this in these pages expressing my fascination with the simple fact that it was black music that was chill and erudite as opposed to political or highly sexualized. Along the same lines is adult contemporary or easy listening. The Fifties version of this music I have known for longer but more recently I have explored more modern sounds in this idiom. And here’s where I can really roll my eyes; Billy Joel’s “Just the Way You Are” is as gentle as pop music comes. So for an easy listening artist to neuter it even more for a real Holiday Inn lounge version seems the height of ridiculousness. And yet… Maybe it’s the supermarket vibe. Maybe this type of songcraft takes me and others of my generation back to shopping trips of the past, traversing the aisles with our moms while this numbing, purchase-inducing music wafts down from above. There are excellent YouTube videos featuring actual vintage reels of this music to enjoy and also lately I have been enjoying Humboldt 101, an excellent internet radio station that is even cooler because it plays the Cocktail Nation – including Yours Truly once a month – as well.

Sailing these same waters is our topic for today – yacht rock. The origins of this music can be traced back to the California Sound which could be said to have begun on November 27th, 1961; the day the Beach Boys released their first single, “Surfin'”. In the wake of their nascent ode to the sea came the like-minded Jan & Dean but also the Byrds, the Mamas and the Papas, the Turtles, Buffalo Springfield and eventually Crosby, Stills & Nash and the Eagles. The California Sound concerned itself with leisure; not only in the Beach Boys’ lyrics but in the innocent sound of sunshine pop melodies and later in smooth, gentle instrumentation and angelic vocal harmonies.

But the music we’re talking about here really took off in the mid-1970s. It was the soft rock that was prevalent from the middle of the Seventies until the middle of the 1980s and there are fascinating sociological aspects behind the emergence of what later came to be called yacht rock. I’ve heard it described as a pendulum. In the 1950s, there was repression until the 1960s brought widespread rebellion against this repression. At this time there was also a communal feeling among young people that brought them together to protest the way things were in the hopes of bringing about change. But by the early 1970s, these young people were getting older and they were realizing that they had been unable to bring about that change; love was apparently not all you needed. This lead to the pendulum swinging back again and people began to look inward. The hippie thing, the “everybody get together” thing didn’t work – I might as well just look after myself then. It became about “the inner landscape, the psychology of the soul”.

There was no cultural connection to this music that was basically alone in a vacuum;  it “was probably the last major era of pop music wholly separated from the politics of its day”. And while the music is not really about anything there are most often present themes of melancholy, tarnished dreams and thwarted desires. The songs are often about people not getting the thing that they really want and about those who are very lost and sad. Ultimately then the music has very adult themes. This reflected the zeitgeist of the late 70s when the music was made, in the wake of Watergate and during the oil crisis people were feeling a loss of confidence. So this gentle music was a balm, it was comforting. Even the themes of loss seem tempered with a shrug and a feeling that this too will pass – with the help of the music and the escapist vibe that goes with it.

Yacht rock is perhaps more an aesthetic than an actual genre. The term “yacht rock” was coined by J.D. Ryznar who, with his goofy friends, created a web series by that name that told the story of the genre. The term was initially understood to be a pejorative as it poked fun at this flaccid music with the idea that it was favoured by those on the west coast of the US who required some chill background music to go with their boating and other leisure activities. The greatest appeal of this music may hearken back to Brian Wilson, his brothers and their beach friends.

Leisure. It’s about leisure and therefore the tenets of the genre are “keep it smooth, keep it light and keep it catchy”. The “exhilaration of escape” is essential to yacht rock and it is “aspirational but not luxurious, jaunty but lonely, pained but polished”. And then there’s the element of irony inherent in the music. Watching the Yacht Rock web series, I’ve had some real laughs, the type that come from watching inspired idiocy but Ryznar & Co. also really heckle the genre. But it’s not at all mean-spirited and they obviously have a love for the music. It is just that they are able to see the indefensible elements of it. Similar to what I talked about at the outset, the fellas don’t deny the trite and banal aspects of the music but they also acknowledge the enjoyment that comes from listening. I sometimes wish, though, that they weren’t so vicious or nonsensical. There is a Yacht Rock channel on Sirius XM which is great but the “announcer” that comes on every now and then talks like a sleepy Thurston Howell III and its irritating in that it makes the whole thing seem like a joke.

The boys from the Yacht Rock web series and podcast list these factors as relevant to yacht rock:

• High production value
• Use of “elite” Los Angeles–based studio musicians and producers associated with yacht rock
• Jazz and R&B influences
• Use of electric piano
• Complex and wry lyrics about heartbroken, foolish men, particularly involving the word “fool”
• An upbeat rhythm called the “Doobie Bounce”

Like the lounge revival of the 90s, there is a tongue-in-cheek, half-serious aspect to following the genre but – like the love those swingers from 30 years ago felt about their music – true adherents like myself actually enjoy the peaceful tranquility of yacht rock. The music not only transports me but it soothes me.

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Now for the fun part; time to run down the best of yacht rock. This part is fun but…controversial. Seems that a big part of this genre is the endless debate over what songs are yacht rock or – wait for it – “nyacht rock”. Steely Dan is perhaps the most debated artist of the genre with many decrying their inclusion on the basis of their immense musical pedigree. Fleetwood Mac as another example has music that is definitely yacht rock while other of their songs or albums are nyacht. Take “Deacon Blues” by Steely Dan. From the critically acclaimed album Aja, it is a revered tune that features on many lists of greatest songs, receiving the type of accolades and reputation that would keep it out of the yacht rock arena. And yet it features legendary session musicians and contains the smooth vibe that yacht rock fans desire. How to avoid this debate? Accept that yacht rock is not inherently bad; including Steely Dan is not a knock against them.

While I hate debate, I acknowledge that it is healthy. This list may have you up in arms. I’m in a vinyl group on social media and I dropped a “yacht rock” post featuring Steely Dan and Australia’s Little River Band. You wanna hear these guys. Going off about how LRB cannot possibly compare with Steely Dan, how “the Dan” is not yacht rock and what the heck is yacht rock? etc. Anyways, maybe you yourself are still asking that question and so here is my playlist, a sampling of the best of yacht rock.

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“Sailing” – Christopher Cross (1979) // I mention this first because the song may be the very quintessence of yacht rock and Cross is certainly one of the three kings of the genre. This Number 1 US song won Chris Grammys for Record of the Year and Song of the Year and helped him win the Best New Artist Grammy. The nautical motif and the chill vibe make this what yacht rock is all about. More from Cross: “Never Be the Same”, “Ride Like the Wind”, “All Right”, “Arthur’s Theme (Best That You Can Do)”

“What a Fool Believes” – the Doobie Brothers (1979) // Grammy for Song of the Year the year previous to “Sailing”, this one also contains a tenet of the genre; lyrics about a foolish man. And this tune represents the two other kings of yacht rock. It was written by Michael McDonald – then leader of the Doobies – and Kenny Loggins.

“This Is It” – Kenny Loggins (1979) // The third king of the genre. Fascinating to note that Loggins and McDonald also co-wrote this song. I’m trying to think of a comparable collab from the rock world and can’t do it. I’ve always liked this song; it is dynamic. Loggins is a unique yacht rocker in that not all of his music is exactly “soft” rock. His energetic “Footloose” theme song is considered yacht rock but it is not soft.

“Help is On the Way” – Little River Band (1977) // Here’s my new favourite song and it’s from these Australian softies with the magnificent harmonies. This song is pure pop with great arrangements both rhythm and vocal. More from LRB: “Cool Change” is a stunning song that would be my favourite from LRB if only the lyrics resonated more with me, “Lonesome Loser”, “Reminiscing”

“Rosanna” – Toto (1982) // More from Toto: “Hold the Line”, “Africa”

“Thunder Island” – Jay Ferguson (1977)

“Peg” – Steely Dan (1977) // More from the Dan: “Hey, Nineteen”, “Deacon Blues”, “Do It Again”, “Reeling in the Years”, etc.

“Kiss On My List” – Daryl Hall & John Oates (1981) // One of my absolute favourite artists and Daryl Hall’s voice is one of the ones I love the most. They are said to have taken yacht rock into the Eighties on the wings of their synth beats. More from Hall & Oates: “Sara Smile”, “I Can’t Go for That (No Can Do)”, “Rich Girl”, etc.

“Marina del Rey” – Marc Jordan (1978) // This tune from Canadian Jordan was a fixture on the oldies station I listened to back in the day. I felt such joy when it came on and I would love to sing the chorus with Marc. I absolutely adore this song.

“So In To You” – Atlanta Rhythm Section (1977) // Stone groove. I’ve always loved this song. The fellas formed out of the ashes of Classics IV and do a killer version of “Spooky”.

“Breezin'” – George Benson (1976) // A legendary instrumental this one written by Bobby Womack. From one of the biggest selling jazz albums of all-time.

“Baker Street” – Gerry Rafferty (1978) // I knew of this guy years before I heard this his biggest hit. How? Through Steven Wright via Tarantino’s Reservoir Dogs. Wright is the voice of a disc jockey and he introduces “Stuck in the Middle With You” by explaining that “Joe Egan and Gerry Rafferty were a duo known as Stealer’s Wheel when they recorded this Dylanesque, pop, bubble-gum favourite from April of 1974 that reached up to number five, as K-Billy’s Super Sounds of the ’70s continues”.

“Summer Breeze” – Seals and Crofts (1972) // This LA duo predates the heyday of yacht rock but their two hits could be considered prototypes. “Summer Breeze” is a legendary and dare I say perfect soft rock record that everyone knows (and the Isleys covered well) and the following year’s “Diamond Girl” was more of the same.

“Love Will Keep Us Together” – Captain & Tennille (1975) // Neil Sedaka said he wrote this after being inspired by a Beach Boys riff. Captain & Tennille – both veterans of the Beach Boys’ touring band – made this a hit and scored the first yacht rock Record of the Year Grammy.

“Just the Two of Us” – Grover Washington, Jr. featuring Bill Withers (1981) // Of course yacht rock has been charged with being “too white” and it actually is. There is a “micro genre” known as “yacht soul”, though, a sound put out by the likes of Bill Withers, Earth, Wind and Fire, Peabo Bryson, Tavares and Roberta Flack and I wanted to include some songs by these artists here. But invariably I had to conclude that the songs I would’ve listed were either very “R&B” or more properly categorized as quiet storm. But mostly I think I respect black artists too much to include them here. That’s just me.

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Here’s a few ways to catch the yacht rock wave. The first would be to hit the bins and buy some vinyl. Trips to the local record store, thrift store or antique market take on a fresh glow when you are hunting for something new. You may have seen America albums before but cruised right by them; maybe now you’ll wanna seek one out. I suppose I should suggest the Yacht Rock web series but be prepared. I’ll give the guys credit for creativity although it’s bonkers. I did get some straight up laughs, though. For those of you who are perhaps more discerning and would like a more sedate telling of the tale, I can highly recommend this BBC Four two-part documentary by vivacious Katie Puckrik. The cleverly titled I Can Go for That: The Smooth World of Yacht Rock will tell you everything you need to know about the genre. I watched it on YouTube. For those wealthy enough to pay the freight, Sirius XM Radio offers Yacht Rock Radio year ’round on the app and through the summer otherwise. The channel seems to stick to the stalwarts and you’ll hear your favourites regularly. For Rogers customers in the Great White North, the impressive Stingray Music offers Breezy Yacht Rock. Their playlist is perhaps longer than Sirius XM’s and you’ll hear some pretty deep cuts along with your faves. Perhaps my favourite find though is the Villa Vybes Vinyl YouTube channel. While they offer all types of music, their yacht rock playlist is exemplary. Watching barefoot DJ Z-Bear work the turntables and the tone arms will inspire you to expand your record collection.

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“Still the One” – Orleans (1976)

“Southern Cross” – Crosby, Stills and Nash (1982) // I suppose I should have known of this one before but I’m only just discovering it. Excellent song though it does not feature David Crosby. The group’s final Top 40 hit.

“Ventura Highway” – America (1972) // A friend once asked me “since when was Neil Young in America?” There is a voice and the group has a sound that brings Neil to mind but he was never in the band. A “harder” Seals and Crofts, America was a successful band throughout the Seventies and their “A Horse With No Name” is iconic. Throw in “Sister Golden Hair” and the fellas make a pretty good “greatest hits” band.

“Feels So Good” – Chuck Mangione (1977) // Another one of the most recognizable instrumentals of the era. The album is a must-own on vinyl for self-respecting collectors.

“How Long” – Ace (1974)

“I’d Really Love to See You Tonight” – England Dan & John Ford Coley (1976)

“Escape (The Piña Colada Song)” – Rupert Holmes (1979) // Cat had a way with words, as this clever story-song can attest. He later went into playwrighting, adapting films like Grisham’s A Time to Kill for the stage, as well as writing books and for television.

“Lowdown” – Boz Scaggs (1976) // Thought I would like this album but I find it dull. But “Lowdown” has a stone groove and “Lido Shuffle” is listenable, as well. He’s got a crazy name, though, doesn’t he?

“Baby Come Back” – Player (1977)

“Let Your Love Flow” – the Bellamy Brothers (1976)

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Back to Steely Dan. Maybe they really shouldn’t be lumped in with yacht rock; neither should others I’ve seen included like Daryl Hall & John Oates, Billy Joel, Chicago or REO Speedwagon. Those artists have recorded yacht rock but… It’s like lumping Elvis Presley in with other “oldies” acts. The above artists have contributed more to music than just “soft rock” while conversely other artists it seems are more yacht rock-specific and have little to offer outside the idiom. These include Stephen Bishop, Sanford-Townsend Band, Robbie Dupree and – it must be said – the king himself, Christopher Cross. So, consider this as something of a disclaimer and remember its all in good fun and smooth music. No one in their right mind is going to say “yacht rockers Steely Dan” and at the same time few are likely to talk about Poco outside of the yacht rock realm.

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“I Can Dream About You” – Dan Hartman (1984) // One of the few songs on this list I remember being on the radio when it was first out. I absolutely loved this song. I never saw the film it was in, Streets of Fire, until only recently but I loved this video back in the day. It shows the fictional group in the film, the Sorels, singing it live and executing some fluid and robust choreography. Lip-synching in the film is Stoney Jackson backed by his group played by guys you’d recognize. It was just the whole Fifties vibe I loved. The single was supposed to be released with the film’s vocal provided by one Winston Ford; but Hartman executed some fancy footwork of his own to score his only hit.

“Eye in the Sky” – Alan Parsons Project (1982)

“I Just Wanna Stop” – Gino Vannelli (1978) // Little Canadian content here from Montreal’s Vannelli.

“Steal Away” – Robbie Dupree (1980)

“Magic” – Pilot (1974)

“Got a Hold On Me” – Christine McVie (1984) // This one and the next I distinctly remember being on the radio. I was spending several weeks in central Florida at the time so fond memories for me.

“Yah Mo Be There” – James Ingram and Michael McDonald (1983)

“Fooled Around and Fell in Love” – Elvin Bishop (1976)

“Dance With Me” – Orleans (1975)

“Crazy Love” – Poco (1979)