yacht rock revival band members

Melbourne's newest and smoothest 1970's tribute band.

Nautical but nice entertainment for your wedding, parties, venues and corporate events.

 Yacht Rock Revival is putting the 'class' back into classics.

WHAT'S YACHT ROCK?

We at Yacht Rock Revival are paying tribute to the definition of 70's light rock, collecting our favourite sounds, songs and grooves from an era when 'smooth' meant everything. If you've ever heard the Doobie Brothers fronted by Michael McDonald doing "What A Fool Believes", that's Yacht Rock.  

These songs are as memorable as a sunset on the Santa Monica pier as you walk along with your baby, holding hands, your matching gold-tone bracelets jingling as the ocean breeze caresses your moustache, and the two of you stare out into the ever-deepening blue to think, in tandem: "Yeah, this is how it should always be".

You might have been a closet Yacht Rock fan all along and just didn't know it. It's slicker than slick, enormously well-played music, from the melodically clever to the harmonically unexpected.  Yacht Rock is soulful, well-constructed music that just makes people happy.

Just remember to hold on to your captain's hat because this music is so breezy and smooth, it might just blow you away!

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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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Yacht Rock Revival

Show details.

Yacht Rock Revival are paying tribute to the definition of 70's light rock, collecting your favourite sounds, songs and grooves from an era when 'smooth' meant everything. If you've ever heard The Doobie Brothers fronted by Michael McDonald doing "What A Fool

Believes", that's Yacht Rock!

These songs are as memorable as a sunset on the Santa Monica pier as you walk along with your baby, holding hands, your matching gold-tone bracelets jingling as the ocean breeze caresses your moustache, and the two of you stare out into the ever-deepening blue to think, in tandem: "Yeah, this is how it should always be".

You might have been a closet Yacht Rock fan all along and just didn't know it. It's slicker than slick, enormously well-played music, from the melodically clever to the harmonically unexpected. Yacht Rock is soulful, well- constructed music that just makes people happy.

Just remember to hold on to your captain's hat because this music is so breezy and smooth, it might just blow you away!

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‘People Don’t Let Go of These Songs’: The Surprising Evolution of the Yacht Rock Revue

By Joseph Hudak

Joseph Hudak

“If you asked me five years ago to do a full original album with this band, I’d say, ‘Tear my heart out and leave it on the floor,'” Yacht Rock Revue singer Nick Niespodziani says.

It’s hard to tell if he’s being hyperbolic.

The 41-year-old frontman of the Atlanta-based tribute band has always been conflicted about his gum-chewing, polyester-wearing, hair-feathering throwback group. In his eyes, it was a way to make a living, not a serious creative outlet. Besides, he had other projects to flex that muscle, like the psychedelic and experimental rock of Indianapolis Jones. But as he slowly came to accept, nothing had the reach of Yacht Rock Revue.

Since forming in 2008, the seasoned party band has graduated into a national touring act, packing clubs, anchoring corporate events, and setting sail on themed cruises with their note-perfect re-creations of soft-rock’s smoothest jams, from “Brandy” by Looking Glass and “Lido Shuffle” by Boz Scaggs to Ace’s “How Long” and Toto’s irrepressible “Africa.” (Yacht Rock Revue cut it well before Weezer did .) Their crowds are far from passive too, buying tickets in advance and showing up in boat shoes, ascots, and aviators to recite aloud the sacred texts of saints Christopher Cross, Michael McDonald , and Robbie Dupree. Captain’s hats are ubiquitous.

It’s not an oldies fan base either. “Kids, young people, are the ones who have adopted this music, and they’re there to have a good time,” says Dupree, who often performs his 1980 hit “Steal Away” with the band at their all-star “Yacht Rock Revival” shows. “The audience looks like they used to [when these records first came out] — only you got older. But it’s more exciting now because these people know every single song in the show.”

Still, Niespodziani could never fully get on board the boat he helped build. When he and the band took a stab at releasing original material in 2012 with the on-the-nose “Can’t Wait for Summer,” they did so sheepishly. “Our hearts weren’t all the way in it,” he says now. “We were kind of apologetic about it.”

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As pop music evolved over the past eight years, however, so did Niespodziani’s perception of Yacht Rock Revue. The songs that make up the band’s set lists are now celebrated, “Yacht Rock” has transcended its gag tag to become a legitimate subgenre, and the icons of the scene are getting long-overdue recognition — in May, the Doobie Brothers will be inducted into the Rock & Roll Hall of Fame.

Most important, Niespodziani peered over his onstage shades and recognized the happiness that he and his group were bringing to their crowds.

“When we started out, I wasn’t super proud of being in a cover band,” he says, “but as we’ve done this, I’ve seen that joy in people, which changed my thinking and changed my heart about it, and made me open to the vulnerability of doing an original album.”

In February, the seven-piece band of fortysomething musicians — along with Niespodziani, there’s fellow vocalist and multi-instrumentalist Peter Olson, bassist Greg Lee, sax player Dave Freeman, guitarist Mark Dannells, drummer Mark Cobb, and keys man Mark Bencuya — released its first full-length album of original music, Hot Dads in Tight Jeans . Like their live show, which features a vintage boutique’s worth of loud shirts and the titular constricting denim, there’s an element of humor to the record. But the 10 tracks aren’t parodies or goofs.

Songs like “The Doobie Bounce” and “Step,” with their layered production and Niespodziani’s sky-high falsetto, transform the staid notion of yacht rock — or, more broadly, soft rock — into something immersive and, dare one say, hip and cool. These are tracks that could slide in comfortably next to anything off Tame Impala’s latest, The Slow Rush . The sounds and tones employed by Tame Impala mastermind Kevin Parker actually served as validation for Niespodziani.

“We finished recording this album and were mixing it in spring and summer, and that’s when Tame Impala started to leak tracks from their new album,” he says. “They were really similar to the sounds we had on our record, and that made me feel really encouraged, that the sound that we had was not going to be throwaway or irrelevant.”

Olson, Niespodziani’s onstage foil in choreography (they’re experts at re-creating Paul Simon and Chevy Chase’s “You Can Call Me Al” routine ), says the band aimed to expand the boundaries of what yacht rock is, or could be, while in the studio.

“We felt free to redefine the genre a little bit, as more of an attitude than a sound,” Olson, also 41, says. “We weren’t tied to just having Rhodes pianos and super-lush harmonies and sax solos, but there are elements of that. We weren’t afraid to sing about something meaningful and not just piña coladas. Although there is a song about tequila, so…”

Sail Away: The Oral History of 'Yacht Rock'

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“Bad Tequila,” with its pithy, made-for-merch payoff line — “when life gives you bad tequila/make a good margarita” — is insanely catchy but modern, more in line with something by Portugal. The Man and Daft Punk than Seals and Croft or Loggins and Messina. Yes, it has a yachty sax breakdown, but the woodwind fits in just as naturally as one of Lizzo’s flute solos .

The band credits producer Ben Allen with helping them connect the dots between yesteryear’s soft rock and contemporary flourish. The track “Another Song About California” opens with a synth line that nods to Hall and Oates’ “She’s Gone” before spiraling off on its own psych-pop journey.

“Ben has been instrumental in finding the middle ground between staying true to what the band has always done in the yacht-rock vibe, but not being afraid to make a record that could fit in a playlist with Justin Timberlake or Lizzo,” says Niespodziani, who also challenged the way the band approaches its lyrics. He used yacht-rock buzzwords (think “sand,” “ocean,” “sun,” and “girl”) as a gateway to convey deeper thoughts and mindsets.

“I’d take little nuggets of the yacht-rock vibe or culture and look at it through my own lens,” he says, citing “The Doobie Bounce.” “That song sneaks in little nods to nihilism and things that have meaning to me.”

Currently on a U.S. tour with gigs scheduled at the Wiltern in L.A., Webster Hall in New York, and the House of Blues in Boston, Niespodziani, Olson and the band are hopeful that their core fans will embrace the “new” yacht rock. They’ve already been slotting “Step” and “Bad Tequila” alongside perennials like “Escape (The Piña Colada Song)” and “Baker Street.” Who knows — perhaps their own 21st-century yacht jams will one day become a part of the genre’s core canon.

After years spent wondering and worrying when the yacht-rock wave would crash, Niespodziani and Olson have come to just enjoy the ride.

“We always thought the fad would end. But people don’t let go of these songs. It’s evident in the way that doctors’ offices, Home Depots, and Bed Bath & Beyonds haven’t let go of these songs either,” says Olson. “These are the playlists of public areas.”

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The Evolution of Yacht Rock: From the 70s to Today

Table of Contents

The Origins of Yacht Rock in the 70s

The inception of Yacht Rock in the 70s was characterized by smooth music, influenced by soft rock, jazz, and R&B genres. Yacht Rock was a term coined in the 2000s for the music that encapsulated the feel of the refined and luxurious lifestyle of yachts. The music was not tied to a particular artist or band, but instead, it was a culmination of numerous artists who shared common themes and sounds, such as Michael McDonald, Kenny Loggins, and Toto . The music genre gained popularity in America during the mid-70s and peaked in the early 80s.

The Yacht Rock culture made its way into the mainstream through movies, TV shows, and commercials such as in the movie Stepbrothers and the TV series The Office . The laid-back nature of Yacht Rock embodies a feeling of relaxation and enjoyment that can be enjoyed both on and off yachts. The genre’s popularity has seen various tribute bands and has been the inspiration for modern bands like The 1975 . Yacht Rock’s influence can be felt in pop music, and it has endured through the decades, with 2019’s Yacht Rock Revival Tour being a significant highlight.

Notably, the birth of Yacht Rock had significant roots in Southern California, which was the epicenter for all things cool and relaxed in music during the 1970s. Michael McDonald was a member of the iconic Doobie Brothers , who crafted some classic Yacht Rock hits such as “What a Fool Believes” and “Minute by Minute.”

According to The New York Times , Yacht Rock has a cult following, and it has become a sensation on social media, with Youtube videos and playlists dedicated to the genre. Soft rock may be the musical equivalent of a warm hug, but don’t underestimate its power to sway your soul and make you want to own a yacht.

The Influential Sound of Soft Rock

The 70s saw the emergence of Soft Rock, or Yacht Rock – a soothing response to the heavy and aggressive nature of rock music at the time. Its easy-going style featured smooth vocals and polished production.

The Eagles, Fleetwood Mac, and Toto were the founding fathers of this sound, with hits like “Take it Easy,” “Dreams,” and “Africa” dominating the radio. Even today, their influence can be heard in modern music.

Yacht Rock has become a cultural phenomenon , thanks to artists like Michael McDonald and Christopher Cross . By the early 1980s, it had become the epitome of coolness and sophistication.

If you’re looking for mellow tunes to transport you to a sun-kissed boat day, Soft Rock and Yacht Rock won’t disappoint!

The Rise of West Coast-based Musicians

The ’70s saw a spike in West Coast-based musicians. Steely Dan, The Doobie Brothers, and Michael McDonald created an influential sound that captured the essence of Southern California living.

Their music featured smooth harmonies, laid back grooves and introspective lyrics . It was dubbed “ Yacht Rock ” – associated with white wines and luxury yachts. However, many of these artists rejected this term.

These musicians used a variety of instruments to create complex yet listenable sounds. Guitars, pianos, saxophones – they redefined pop music.

Tip: Listen to classic yacht rock tracks while lounging on your own deck chair. Enjoy the smooth melodies and lyrics like you’re sailing on calm waters – but with more polyester!

The Emphasis on Smooth Melodies and Lyrics

Yacht Rock – a musical style from the ’70s – featured smooth melodies and lyrics, combining soft rock, jazz, funk, and R&B elements. Its popularity was boosted by MTV-era TV shows . Romantic and boastful lyrics catered to a nautical lifestyle. Lyrics often romanticized luxury and wealth, or intimate themes like love.

Yacht Rock has a transformative power to take listeners to luxury yachts on sunny beach days. To appreciate it, listen to classic musicians like Toto or Christopher Cross . Their unique sound brings together different genres.

Vinyl records make it easier to revisit nostalgic tracks. Boat parties are the perfect opportunity to experience Yacht Rock. Playlists at home or speakers on a boat – transport back in time with throwback tunes and breathtaking views of the ocean! Get ready to rock the boat and explore the decadent era of yacht rock in the 80s.

The Heyday of Yacht Rock in the 80s

The prime era of Yacht Rock in the 80s had a significant impact on the music industry. The smooth and polished sound of Yacht Rock, characterized by its fusion of soft rock and jazz elements, was widely popular among the masses. Yacht Rock artists like Michael McDonald, Hall & Oates, and Toto paved the way for a new music genre that appealed to a vast audience. The 80s marked the pinnacle of Yacht Rock’s popularity, which continued to be a significant force in the music world until the late 90s.

The smooth voicings of singers and the catchy rhythms of the songs made Yacht Rock an instant hit. The era of Yacht Rock was marked by iconic hits like “ Africa ” by Toto, “ I Can’t Go for That (No Can Do) ” by Hall & Oates, and “ What a Fool Believes ” by The Doobie Brothers.

During the heyday of Yacht Rock, many artists emerged on the scene with their unique sound, which combined elements of rock, jazz, funk, and pop. One of the notable characteristics of Yacht Rock was the smooth and polished production style, which was made possible by the use of synthesizers and electronic instruments. This sound gave Yacht Rock its distinct flavor that was unlike any other genre. The distinct sound and vibe of Yacht Rock resonated with a growing audience, from young teens to working-class adults, making it a classic genre enjoyed by all.

The success of Yacht Rock in the 80s was due to its laid-back and accessible nature. The music was perfect for setting a casual or intimate atmosphere, which made it ideal for parties and social gatherings. The popularity of Yacht Rock started to decline in the late 90s as new genres emerged, but its legacy continued to live on through the decades. Nevertheless, the contribution and impact that Yacht Rock had on the music industry will always be cherished. For the fans of Yacht Rock, the genre still brings back nostalgic memories and continues to hold a special place in their hearts. For the new generation, Yacht Rock has become an immortal genre that symbolizes the 80s sound.

From soft rock to smooth sailing, Yacht Rock emerged as the ultimate soundtrack for high seas debauchery and questionable fashion choices.

The Emergence of Yacht Rock as a Genre

Yacht rock’s sound was smooth and sophisticated. Drawing from soft rock, jazz, and R&B , it was mellow and polished. This genre was linked to a lavish lifestyle, making it the perfect escape.

Michael McDonald, Christopher Cross, Toto, and Kenny Loggins were the icons of yacht rock. Their songs featured lush harmonies, easygoing melodies, and intricate guitar riffs.

The name ‘yacht rock’ was coined much later by an online video series titled ‘Yacht Rock.’ It was a parody of the artists’ lives and careers. But, the sublime sound of yacht rock still prevails.

The Popularity of Yacht Rock Bands and Artists

Yacht Rock was a popular music genre in the 80s known for its calm and smooth style.

Artists like Kenny Loggins, Christopher Cross, Michael McDonald, and Toto shot to fame during this time. Their lyrics expressed love and longing, with soft jazz, R&B, and pop elements.

The music videos featuring ocean waves, sandy beaches, and yachts captivated their audiences. Toto’s ‘Africa’ was played in Antarctica for 24 hours straight. They also made an appearance on Family Guy, parodying ‘Rosanna’.

These timeless songs still have an impact today. New generations continue to discover them. For example, Michael McDonald’s ‘What A Fool Believes’ was sampled by Kanye West for ‘The One’. Yacht Rock may have gone away, but its influence still lingers in mainstream music.

The Impact of Yacht Rock on Mainstream Music

Yacht rock shook up mainstream music in the 1980s. It blended soft rock and smooth jazz, with romantic and leisurely lyrics. Michael McDonald, Christopher Cross, Kenny Loggins, and Toto were among the stars of this era.

Yacht rock was easy-listening and had infectious tunes. Electric pianos, synthesizers, and soaring harmonies were often part of its sound. Plus, it focused on luxurious activities like sailing and yachting.

However, yacht rock slowly faded with the rise of alternative rock in the 90s. But now, its smooth sounds are back in style!

It’s funny that yacht rock was not called that at first. J.D. Ryznar made some videos with friends and gave it the name. After millions watched, it became popular and is now a recognized subgenre.

Who knew sailing in khakis and loafers would be popular again? Welcome to the yacht rock revival .

The Revival of Yacht Rock in the 2010s

The resurgence of Yacht Rock in recent times has been a remarkable phenomenon. This genre, popular in the 70s and 80s, has been given a new lease of life in the 2010s. Numerous artists have rediscovered the smooth and relaxed vibe of Yacht Rock, and with the help of modern production techniques, have infused it with a contemporary twist.

With the current generation of music lovers seeking a break from the chaos of modern life, the revival of Yacht Rock has brought a sense of calmness and nostalgia. Many young listeners have been introduced to this genre for the first time, and it has proved to be a refreshing sonic landscape. The resurgence of Yacht Rock has also been fueled by the rise of retro culture, with fashion and décor trends of bygone eras making a comeback.

The new wave of Yacht Rock artists has not only embraced its smooth sound but also incorporated elements of funk, indie, and electronic music to bring it up to date. They have given the music a modern edge while retaining the characteristic traits of the genre.

According to Billboard , the Yacht Rock genre has seen over 100% increase in streams between 2015 and 2017. This is a testament to the genre’s popularity and the impact of its modern reintroduction.

Looks like the yacht has docked at the port of millennials, who are discovering the smooth sounds of Yacht Rock while sipping on their avocado smoothies.

The Introduction of a New Generation of Yacht Rock Listeners

Yacht Rock is sailing back into the 2010s with a fresh wave of fans. Smooth tunes and chill vibes make it unique. Plus, soft rock, jazz, R&B, and soul give it a special flavor. Michael McDonald , Christopher Cross , and Toto still rock with classic hits like “ What A Fool Believes ” and “ Ride Like The Wind “. Even modern artists like Portugal. The Man are getting in on the action.

Thanks to streaming services, it’s never been easier to enjoy Yacht Rock . People can easily find it, and it’s taking them back to happy days on yachts in the sun. Plus, old-timers get to relive their youth. One fan shared that she feels transported back to her summertime days when she hears Yacht Rock. So, pull out those bell-bottoms, mix up a piña colada, and enjoy the smooth sounds of Yacht Rock!

The Nostalgia Factor: Rediscovering Yacht Rock Classics

Yacht Rock’s resurgence is taking over the 2010s! Hall & Oates, Michael McDonald, and other iconic artists of this groovy sound are now being rediscovered. With streaming services like Spotify adding dedicated yacht rock playlists, millennials are finding a newfound appreciation for these timeless tracks.

New collaborations between classic and contemporary musicians are bringing this style back to the spotlight. Yacht Rock has always been about escapism and self-care – perfect for relaxing sunny days or cruising down the coast. It resonates well with today’s listeners who value luxury, nostalgia, and more .

But it’s not all about nostalgia. Yacht Rock has shown its appeal can last through generations . To keep the revival going strong, we suggest listening to live performances from original yacht rockers or new acts. Examining lesser-known songs can reveal hidden gems that capture the essence of what made yacht rock so captivating.

In summary, yacht rock is alive and thriving with fans young and old . It’s the perfect balance between nostalgia and modernity – all while staying true to its laidback style. Open your mind and explore all facets of this sound – and yacht rock will continue to sail for years to come.

The Relevance of Yacht Rock in Contemporary Music

Yacht Rock , a sub-genre of soft rock, made a comeback in the 2010s. It’s known for its maritime theme and smooth, easy-listening tunes. Christopher Cross, Toto, and Michael McDonald are some of the artists leading the way.

Nostalgia is one reason for its revival. People remember simpler times spent on boats. Younger listeners are discovering Yacht Rock through platforms like YouTube and Spotify. Plus, its music is easy to listen to, so you don’t have to pay close attention.

West Coast musicians collaborated with Yacht Rock. They had a mellow sound that fit the songs. Steven McVicker coined the term ‘yacht rock’ in 2005, according to Rolling Stone Magazine.

Yacht Rock is still sailing with a new generation of fans. Even Michael McDonald is still touring!

The Future of Yacht Rock

In the realm of yacht rock , the progression of the genre over the years has been quite evident. Looking into the future, the genre may continue to evolve, embracing new sounds while maintaining its core elements.

As artists experiment with new ways of infusing classic yacht rock tones with modern sensibilities, the future of yacht rock may see an expansion of its audience. Additionally, there may be a shift towards a greater focus on diverse representation within the genre. By incorporating different voices and perspectives, the future of yacht rock could be more inclusive and inviting to a wider range of listeners.

Yacht rock may have started in the 70s, but it’s here to stay like that one drunk friend at the party who insists on playing their favorite soft rock playlist.

The Continuation of Yacht Rock as a Genre

Yacht rock burst onto the scene in the 70s and 80s, blending soft rock and jazz. Many thought it’d be a flash in the pan, yet it’s still alive and kickin’! Music icons like Daryl Hall and John Oates even have new yacht rock tunes.

Its charm lies in its ability to take listeners back to summers spent at the beach or rolling down highways with windows down. Plus, modern artists have their own spin on yacht rock, blending funk and R&B with classic yacht rock elements.

Yacht rock is popular with mature audiences, but younger folks should take the chance to explore too! Dabble in something new by discovering up-and-coming yacht rock artists on streaming platforms.

This smooth genre has changed over time, but yacht rock remains timeless !

The Evolution of Yacht Rock Sound and Style

Yacht rock has been around since the late ’70s. It is characterized by mellow melodies, smooth harmonies, and a laid-back vibe. A key element is nostalgia for the past . Over time, the yacht rock sound and style has evolved.

Contemporary artists like Dev Hynes, Ty Dolla $ign, and Robbie Dupree have found inspiration in yacht rock for their distinctive R&B infused sounds. Streaming platforms like Spotify have also helped to revive the genre by creating playlists for fanatics.

Jack Antonoff’s exploration into this sound with Bleachers is a tribute to the era, whilst pushing it forward. More and more artists are incorporating yacht rock elements into their music.

Experience the latest iteration of this legendary soft-rock subgenre – dive into the ocean of Yacht Rock now!

The Significance of Yacht Rock in Music History.

Yacht Rock – an iconic soft rock genre from the ’70s and ’80s. Its smooth melodies and pristine production created a luxurious escape from the hard rock and metal of the time. It symbolized a cultural shift to a more relaxed lifestyle. Its influence is still felt today, with songs like “ Rosanna ” by Toto and Air Supply’s “ Making Love Out Of Nothing At All ” standing the test of time.

Even modern musicians like Bruno Mars are incorporating Yacht Rock elements into their music, evidencing the genre’s continued impact. Yacht Rock was more than just a musical style – it embodied a lifestyle of luxury, leisure, and sophistication .

AMERICA’S FAVORITE YACHT ROCK BAND!™

Winner – 2023 best of las vegas – tribute act – las vegas review journal, 2023 best tribute act – vegas411, 2021 wami – best tribute artist 2019 wami – new artist of the year.

Imagine that it’s 1981 and you’re cruising the Atlantic shores of the Hamptons with your friends. Bikinis are fluorescent, polo collars are popped, and boat shoes are rocked sockless. In the background, your booming sound system is playing the soft-rock sounds of Olivia Newton-John, Toto, Kenny Loggins, The Carpenters, Michael McDonald, Hall & Oates, Christopher Cross, and Air Supply.

The Docksiders are made up of music industry veterans – led by 3-time Grammy™ nominee, Kevin Sucher. Their unique tribute act of your favorite “soft rock” songs of the 70s and 80s – now defined as Yacht Rock – have been entertaining thousands of people for years and the revival of this genre and audiences are only getting bigger.

The Docksiders just completed a 50+ show run at The Rio All-Suite Hotel & Casino in Las Vegas… and now Headline at Notoriety Live on Fremont St.

Show stopping hit song after hit song, costume changes, and production, is only topped by their world-class performance.

Take some time to discover our many videos on our  YouTube Channel  and stop by our  Facebook page  for additional entertaining content!

Keep it SMOOTH friends – Thanks for stopping by our website!

“GET ON THE BOAT!!!! The Docksiders show defines Yacht Rock!! They are the total experience of this genre of music! So yes, get on the boat, have a beer, have some pizza, and party with the the greatest Yacht Rock Band in the country …The Docksiders!” – Tony Orlando – Legend

“in a short amount of time, this dazzling couple has made a meteor-sized impact on las vegas entertainment. they’re everywhere, doing everything, and winning hearts wherever they go. erin and kevin sucher truly are gifts to our city. please support their efforts, along with the amazing colleagues, band members, friends, and collaborators who join them in making our city a brighter and happier place.” – sam novak – vegas411, “i just wanted to drop a note to tell you how much i loved the show last night. i seriously wish i could book this band, like, every other week. you are so fun to listen to, and you sounded fantastic. really on point with vocals and musicianship. thanks so much for coming to omaha, i hope to get you back here at some point down the road” – erika hansen, booking manager – omaha performing arts center.

See why everyone is calling The Docksiders

America’s favorite yacht rock band™.

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Top 50 Yacht Rock Songs

Yacht rock was one of the most commercially successful genres to emerge from the '70s and yet has managed to evade concise definition since its inception. For many listeners, it boils down to a feeling or mood that cannot be found in other kinds of music: Simply put, you know it when you hear it.

Some agreed-upon elements are crucial to yacht rock. One is its fluidity, with more emphasis on a catchy, easy-feeling melody than on beat or rhythm. Another is a generally lighthearted attitude in the lyrics. Think Seals & Crofts ' "Summer Breeze," Christopher Cross ' "Ride Like the Wind" or Bill Withers ' "Just the Two of Us." Yes, as its label suggests, music that would fit perfectly being played from the deck of a luxurious boat on the high seas.

But even these roughly outlined "rules" can be flouted and still considered yacht rock. Plenty of bands that are typically deemed "nyacht" rock have made their attempts at the genre: Crosby, Stills & Nash got a bit nautical with "Southern Cross," leading with their famed tightly knit harmonies, and Fleetwood Mac also entered yacht rock territory with "Dreams" – which, although lyrically dour, offers a sense of melody in line with yacht rock.

Given its undefined parameters, the genre has become one of music's most expansive corners. From No. 1 hits to deeper-cut gems, we've compiled a list of 50 Top Yacht Rock Songs to set sail to below.

50. "Thunder Island," Jay Ferguson (1978)

Younger generations might be more apt to recognize Jay Ferguson from his score for NBC's The Office , where he also portrayed the guitarist in Kevin Malone's band Scrantonicity. But Ferguson's musical roots go back to the '60s band Spirit; he was also in a group with one of the future members of Firefall, signaling a '70s-era shift toward yacht rock and "Thunder Island." The once-ubiquitous single began its steady ascent in October 1977 before reaching the Top 10 in April of the following year. Producer Bill Szymczyk helped it get there by bringing in his buddy Joe Walsh for a soaring turn on the slide. The best showing Ferguson had after this, however, was the quickly forgotten 1979 Top 40 hit "Shakedown Cruise." (Nick DeRiso)

49. "Southern Cross," Crosby, Stills & Nash (1982)

CSN's "Southern Cross" was an example of a more literal interpretation of yacht rock, one in which leftover material was revitalized by Stephen Stills . He sped up the tempo of a song titled " Seven League Boots " originally penned by brothers Rick and Michael Curtis, then laid in new lyrics about, yes, an actual boat ride. "I rewrote a new set of words and added a different chorus, a story about a long boat trip I took after my divorce," Stills said in the liner notes  to 1991's CSN box. "It's about using the power of the universe to heal your wounds." The music video for the song, which went into heavy rotation on MTV, also prominently displayed the band members aboard a large vessel. (Allison Rapp)

48. "Jackie Blue," the Ozark Mountain Daredevils (1974)

Drummer Larry Lee only had a rough idea of what he wanted to do with "Jackie Blue," originally naming it after a bartending dope pusher. For a long time, the Ozark Mountain Daredevils' best-known single remained an instrumental with the place-keeper lyric, " Ooh, ooh, ooh, ooh Jackie Blue. He was dada, and dada doo. He did this, he did that ... ." Producer Glyn Johns, who loved the track, made a key suggestion – and everything finally snapped into place: "No, no, no, mate," Johns told them. "Jackie Blue has to be a girl." They "knocked some new lyrics out in about 30 minutes," Lee said in It Shined: The Saga of the Ozark Mountain Daredevils . "[From] some drugged-out guy, we changed Jackie into a reclusive girl." She'd go all the way to No. 3. (DeRiso)

47. "Sailing," Christopher Cross (1979)

You’d be hard-pressed to find a more quintessential yacht rock song than “Sailing.” The second single (and first chart-topper) off Christopher Cross’ 1979 self-titled debut offers an intoxicating combination of dreamy strings, singsong vocals and shimmering, open-tuned guitar arpeggios that pay deference to Cross’ songwriting idol, Joni Mitchell . “These tunings, like Joni used to say, they get you in this sort of trance,” Cross told Songfacts in 2013. “The chorus just sort of came out. … So I got up and wandered around the apartment just thinking, ‘Wow, that's pretty fuckin' great.’” Grammy voters agreed: “Sailing” won Record of the Year, Song of the Year and Best Arrangement at the 1981 awards. (Bryan Rolli)

46. "Just the Two of Us," Bill Withers and Grover Washington Jr. (1980)

A collaboration between singer Bill Withers and saxophonist Grover Washington Jr. resulted in the sleek "Just the Two of Us." When first approached with the song, Withers insisted on reworking the lyrics. "I'm a little snobbish about words," he said in 2004 . "I said, 'Yeah, if you'll let me go in and try to dress these words up a little bit.' Everybody that knows me is kind of used to me that way. I probably threw in the stuff like the crystal raindrops. The 'Just the Two of Us' thing was already written. It was trying to put a tuxedo on it." The track was completed with some peppy backing vocals and a subtle slap bass part. (Rapp)

45. "Sara Smile," Daryl Hall & John Oates (1975)

It doesn't get much smoother than "Sara Smile," Daryl Hall & John Oates ' first Top 10 hit in the U.S. The song was written for Sara Allen, Hall's longtime girlfriend, whom he had met when she was working as a flight attendant. His lead vocal, which was recorded live, is clear as a bell on top of a velvety bass line and polished backing vocals that nodded to the group's R&B influences. “It was a song that came completely out of my heart," Hall said in 2018 . "It was a postcard. It’s short and sweet and to the point." Hall and Allen stayed together for almost 30 years before breaking up in 2001. (Rapp)

44. "Rosanna," Toto (1982)

One of the most identifiable hits of 1982 was written by Toto co-founder David Paich – but wasn't about Rosanna Arquette, as some people have claimed, even though keyboardist Steve Porcaro was dating the actress at the time. The backbeat laid down by drummer Jeff Porcaro – a "half-time shuffle" similar to what John Bonham played on " Fool in the Rain " – propels the track, while vocal harmonies and emphatic brass sections add further layers. The result is an infectious and uplifting groove – yacht rock at its finest. (Corey Irwin)

43. "Diamond Girl," Seals & Crofts (1973)

Seals & Crofts were soft-rock stylists with imagination, dolling up their saccharine melodies with enough musical intrigue to survive beyond the seemingly obvious shelf life. Granted, the lyrics to “Diamond Girl,” one of the duo’s three No. 6 hits, are as sterile as a surgery-operating room, built on pseudo-romantic nothing-isms ( “Now that I’ve found you, it’s around you that I am” — what a perfectly natural phrase!). But boy, oh boy does that groove sound luxurious beaming out of a hi-fi system, with every nuance — those stacked backing vocals, that snapping piano — presented in full analog glory. (Ryan Reed)

42. "What You Won't Do for Love," Bobby Caldwell (1978)

Smooth. From the opening horn riffs and the soulful keyboard to the funk bass and the velvety vocals of Bobby Caldwell, everything about “What You Won’t Do for Love” is smooth. Released in September 1978, the track peaked at No. 9 on the Billboard Hot 100 and went on to become the biggest hit of Caldwell’s career. It was later given a second life after being sampled for rapper 2Pac's posthumously released 1998 hit single “Do for Love.” (Irwin)

41. "We Just Disagree," Dave Mason (1977)

Dave Mason's ace in the hole on the No. 12 smash "We Just Disagree" was Jim Krueger, who composed the track, shared the harmony vocal and played that lovely guitar figure. "It was a song that when he sang it to me, it was like, 'Yeah, that's the song,'" Mason told Greg Prato in 2014. "Just him and a guitar, which is usually how I judge whether I'm going to do something. If it holds up like that, I'll put the rest of the icing on it." Unfortunately, the multitalented Krueger died of pancreatic cancer at age 43. By then, Mason had disappeared from the top of the charts, never getting higher than No. 39 again. (DeRiso)

40. "Crazy Love," Poco (1978)

Rusty Young was paneling a wall when inspiration struck. He'd long toiled in the shadow of Stephen Stills , Richie Furay and Neil Young , serving in an instrumentalist role with Buffalo Springfield and then Poco . "Crazy Love" was his breakout moment, and he knew it. Rusty Young presented the song before he'd even finished the lyric, but his Poco bandmates loved the way the stopgap words harmonized. "I told the others, 'Don't worry about the ' ooh, ooh, ahhhh haaa ' part. I can find words for that," Young told the St. Louis Dispatch in 2013. "And they said, 'Don't do that. That's the way it's supposed to be.'" It was: Young's first big vocal became his group's only Top 20 hit. (DeRiso)

39. "Suspicions," Eddie Rabbitt (1979)

Eddie Rabbitt 's move from country to crossover stardom was hurtled along by "Suspicions," as a song about a cuckold's worry rose to the Top 20 on both the pop and adult-contemporary charts. Behind the scenes, there was an even clearer connection to yacht rock: Co-writer Even Stevens said Toto's David Hungate played bass on the date. As important as it was for his career, Rabbitt later admitted that he scratched out "Suspicions" in a matter of minutes, while on a lunch break in the studio on the last day of recording his fifth album at Wally Heider's Los Angeles studio. "Sometimes," Rabbitt told the Associated Press in 1985, "the words just fall out of my mouth." (DeRiso)

38. "Moonlight Feels Right," Starbuck (1976)

No sound in rock history is more yacht friendly than Bruce Blackman’s laugh: hilarious, arbitrary, smug, speckled with vocal fry, arriving just before each chorus of Starbuck’s signature tune. Why is this human being laughing? Shrug. Guess the glow of night will do that to you. Then again, this is one of the more strange hits of the '70s — soft-pop hooks frolicking among waves of marimba and synthesizers that could have been plucked from a classic prog epic. “ The eastern moon looks ready for a wet kiss ,” Blackman croons, “ to make the tide rise again .” It’s a lunar make-out session, baby. (Reed)

37. "Same Old Lang Syne," Dan Fogelberg (1981)

“Same Old Lang Syne” is a masterclass in economic storytelling, and its tragedy is in the things both protagonists leave unsaid. Dan Fogelberg weaves a devastating tale of two former lovers who run into each other at a grocery store on Christmas Eve and spend the rest of the night catching up and reminiscing. Their circumstances have changed — he’s a disillusioned professional musician, she’s stuck in an unhappy marriage — but their love for each other is still palpable if only they could overcome their fears and say it out loud. They don’t, of course, and when Fogelberg bids his high-school flame adieu, he’s left with only his bittersweet memories and gnawing sense of unfulfillment to keep him warm on that snowy (and later rainy) December night. (Rolli)

36. "Eye in the Sky," the Alan Parsons Project (1982)

Few songs strike a chord with both prog nerds and soft-rock enthusiasts, but the Alan Parsons Project's “Eye in the Sky” belongs to that exclusive club. The arrangement is all smooth contours and pillowy textures: By the time Eric Woolfson reaches the chorus, shyly emoting about romantic deception over a bed of Wurlitzer keys and palm-muted riffs, the effect is like falling slow motion down a waterfall onto a memory foam mattress. But there’s artfulness here, too, from Ian Bairnson’s seductive guitar solo to the titular phrase conjuring some kind of god-like omniscience. (Reed)

35. "Somebody's Baby," Jackson Browne (1982)

Jackson Browne 's highest-charting single, and his last Top 10 hit, was originally tucked away on the soundtrack for the 1982 teen comedy Fast Times at Ridgemont High . That placed Browne, one of the most earnest of singer-songwriters, firmly out of his element. "It was not typical of what Jackson writes at all, that song," co-composer Danny Kortchmar told Songfacts in 2013. "But because it was for this movie, he changed his general approach and came up with this fantastic song." Still unsure of how it would fit in, Browne refused to place "Somebody's Baby" on his next proper album – something he'd later come to regret . Lawyers in Love broke a string of consecutive multiplatinum releases dating back to 1976. (DeRiso)

34. "Still the One," Orleans (1976)

Part of yacht rock’s charm is being many things but only to a small degree. Songs can be jazzy, but not experimental. Brass sections are great but don’t get too funky. And the songs should rock, but not rock . In that mold comes Orleans’ 1976 hit “Still the One.” On top of a chugging groove, frontman John Hall sings about a romance that continues to stand the test of time. This love isn’t the white-hot flame that leaves passionate lovers burned – more like a soft, medium-level heat that keeps things comfortably warm. The tune is inoffensive, catchy and fun, aka yacht-rock gold. (Irwin)

33. "New Frontier," Donald Fagen (1982)

In which an awkward young man attempts to spark a Cold War-era fling — then, hopefully, a longer, post-apocalyptic relationship — via bomb shelter bunker, chatting up a “big blond” with starlet looks and a soft spot for Dave Brubeck. Few songwriters could pull off a lyrical concept so specific, and almost no one but Donald Fagen could render it catchy. “New Frontier,” a signature solo cut from the Steely Dan maestro, builds the sleek jazz-funk of Gaucho into a more digital-sounding landscape, with Fagen stacking precise vocal harmonies over synth buzz and bent-note guitar leads. (Reed)

32. "Sail On, Sailor," the Beach Boys (1973)

The Beach Boys were reworking a new album when Van Dyke Parks handed them this updated version of an unfinished Brian Wilson song. All that was left was to hand the mic over to Blondie Chaplin for his greatest-ever Beach Boys moment. They released "Sail On, Sailor" twice, however, and this yearning groover somehow barely cracked the Top 50. Chaplin was soon out of the band, too. It's a shame. "Sail On, Sailor" remains the best example of how the Beach Boys' elemental style might have kept growing. Instead, Chaplin went on to collaborate with the Band , Gene Clark of the  Byrds  and the Rolling Stones – while the Beach Boys settled into a lengthy tenure as a jukebox band. (DeRiso)

31. "Time Passages," Al Stewart (1978)

Al Stewart followed up the first hit single of his decade-long career – 1976's "Year of the Cat" – with a more streamlined take two years later. "Time Passages" bears a similar structure to the earlier track, including a Phil Kenzie sax solo and production by Alan Parsons. While both songs' respective album and single versions coincidentally run the same time, the 1978 hit's narrative wasn't as convoluted and fit more squarely into pop radio playlists. "Time Passages" became Stewart's highest-charting single, reaching No. 7 – while "Year of the Cat" had stalled at No. 8. (Michael Gallucci)

30. "I Go Crazy," Paul Davis (1977)

Paul Davis looked like he belonged in the Allman Brothers Band , but his soft, soulful voice took him in a different direction. The slow-burning nature of his breakthrough single "I Go Crazy" was reflected in its chart performance: For years the song held the record for the most weeks spent on the chart, peaking at No. 7 during its 40-week run. Davis, who died in 2008, took five more songs into the Top 40 after 1977, but "I Go Crazy" is his masterpiece – a wistful and melancholic look back at lost love backed by spare, brokenhearted verses. (Gallucci)

29. "Biggest Part of Me," Ambrosia (1980)

Songwriter David Pack taped the original demo of this song on a reel-to-reel when everyone else was running late, finishing just in time: "I was waiting for my family to get in the car so I could go to a Fourth of July celebration in Malibu," he told the Tennessean in 2014. "I turned off my machine [and] heard the car horn honking for me." Still, Pack was worried that the hastily written first verse – which rhymed " arisin ,'" " horizon " and " realizin '" – might come off a little corny. So he followed the time-honored yacht-rock tradition of calling in Michael McDonald to sing heartfelt background vocals. Result: a Top 5 hit on both the pop and adult-contemporary charts. (DeRiso)

28. "Africa," Toto (1982)

Remove the cover versions, the nostalgia sheen and its overuse in TV and films, and you’re left with what makes “Africa” great: one of the best earworm choruses in music history. Never mind that the band is made up of white guys from Los Angeles who'd never visited the titular continent. Verses about Mt. Kilimanjaro and the Serengeti paint a picture so vivid that listeners are swept away. From the soaring vocals to the stirring synth line, every element of the song works perfectly. There’s a reason generations of music fans continue to proudly bless the rains. (Irwin)

27. "Hello It's Me," Todd Rundgren (1972)

“Hello It’s Me” is the first song Todd Rundgren ever wrote, recorded by his band Nazz and released in 1968. He quickened the tempo, spruced up the instrumentation and delivered a more urgent vocal for this 1972 solo rendition (which became a Top 5 U.S. hit), but the bones of the tune remain the same. “Hello It’s Me” is a wistful, bittersweet song about the dissolution of a relationship between two people who still very much love and respect each other a clear-eyed breakup ballad lacking the guile, cynicism and zaniness of Rundgren’s later work. “The reason those [early] songs succeeded was because of their derivative nature,” Rundgren told Guitar World in 2021. “They plugged so easily into audience expectations. They’re easily absorbed.” That may be so, but there’s still no denying the airtight hooks and melancholy beauty of “Hello It’s Me.” (Rolli)

26. "Smoke From a Distant Fire," the Sanford/Townsend Band (1977)

There are other artists who better define yacht rock - Michael McDonald, Steely Dan, Christopher Cross - but few songs rival the Sanford/Townsend Band's "Smoke From a Distant Fire" as a more representative genre track. (It was a Top 10 hit in the summer of 1977. The duo never had another charting single.) From the vaguely swinging rhythm and roaring saxophone riff to the light percussion rolls and risk-free vocals (that nod heavily to Daryl Hall and John Oates' blue-eyed soul), "Smoke" may be the most definitive yacht rock song ever recorded. We may even go as far as to say it's ground zero. (Gallucci)

25. "Dream Weaver," Gary Wright (1975)

Unlike many other songs on our list, “Dream Weaver” lacks lush instrumentation. Aside from Gary Wright’s vocals and keyboard parts, the only added layer is the drumming of Jim Keltner. But while the track may not have guitars, bass or horns, it certainly has plenty of vibes. Inspired by the writings of Paramahansa Yogananda – which Wright was turned on to by George Harrison – “Dream Weaver” boasts a celestial aura that helped the song peak at No. 2 in 1976. (Irwin)

24. "Reminiscing," Little River Band (1978)

The third time was the charm with Little River Band 's highest-charting single in the U.S. Guitarist Graeham Goble wrote "Reminiscing" for singer Glenn Shorrock with a certain keyboardist in mind. Unfortunately, they weren't able to schedule a session with Peter Jones, who'd played an important role in Little River Band's first-ever charting U.S. single, 1976's "It's a Long Way There ." They tried it anyway but didn't care for the track. They tried again, with the same results. "The band was losing interest in the song," Goble later told Chuck Miller . "Just before the album was finished, Peter Jones came back into town, [and] the band and I had an argument because I wanted to give 'Reminiscing' a third chance." This time they nailed it. (DeRiso)

23. "Heart Hotels," Dan Fogelberg (1979)

Ironically enough, this song about debilitating loneliness arrived on an album in which Dan Fogelberg played almost all of the instruments himself. A key concession to the outside world became the most distinctive musical element on "Heart Hotels," as well-known saxophonist Tom Scott took a turn on the Lyricon – a pre-MIDI electronic wind instrument invented just a few years earlier. As for the meaning of sad songs like these, the late Fogelberg once said : "I feel experiences deeply, and I have an outlet, a place where I can translate those feelings. A lot of people go to psychoanalysts. I write songs." (DeRiso)

22. "Year of the Cat," Al Stewart (1976)

Just about every instrument imaginable can be heard in Al Stewart's "Year of the Cat." What begins with an elegant piano intro winds its way through a string section and a sultry sax solo, then to a passionate few moments with a Spanish acoustic guitar. The sax solo, often a hallmark of yacht-rock songs, was not Stewart's idea. Producer Alan Parsons suggested it at the last minute, and Stewart thought it was the "worst idea I'd ever heard. I said, 'Alan, there aren’t any saxophones in folk-rock. Folk-rock is about guitars. Sax is a jazz instrument,'" Stewart said in 2021 . Multiple lengthy instrumental segments bring the song to nearly seven minutes, yet each seems to blend into the next like a carefully arranged orchestra. (Rapp)

21. "How Long," Ace (1974)

How long does it take to top the charts? For the Paul Carrack-fronted Ace: 45 years . "I wrote the lyric on the bus going to my future mother-in-law's," he later told Gary James . "I wrote it on the back of that bus ticket. That's my excuse for there only being one verse." Ace released "How Long" in 1975, reaching No. 3, then Carrack moved on to stints with Squeeze and Mike and the Mechanics . Finally, in 2020, "How Long" rose two spots higher, hitting No. 1 on Billboard's rock digital song sales chart after being featured in an Amazon Prime advertisement titled "Binge Cheat." (DeRiso)

20. "Brandy (You're a Fine Girl)," Looking Glass (1972)

Like "Summer Breeze" (found later in our list of Top 50 Yacht Rock Songs), Looking Glass' tale of an alluring barmaid in a busy harbor town pre-dates the classic yacht-rock era. Consider acts like Seals & Crofts and these one-hit wonders pioneers of the genre. Ironically, the effortless-sounding "Brandy (You're a Fine Girl)" was quite difficult to complete. "We recorded 'Brandy' two or three different times with various producers before we got it right," Looking Glass' principal songwriter Elliot Lurie told the Tennessean in 2016. The chart-topping results became so popular so fast, however, that Barry Manilow had to change the title of a new song he was working on to " Mandy ." (DeRiso)

19. "I Can't Tell You Why," Eagles (1979)

Timothy B. Schmit joined just in time to watch the  Eagles disintegrate. But things couldn't have started in a better place for the former Poco member. He arrived with the makings of his first showcase moment with the group, an unfinished scrap that would become the No. 8 hit "I Can't Tell You Why." For a moment, often-contentious band members rallied around the outsider. Don Henley and Glenn Frey both made key contributions, as Eagles completed the initial song on what would become 1979's The Long Run . Schmit felt like he had a reason to be optimistic. Instead, Eagles released the LP and then promptly split up. (DeRiso)

18. "Sentimental Lady," Bob Welch (1977)

Bob Welch  first recorded "Sentimental Lady" in 1972 as a member of Fleetwood Mac . Five years later, after separating from a band that had gone on to way bigger things , Welch revisited one of his best songs and got two former bandmates who appeared on the original version – Mick Fleetwood and Christine McVie – to help out (new Mac member Lindsey Buckingham also makes an appearance). This is the better version, warmer and more inviting, and it reached the Top 10. (Gallucci)

17. "So Into You," Atlanta Rhythm Section (1976)

Atlanta Rhythm Section is often wrongly categorized as a Southern rock band, simply because of their roots in Doraville, Ga. Songs like the seductively layered "So Into You" illustrate how little they had in common with the likes of Lynyrd Skynyrd . As renowned Muscle Shoals sessions ace David Hood once said, they're more like the " Steely Dan of the South ." Unfortunately, time hasn't been kind to the group. Two of this best-charting single's writers have since died , while keyboardist Dean Daughtry retired in 2019 as Atlanta Rhythm Section's last constant member. (DeRiso)

16. "Dreams," Fleetwood Mac (1977)

Stevie Nicks was trying to channel the heartbreak she endured after separating from Lindsey Buckingham into a song, but couldn't concentrate among the bustle of Fleetwood Mac's sessions for Rumours . "I was kind of wandering around the studio," she later told Yahoo! , "looking for somewhere I could curl up with my Fender Rhodes and my lyrics and a little cassette tape recorder." That's when she ran into a studio assistant who led her to a quieter, previously unseen area at Sausalito's Record Plant. The circular space was surrounded by keyboards and recording equipment, with a half-moon bed in black-and-red velvet to one side. She settled in, completing "Dreams" in less than half an hour, but not before asking the helpful aide one pressing question: "I said, 'What is this?' And he said, 'This is Sly Stone 's studio.'" (DeRiso)

15. "Minute by Minute," the Doobie Brothers (1978)

Michael McDonald was so unsure of this album that he nervously previewed it for a friend. "I mean, all the tunes have merit, but I don't know if they hang together as a record," McDonald later told UCR. "He looked at me and he said, 'This is a piece of shit.'" Record buyers disagreed, making Minute by Minute the Doobie Brothers' first chart-topping multiplatinum release. Such was the mania surrounding this satiny-smooth LP that the No. 14 hit title track lost out on song-of-the-year honors at the Grammys to "What a Fool Believes" (found later in our list of Top 50 Yacht Rock Songs) by the Doobie Brothers. (DeRiso)

14. "Lonely Boy," Andrew Gold (1976)

Andrew Gold’s only Top 10 U.S. hit is a story of parental neglect and simmering resentment, but those pitch-black details are easy to miss when couched inside such a deliciously upbeat melody. Gold chronicles the childhood of the titular lonely boy over a propulsive, syncopated piano figure, detailing the betrayal he felt when his parents presented him with a sister two years his junior. When he turns 18, the lonely boy ships off to college and leaves his family behind, while his sister gets married and has a son of her own — oblivious to the fact that she’s repeating the mistakes of her parents. Gold insisted “Lonely Boy” wasn’t autobiographical, despite the details in the song matching up with his own life. In any case, you can’t help but wonder what kind of imagination produces such dark, compelling fiction. (Rolli)

13. "Baby Come Back," Player (1977)

Liverpool native Peter Beckett moved to the States, originally to join a forgotten act called Skyband. By the time he regrouped to found Player with American J.C. Crowley, Beckett's wife had returned to England. Turns out Crowley was going through a breakup, too, and the Beckett-sung "Baby Come Back" was born. "So it was a genuine song, a genuine lyric – and I think that comes across in the song," Beckett said in The Yacht Rock Book . "That's why it was so popular." The demo earned Player a hastily signed record deal, meaning Beckett and Crowley had to assemble a band even as "Baby Come Back" rose to No. 1. Their debut album was released before Player had ever appeared in concert. (DeRiso)

12. "I'd Really Love to See You Tonight," England Dan & John Ford Coley (1976)

There aren't too many songs with choruses as big as the one England Dan & John Ford Coley pump into the key lines of their first Top 40 single. Getting there is half the fun: The conversational verses – " Hello, yeah, it's been a while / Not much, how 'bout you? / I'm not sure why I called / I guess I really just wanted to talk to you " – build into the superpowered come-on line " I'm not talking 'bout moving in ...  ." Their yacht-rock pedigree is strong: Dan Seals' older brother is Seals & Croft's Jim Seals. (Gallucci)

11. "Hey Nineteen," Steely Dan (1980)

At least on the surface, “Hey Nineteen” is one of Steely Dan’s least ambiguous songs: An over-the-hill guy makes one of history’s most cringe-worthy, creepiest pick-up attempts, reminiscing about his glory days in a fraternity and lamenting that his would-be companion doesn’t know who Aretha Franklin is. (The bridge is a bit tougher to crack. Is anyone sharing that “fine Colombian”?) But the words didn’t propel this Gaucho classic into Billboard's Top 10. Instead, that credit goes to the groove, anchored by Walter Becker ’s gently gliding bass guitar, Donald Fagen’s velvety electric piano and a chorus smoother than top-shelf Cuervo Gold. (Reed)

10. "Rich Girl," Daryl Hall & John Oates (1976)

It’s one of the most economical pop songs ever written: two A sections, two B sections (the second one extended), a fade-out vocal vamp. In and out. Wham, bam, boom. Perhaps that's why it’s easy to savor “Rich Girl” 12 times in a row during your morning commute, why hearing it just once on the radio is almost maddening. This blue-eyed-soul single, the duo’s first No. 1 hit, lashes out at a supposedly entitled heir to a fast-food chain. (The original lyric was the less-catchy “rich guy ”; that one change may have earned them millions.) But there’s nothing bitter about that groove, built on Hall’s electric piano stabs and staccato vocal hook. (Reed)

9. "Fooled Around and Fell in Love," Elvin Bishop (1975)

Elvin Bishop made his biggest pop-chart splash with "Fooled Around and Fell In Love," permanently changing the first line of his bio from a  former member of the Paul Butterfield Blues Band to a solo star in his own right. There was only one problem: "The natural assumption was that it was Elvin Bishop who was singing,” singer  Mickey Thomas told the Tahoe Daily Tribune in 2007. Thomas later found even greater chart success with Starship alongside Donny Baldwin, who also played drums on Bishop's breakthrough single. "A lot of peers found out about me through that, and ultimately I did get credit for it," Thomas added. "It opened a lot of doors for me." (DeRiso)

8. "Baker Street," Gerry Rafferty (1978)

Gerry Rafferty already had a taste of success when his band Stealers Wheel hit the Top 10 with the Dylanesque "Stuck in the Middle With You" in 1973. His first solo album after the group's split, City to City , made it to No. 1 in 1978, thanks in great part to its hit single "Baker Street" (which spent six frustrating weeks at No. 2). The iconic saxophone riff by Raphael Ravenscroft gets much of the attention, but this single triumphs on many other levels. For six, mood-setting minutes Rafferty winds his way down "Baker Street" with a hopefulness rooted in eternal restlessness. (Gallucci)

7. "Dirty Work," Steely Dan (1972)

In just about three minutes, Steely Dan tells a soap-opera tale of an affair between a married woman and a man who is well aware he's being played but is too hopelessly hooked to end things. " When you need a bit of lovin' 'cause your man is out of town / That's the time you get me runnin' and you know I'll be around ," singer David Palmer sings in a surprisingly delicate tenor. A saxophone and flugelhorn part weeps underneath his lines. By the time the song is over, we can't help but feel sorry for the narrator who is, ostensibly, just as much part of the problem as he could be the solution. Not all yacht rock songs have happy endings. (Rapp)

6. "Ride Like the Wind," Christopher Cross (1979)

“Ride Like the Wind” is ostensibly a song about a tough-as-nails outlaw racing for the border of Mexico under cover of night, but there’s nothing remotely dangerous about Christopher Cross’ lithe tenor or the peppy piano riffs and horns propelling the tune. Those contradictions aren’t a detriment. This is cinematic, high-gloss pop-rock at its finest, bursting at the seams with hooks and elevated by Michael McDonald’s silky backing vocals. Cross nods to his Texas roots with a fiery guitar solo, blending hard rock and pop in a way that countless artists would replicate in the next decade. (Rolli)

5. "Summer Breeze," Seals & Crofts (1972)

Jim Seals and Dash Crofts were childhood friends in Texas, but the mellow grandeur of "Summer Breeze" makes it clear that they always belonged in '70s-era Southern California. "We operate on a different level," Seals once said , sounding like nothing if not a Laurel Canyon native. "We try to create images, impressions and trains of thought in the minds of our listeners." This song's fluttering curtains, welcoming domesticity and sweet jasmine certainly meet that standard. For some reason, however, they released this gem in August 1972 – as the season faded into fall. Perhaps that's why "Summer Breeze" somehow never got past No. 6 on the pop chart. (DeRiso)

4. "Lowdown," Boz Scaggs (1976)

As you throw on your shades and rev the motor, the only thing hotter than the afternoon sun is David Hungate’s sweet slap-bass blasting from the tape deck. “This is the good life,” you say to no one in particular, casually tipping your baseball cap to the bikini-clad crew on the boat zooming by. Then you press “play” again. What else but Boz Scaggs ’ silky “Lowdown” could soundtrack such a moment in paradise? Everything about this tune, which cruised to No. 3 on the Billboard Hot 100, is equally idyllic: Jeff Porcaro’s metronomic hi-hat pattern, David Paich’s jazzy keyboard vamp, the cool-guy croon of Scaggs — flexing about gossip and “schoolboy game.” You crack open another cold one — why not? And, well, you press play once more. (Reed)

3. "Lido Shuffle," Boz Scaggs (1976)

Scaggs' storied career began as a sideman with Steve Miller  and already included a scorching duet with Duane Allman . Co-writer David Paich would earn Grammy-winning stardom with songs like "Africa." Yet they resorted to theft when it came to this No. 11 smash. Well, in a manner of speaking: "'Lido' was a song that I'd been banging around, and I kind of stole – well, I didn't steal anything. I just took the idea of the shuffle," Scaggs told Songfacts in 2013. "There was a song that Fats Domino did called 'The Fat Man ' that had a kind of driving shuffle beat that I used to play on the piano, and I just started kind of singing along with it. Then I showed it to Paich, and he helped me fill it out." Then Paich took this track's bassist and drummer with him to form Toto. (DeRiso)

2. "Peg," Steely Dan (1977)

"Peg" is blessed with several yacht-rock hallmarks: a spot on Steely Dan's most Steely Dan-like album, Aja , an impeccable airtightness that falls somewhere between soft-pop and jazz and yacht rock's stalwart captain, Michael McDonald, at the helm. (He may be a mere backing singer here, but his one-note chorus chirps take the song to another level.) Like most Steely Dan tracks, this track's meaning is both cynical and impenetrable, and its legacy has only grown over the years – from hip-hop samples to faithful cover versions. (Gallucci)

1. "What a Fool Believes," the Doobie Brothers (1978)

Michael McDonald not only steered the Doobie Brothers in a new direction when he joined in 1975, but he also made them a commercial powerhouse with the 1978 album Minute by Minute . McDonald co-wrote "What a Fool Believes" – a No. 1 single; the album topped the chart, too – with Kenny Loggins and sang lead, effectively launching a genre in the process. The song's style was copied for the next couple of years (most shamelessly in Robbie Dupree's 1980 Top 10 "Steal Away"), and McDonald became the bearded face of yacht rock. (Gallucci)

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Music | sf giants’ jung hoo lee to undergo season-ending surgery, music | this bay area band was ‘yacht rock’ way before ‘yacht rock’ was a thing, pablo cruise brings its soft-rock hits to guild theatre.

For Bay Area band Pablo Cruise , however, the connection to the genre has been longer — and more literal — than for most.

“Our headquarters was an 82-foot schooner in the Corinthian Yacht Club in Tiburon,” says Cory Lerios, who co-founded Pablo Cruise in 1973. “So, we were definitely yacht rockers back before yacht rock was a term.”

From that base, the band has delivered some defining gems in what is now known as the yacht rock genre, which celebrates the smooth a.m. radio staples of the ‘70s and early ‘80s delivered by such artists as Toto, Nicolette Larson, Poco and the Little River Band.

Most notably, Pablo Cruise was responsible for the meticulously produced soft-rock numbers “Whatcha Gonna Do?” and “Love Will Find a Way,” both of which were Top 10 hits and rank as first-tier yacht rock staples.

Those songs — which sound as good today as they did when they first came out in the late ‘70s — are two of the biggest reasons why fans will turn out to see Pablo Cruise when it performs May 9 at the Guild Theatre in Menlo Park. Showtime is 8 p.m. and tickets are $49, guildtheatre.com . The group also plays May 8 at the Felton Music Hall and May 10 at the Mystic Theatre in Petaluma, pablocruise.com .

The Menlo Park show will be a homecoming for Lerios, who now lives in Thousands Oaks but was born in San Francisco and grew up in nearby Palo Alto. It was on the Peninsula where he began playing piano and joined his first bands in junior high school.

“I never really thought I would make a career of it,” Lerios says of playing music. “But one thing led to another and I kind of never looked back.”

He’d find his first taste of real success as a member of Stoneground, a Concord-based rock act that released a number of albums on the Warner Bros. records label in the 1970s. After a few years, however, Lerios and two other Stoneground members — vocalist-guitarist David Jenkins and drummer Steve Price — would leave the fold and go on to form Pablo Cruise with the help of bassist Bud Cockrell (previously of the Bay Area act It’s a Beautiful Day).

One thing to note from that list of original band members is that none of them are, in fact, named Pablo Cruise. Neither are any other of the current or former members, for that matter. So, it’s probably a good time to pause and clear up the origin of the moniker, which Lerios says has certainly drawn plenty of questions over the years.

“The truth is that it was a nickname of a buddy of mine from Colombia, South America,” he says. “It was just a nickname I gave him — Pablo Cruise. He was a very bright guy, very charismatic. And I just called him Pablo Cruise.”

So, when it came time to name this new post-Stoneground outfit, Lerios remembered his ol’ pal’s nickname and thought it fit in with one of the trends of the era.

“It was kind of at that point where you had Fleetwood Mac, Jethro Tull — a lot of two names for these bands — and Pablo Cruise just had a great ring to it,” Lerios reckons.

Whatever they called themselves, these four musicians were bound to get discovered at some point — given that they were all great players and wrote memorable tunes. So, not surprisingly, it wasn’t all that long before A&M came knocking and Pablo Cruise was thrilled to sign with such a well-regarded record label.

“A&M was notable for sticking with a band,” Lerios says. “Today, labels barely sign bands. But they don’t support bands like they did a lot of back in the day. They supported tours. They supported the making of the record, the travel — all kinds of things that they don’t do anymore.”

The result was the band’s 1975 eponymous debut, which eeked its way into the Billboard 200 and began setting the foundation for the success that would later come. It didn’t produce any hit singles, but it did give listeners a wonderful 12½-minute instrumental number called “Ocean Breeze” that drew plenty of spins at album oriented radio (AOR) stations.

“If you want to check out some deep Pablo Cruise, you should listen to that — because it’s a phenomenal piece of music,” Lerios says. “And that (song) really got us going. Still, everywhere we play now, people ask to hear ‘Ocean Breeze,’ which is always nice to know that people have gone that deep into the repertoire.”

A second album, titled “Lifeline,” followed in 1976 and managed to hoist the band a bit further up the charts, but Pablo Cruise still lacked that hit to really take it to the next level.

All of that would change with the third album, 1977’s “A Place in the Sun,” although not overnight. In fact, the first single released from that album was “Atlanta June” and it didn’t live up to expectations. Oh, but the B-side was a catchy little number called “Whatcha Gonna Do?”

“(Radio stations) played ‘Atlanta June’ and it got some acclaim, but it didn’t really take off the way they’d hoped,” Lerios remembers. “So, somebody flipped it over and put on ‘Whatcha Gonna Do?’ and, all of sudden, it started to blow up.”

The song slowly climbed the charts, eventually breaking into the top 10. The group then scored a second hit with the album’s terrific title track.

“When it gets to that point, everything changes,” Lerios says. “The phones really start to ring. You are getting offers to be on TV shows. All of a sudden, it’s like you’ve arrived.”

The band quickly followed up that album with another winner, 1978’s “Worlds Away,” which produced three hits – including the slam-dunk single “Love Will Find a Way.”

Both albums, “A Place in the Sun” and “Worlds Away,” would be certified platinum.

That would be the zenith of the band’s career, although it did produce two more albums — 1979’s “Part of the Game” and 1981’s “Reflector” — which still did quite well on the charts. The same could not be said of the band’s last studio record, 1983’s “Out of Our Hands,” which failed to chart as listeners had moved on from Pablo Cruise-style soft rock to other styles of music.

“There was a certain instrumentation, a certain form of writing that was predominant back then,” Lerios says of the a.m. hits of the era. “Then, all of a sudden, like the Knack, Johnny Rotten and all these bands came in and punk rock kind of took over and just squashed soft rock.”

By the mid ‘80s, the band members parted ways.

“Success can change things and as we just evolved in our lives, Dave (Jenkins) and I weren’t hitting it anymore,” Lerios says. “We really weren’t writing a lot. And what we were writing, we didn’t really like – and nobody else seemed to like it either.

“I had other aspirations and I know Dave did. So, we split. We didn’t necessarily break up the band. We just went different directions.”

Lerios managed a really cool second act in Hollywood, scoring films and TV shows. In that realm, his credits include the 1993 Wesley Snipes action flick “Boiling Point,” the awesome 1991 horror epic “Child’s Play 3” and, most famously, “Baywatch.”

Jenkins also experienced a good deal of post-Pablo success, including spending a few years in the country group Southern Pacific and recording with Hawaiian vocalist Kapono Beamer.

About 20 years ago, Lerios and Jenkins decided to give Pablo Cruise another shot and they’ve been peddling the soft rock to eager crowds ever since. Yet, it’s not just the old-school fans who are showing up. Pablo Cruise — which now consists of Lerios, Jenkins, bassist Larry Antonino, drummer Sergio Gonzalez and vocalist Robbie Wyckoff — is also seeing a healthy contingent of younger listeners.

“One of my jokes is that ‘you are too young to be here,’” Lerios says. “Kids come up and say, ‘My parents played this music in the house all the time. I love it. Big fan.’

“You know, music — even though we try to compartmentalize it and try to give it a decade or a whatever – good music is good music.”

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