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Born at sea. Raised on radio.

“Out of the Main” is a podcast celebrating one of the most proficient and accomplished eras of musicianship and studio production, including yacht rock, west coast AOR, and related sophisticated music from the 1970s and 80s. “Out of the Main” was launched by two of the era's biggest fans—both musicians themselves—who, like a growing wave of aficionados all around the world, have been exploring the history, the enjoyment, and now the future potential of the West Coast sound, even as it continues to this day. 

Join the revelry. Partake in the nostalgia. Tune in to artist interviews. Discover buried treasures. 

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The 20 greatest yacht rock songs ever, ranked

27 July 2022, 17:50

By Tom Eames

We can picture it now: lounging on a swish boat as it bobs along the water, sipping cocktails and improving our tan. Oh, and it's the 1980s.

There's only one style of music that goes with this image: Yacht rock.

What is Yacht Rock?

Also known as the West Coast Sound or adult-oriented rock, it's a style of soft rock from between the late 1970s and early 1980s that featured elements of smooth soul, smooth jazz, R&B, funk, rock and disco.

• The 40 greatest disco songs ever, ranked
• The 10 greatest and smoothest ever sax solos, ranked

Although its name has been used in a negative way, to us it's an amazing genre that makes us feel like we're in an episode of Miami Vice wearing shoulder pads and massive sunglasses.

Here are the very best songs that could be placed in this genre:

Player - 'Baby Come Back'

Player - Baby Come Back

Not the reggae classic of the same name, this 1977 track was Player's biggest hit.

After Player disbanded, singer Peter Beckett joined Australia's Little River Band, and he also wrote 'Twist of Fate' for Olivia Newton-John and 'After All This Time' for Kenny Rogers.

Steely Dan - 'FM'

It's tough just choosing one Steely Dan song for this list, but we've gone for this banger.

Used as the theme tune for the 1978 movie of the same name, the song is jazz-rock track, though its lyrics took a disapproving look at the genre as a whole, which was in total contrast to the film's celebration of it. Still, sounds great guys!

Bobby Goldsboro - 'Summer (The First Time)'

Bobby Goldsboro - Summer (The First Time)

A bit of a questionable subject matter, this ballad was about a 17-year-old boy’s first sexual experience with a 31-year-old woman at the beach.

But using a repeating piano riff, 12-string guitar, and an orchestral string arrangement, this song just screams yacht rock and all that is great about it.

Kenny Loggins - 'Heart to Heart'

Kenny Loggins - Heart To Heart (Official Music Video)

If Michael McDonald is the king of yacht rock, then Kenny Loggins is his trusted advisor and heir to the throne.

This track was co-written with Michael, and also features him on backing vocals. The song is about how most relationships do not stand the test of time, yet some are able to do so.

Airplay - 'Nothing You Can Do About It'

Nothin' You Can Do About It

You might not remember US band Airplay, but they did have their moment on the yacht.

Consisting of David Foster (who also co-wrote the Kenny Loggins song above), Jay Graydon and the brilliantly-named Tommy Funderburk, this tune was a cover of a Manhattan Transfer song, and was a minor hit in 1981.

Boz Scaggs - 'Lowdown'

Boz Scaggs - Lowdown (Official Audio)

We've moved slightly into smooth jazz territory with this track, which is guaranteed to put a smile on your face.

The song was co-written by David Paich, who would go on to form Toto along with the song's keyboardist David Paich, session bassist David Hungate, and drummer Jeff Porcaro.

Steve Winwood - 'Valerie'

Steve Winwood - Valerie (Official Video)

This song is probably as far as you can get into pop rock without totally leaving the yacht rock dock.

Legendary singer-songwriter Winwood recorded this gong about a man reminiscing about a lost love he hopes to find again someday.

Eric Prydz later sampled it in 2004 for the house number one track ‘Call on Me’, and presented it to Winwood, who was so impressed he re-recorded the vocals to better fit the track.

Toto - 'Rosanna'

Toto - Rosanna (Official HD Video)

We almost picked 'Africa' , but we reckon this tune just about pips it in the yacht rock game.

Written by David Paich, he has said that the song is based on numerous girls he had known.

As a joke, the band members initially played along with the common assumption that the song was based on actress Rosanna Arquette, who was dating Toto keyboard player Steve Porcaro at the time and coincidentally had the same name.

Chicago - 'Hard to Say I'm Sorry'

Chicago - Hard To Say I'm Sorry (Official Music Video)

Chicago began moving away from their horn-driven soft rock sound with their early 1980s output, including this synthesizer-filled power ballad.

• The 10 greatest Chicago songs, ranked

The album version segued into a more traditional Chicago upbeat track titled ‘Get Away’, but most radio stations at the time opted to fade out the song before it kicked in. Three members of Toto played on the track. Those guys are yacht rock kings!

Michael Jackson - 'Human Nature'

Michael Jackson - Human Nature (Audio)

A few non-rock artists almost made this list ( George Michael 's 'Careless Whisper' and Spandau Ballet 's 'True' are almost examples, but not quite), yet a big chunk of Thriller heavily relied on the yacht rock sound.

Michael Jackson proved just how popular the genre could get with several songs on the album, but 'Human Nature' is the finest example.

The Doobie Brothers - 'What a Fool Believes'

The Doobie Brothers - What A Fool Believes (Official Music Video)

Possibly THE ultimate yacht rock song on the rock end of the spectrum, and it's that man Michael McDonald.

Written by McDonald and Kenny Loggins, this was one of the few non-disco hits in America in the first eight months of 1979.

The song tells the story of a man who is reunited with an old love interest and attempts to rekindle a romantic relationship with her before discovering that one never really existed.

Michael Jackson once claimed he contributed at least one backing track to the original recording, but was not credited for having done so. This was later denied by the band.

Christopher Cross - 'Sailing'

Christopher Cross - Sailing (Official Audio)

We're not putting this in here just because it's called 'Sailing', it's also one of the ultimate examples of the genre.

Christopher Cross reached number one in the US in 1980, and VH1 later named it the most "softsational soft rock" song of all time.

Don Henley - 'The Boys of Summer'

The Boys Of Summer DON HENLEY(1984) OFFICIAL MUSIC VIDEO

Mike Campbell wrote the music to this track while working on Tom Petty’s Southern Accents album, but later gave it to Eagles singer Don Henley, who wrote the lyrics.

The song is about the passing of youth and entering middle age, and of a past relationship. It was covered twice in the early 2000s: as a trance track by DJ Sammy in 2002, and as a pop punk hit by The Ataris in 2003.

England Dan and John Cord Foley - 'I'd Really Love to See You Tonight'

England Dan & John Ford Coley - I'd Really Love To See You Tonight.avi

A big hit for this duo in 1976, it showcases the very best of the sock rock/AOR/yacht rock sound that the 1970s could offer.

Dan Seals is the younger brother of Jim Seals of Seals and Crofts fame. Which leads to...

Seals & Crofts - 'Summer Breeze'

Summer Breeze - Seals & Croft #1 Hit(1972)

Before The Isley Brothers recorded a slick cover, 'Summer Breeze' was an irresistible folk pop song by Seals & Crofts.

While mostly a folk song, its summer vibes and gorgeous melody make for a perfect yacht rock number.

Christopher Cross - 'Ride Like the Wind'

Ride Like The Wind Promo Video 1980 Christopher Cross

If Michael McDonald and Kenny Loggins are in charge of the yacht rock ship, then Christopher Cross has to be captain, right? Cabin boy? Something anyway.

The singer was arguably the biggest success story of the relatively short-lived yacht rock era, and this one still sounds incredible.

Eagles - 'I Can't Tell You Why'

The eagles - I can't tell you why (AUDIO VINYL)

Many Eagles tunes could be classed as yacht rock, but we reckon their finest example comes from this track from their The Long Run album in 1979.

Don Henley described the song as "straight Al Green", and that Glenn Frey, an R&B fan, was responsible for the R&B feel of the song. Frey said to co-writer Timothy B Schmit: "You could sing like Smokey Robinson . Let’s not do a Richie Furay, Poco-sounding song. Let’s do an R&B song."

Gerry Rafferty - 'Baker Street'

Gerry Rafferty - Baker Street (Official Video)

Gerry Rafferty probably didn't realise he was creating one of the greatest yacht rock songs of all time when he wrote this, but boy did he.

• The Story of... 'Baker Street'

With the right blend of rock and pop and the use of the iconic saxophone solo, you can't not call this yacht rock at its finest.

Michael McDonald - 'Sweet Freedom'

Michael McDonald - Sweet Freedom (1986)

If you wanted to name the king of yacht rock, you'd have to pick Michael McDonald . He could sing the phone book and it would sound silky smooth.

Possibly his greatest solo tune, it was used in the movie  Running Scared , and its music video featured actors Billy Crystal and Gregory Hines.

Hall & Oates - 'I Can't Go for That (No Can Do)'

Daryl Hall & John Oates - I Can't Go For That (No Can Do) (Official Video)

This duo knew how to make catchy hit after catchy hit. This R&B-tinged pop tune was co-written with Sara Allen (also the influence for their song 'Sara Smile').

• Hall and Oates' 10 best songs, ranked

John Oates has said that the song is actually about the music business. "That song is really about not being pushed around by big labels, managers, and agents and being told what to do, and being true to yourself creatively."

Not only was the song sampled in De La Soul's 'Say No Go' and Simply Red 's 'Home', but Michael Jackson also admitted that he lifted the bass line for 'Billie Jean'!

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Top 100 Greatest Yacht Rock Songs of All Time

Yacht Rock, a term that has steadily grown in popularity, refers to the smooth, groovy rock music of the '70s and '80s that has been popularized over the recent years. Initially categorized as soft rock or adult contemporary, Yacht Rock places a stronger emphasis on the groove rather than the lyrics, making it some of the easiest and catchiest easy listening music for many rock fans. Interestingly, nearly all Yacht Rock songs were created 35-40 years before the genre was officially recognized as its own distinct style, leaving room for interpretation about what exactly qualifies as Yacht Rock. For our criteria, we analyzed the entire catalog of Sirius XM Yacht Rock Radio alongside Spotify and Apple Music’s Yacht Rock playlists and ranked the songs accordingly. Each song included has been deemed Yacht Rock by at least one of these sources and was scored against all other entries. Some songs may rank higher in a broader rock or soft rock sphere, but here are what we have deemed to be the 100 Greatest Yacht Rock Songs of All Time complete with a playlist of all 100 Songs . For a broader list across at songs across the rock realm, be sure to check out the Top 200 Greatest Rock Songs of All Time .

1. What a Fool Believes - The Doobie Brothers

Deemed almost unanimously as the quintessential Yacht Rock tune by the few publications that have taken the time to dive into this same endeavor , What a Fool Believes  stands out as one of the grooviest rock tunes to ever achieve mainstream success. Featuring the quintessential Yacht Rock vocalist, Michael McDonald, the song topped charts across North America and became one of the most recognizable and frequently played songs of the '70s. Michael McDonald, who joined The Doobie Brothers in 1975, had become the band's primary vocalist by the release of Minute by Minute  in 1978, which houses What a Fool Believes . With this album marking a new sound for the band, especially following the temporary health-related departure of Tom Johnston, the band's new sound was polished to perfection, a dramatic shift from the Toulouse Street  sound of the early part of the decade. Nevertheless, What a Fool Believes  is a serious earworm, a critically "perfect" pop-rock song, if you will, and a song that reinvented The Doobie Brothers.

2. Peg   - Steely Dan

One of the most talented groups on our list, if not the most talented, Steely Dan transcended the typical confines of Yacht Rock during their initial ten-year run. Covering genres from Yacht Rock to jazz rock, progressive rock, and funk rock, Steely Dan captivated audiences uniquely throughout the '70s and early '80s. Walter Becker and Donald Fagen consistently collaborated with the world's finest studio musicians, producing albums of perfectionist caliber. Within the realm of Yacht Rock, Peg  takes their top spot, ranking just behind What a Fool Believes  in the genre. Once again, Michael McDonald provides backing vocals, harmonizing behind Donald Fagen and Paul Griffin. The silky smooth vocals paired with top-notch instrumentals make Peg  a standout track. Furthermore, Aja , the album that houses Peg , is one of the most impressive American albums of all time , beyond its Yacht Rock appeal.

3. Brandy (You're a Fine Girl)   - Looking Glass

Released in 1972, the one-hit wonder by Looking Glass, Brandy , established a much bigger name for itself than the band ever managed to achieve on its own. As one of the smoothest and catchiest songs of the ‘70s, Brandy  consistently appears on nearly every Yacht Rock, adult contemporary, or easy listening playlist available. The song tells a melancholic tale that is open to interpretation, though it is generally understood to describe an attractive bartender based in Northern New Jersey. Featuring catchy harmonies, clean soft guitar, and subtle horn use, what's not to love about this song?

4. Sailing   - Christopher Cross

If it were up to us at Melophobe, the "Yacht Rock Crown" would go to San Antonio’s own Christopher Cross. Although Cross really shined with just his first two studio albums before his later releases (post-1983) fell into obscurity, his early work still grabs all the attention. From his self-titled debut album, Sailing  stands out as a top ten hit that's the epitome of Yacht Rock. Interestingly, the term "yacht rock" itself is often linked right back to this song. His debut album is loaded with iconic tunes in this style, with Sailing  rightfully taking its place at the forefront.

5. Escape (The Pi ñ a Colada Song)  - Rupert Holmes

The second tune in our top ten that found its way onto one of the three Guardians of the Galaxy  soundtracks—as well as its original LP release—comes from yacht rock icon Rupert Holmes. Escape (The Piña Colada Song)  tells a story that feels more comical today than it might have in the ‘70s, describing a personal ad in search of a like-minded, carefree, fun-loving companion. Beyond the quirky lyrics, the sounds of crashing waves and clean guitars have turned the tune into a timeless earworm, cementing its status as a yacht rock masterpiece long before the term even existed. Guardians of the Galaxy  wasn't just a great series for action lovers; who would've guessed its soundtrack would become almost as iconic as the movies themselves?

6. Lowdown  - Boz Scaggs

Part of the same studio musician collective that worked with Steely Dan, Boz Scaggs hit major commercial success in 1976 with the release of his richly decorated album Silk Degrees . Boz Scaggs found success as one of the few artists to achieve substantial mainstream success in the jazz rock world aside from Steely Dan, with both artists utilizing many of the same studio musicians. Released from Silk Degrees , the standout yacht rock tune is Lowdown , a tightly produced masterpiece. Similar to Christopher Cross, Boz's peak in the mainstream was relatively brief, with his fame primarily anchored to Silk Degrees  and sporadic airplay of his other songs over about a decade.

7. Come and Get Your Love  - Redbone

Yet another tune from the Guardians of the Galaxy  soundtracks to make our top ten is Come and Get Your Love , released in 1975 by the swamp rock band Redbone. While often labeled as a one-hit-wonder, Redbone actually scored another American top 40 hit in 1971 and enjoyed scattered success in the R&B scene throughout the '70s. Come and Get Your Love  has since been celebrated as one of the greatest pop songs of the '70s and also managed to somewhat subtly tap into the disco craze of the era.

8. Margaritaville  - Jimmy Buffett

The question of whether Jimmy Buffett fits into the yacht rock category has stirred some debate lately, with the answer remaining somewhat unclear since the term itself is still relatively new. Most agree that Buffett's music is in a category of its own, but there are still those who argue that his unique sound has a place within yacht rock. Regardless, Margaritaville  and a few other Buffett tunes are staples on yacht rock radio stations, so we've deemed them eligible. Buffett's music embodies a carefree lifestyle that mirrors the feel and attitude of yacht rock. His iconic song Margaritaville  instantly puts listeners in a vacation mindset, a unique characteristic that has garnered it extensive praise and airplay over the years. The passing of Jimmy Buffett, an American legend, touched the hearts of many.

9. Africa  - Toto

The first track from the 1980s to make our top ten is Africa  from Toto's fourth album, aptly named Toto IV , released in 1982. Africa  topped the charts across North America and performed exceptionally well worldwide with its powerful chorus, extensive keyboard usage, and subtle guitar playing. Alongside Rosanna , also from Toto IV , Africa  has become a yacht rock staple, but it didn’t stop there—it transcended the genre to become one of the most iconic songs of the '80s. Today, it's still adored, nearing two billion streams on Spotify. The song has also become a favorite for covers, from bar bands to top-notch acts like Weezer.

10. Baby Come Back  - Player

Player carved out a slice of mainstream success in the late '70s, as soft rock began to resonate with those not taken by styles like punk rock and disco. Their biggest hit by far was the North American chart-topper Baby Come Back . Aside from being a soft rock staple, the song has also gained a new life as a meme across the internet. While yacht rock songs typically shy away from overly heartfelt or emotional lyrics, focusing more on the groove, Baby Come Back  manages to do both masterfully. The song blends notable emotional depth with an undeniably groovy beat, making it incredibly memorable—so much so that it's recognized by just about every American

11. Just the Two of Us  - Grover Washington Jr, Bill Withers

12. Southern Cross  - Crosby, Stills & Nash

13. Take it Easy  - Eagles

14. Arthur's Theme (Best That You Can Do)  - Christopher Cross

15. Year of the Cat  - Al Stewart

16. Hey Nineteen  - Steely Dan

17. Still the One  - Orleans

18. Sharing the Night Together  - Dr. Hook

19. Sister Golden Hair  - America

20. Dreams  - Fleetwood Mac

21. Summer Breeze  - Seals & Croft

22. Guitar Man  - Bread

23. Thunder Island  - Jay Ferguson

24. Lido Shuffle  - Boz Scaggs

25. Give Me the Night  - George Benson

26. How Much I Feel  - Ambrosia

27. Reminiscing  - Little River Band

28. Doctor My Eyes  - Jackson Browne

29. Sara Smile  - Hall & Oates

30. Rosanna  - Toto

31. All Night Long (All Night)  - Lionel Richie

32. I.G.Y.  - Donald Fagan

33. Minute By Minute  - The Doobie Brothers

34. If You Leave Me Now  - Chicago

35. Time Out of Mind  - Steely Dan

36. Kokomo  - The Beach Boys

37. Eye in the Sky  - Alan Parsons Project

38. Sentimental Lady  - Bob Welch

39. Rich Girl  - Hall & Oates

40. What You Won't Do for Love  - Bobby Caldwell

41. Ride Like the Wind  - Christopher Cross

42. I'd Really Love to See You Tonight  - England Dan & John Ford Coley

43. Lovely Day  - Bill Withers

44. Graceland  - Paul Simon

45. Changes In Latitudes, Changes In Attitudes - Jimmy Buffett

46. Time Passages  - Al Stewart

47. One of These Nights  - Eagles

48. She's Gone  - Hall & Oates

49. Silly Love Songs  - Wings

50. Hold On  - Santana

51. Steal Away  - Robbie Dupree

52. Dance With Me  - Orleans

53. Listen to the Music  - The Doobie Brothers

54. How Long  - Ace

55. So Into You  - Atlanta Rhythm Section

56. Diamond Girl  - Seals & Croft

57. Lotta Love  - Nicolette Larson

58. We Just Disagree  - Dave Mason

59. Mexico  - James Taylor

60. Keep on Loving You  - REO Speedwagon

61. Baker Street  - Gerry Rafferty

62. Tender is the Night  - Jackson Browne

63. Love Will Find a Way  - Pablo Cruise

64. You Can Do Magic  - America

65. Key Largo  - Bertie Higgins

66. When You're In Love With a Beautiful Woman  - Dr. Hook

67. Dirty Work  - Steely Dan

68. All Out of Love  - Air Supply

69. I Saw the Light  - Todd Rundgren

70. Let Me Love You Tonight  - Pure Prairie League

71. I Love You  - Climax Blues Band

72. I Keep Forgettin' (Every Time You're Near)  - Michael McDonald

73. This is It  - Kenny Loggins

74. The Things We Do For Love  - 10cc

75. Say You Love Me  - Fleetwood Mac

76. Biggest Part of Me  - Ambrosia

77. You're the Inspiration  - Chicago

78. Dream Weaver  - Gary Wright

79. Longer  - Dan Fogelberg

80. You Are  - Lionel Richie

81. Just a Song Before I Go  - Crosby, Stills & Nash

82. Right Down the Line  - Gerry Rafferty

83. New Frontier  - Donald Fagan

84. I Love a Rainy Night  - Eddie Rabbitt

85. Cool Night  - Paul Davis

86. Get Down On It  - Kool & The Gang

87. It's Raining Again - Supertramp

88. Vincent  - Don McLean

89. Crazy Love  - Poco

90. Spooky  - Atlanta Rhythm Section

91. Vienna  - Billy Joel

92. Cool Cat  - Queen

93. Nothing's Gonna Change My Love For You  - George Benson

94. Hypnotized  - Bob Welch (Also Released by Fleetwood Mac)

95. Casablanca  - Bertie Higgins

96. Think of Laura  - Christopher Cross

97. Fooled Around and Fell in Love  - Elvin Bishop

98. Private Eyes  - Hall & Oates

99. Lonesome Loser  - Little River Band

100. Moonlight Feels Right - Starbuck

All of the picks from this list have been compiled into a streamable Spotify Playlist below entitled Yacht Rock Top 100 .

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MusicInfluence.com

The 25 Best Yacht Rock Songs Of All Time

Yacht rock isn’t exactly a genre. it’s more a state of mind..

Yacht Rock is the musical equivalent of a mid-afternoon mimosa nap in a nautical location—a balmy lite-FM breeze with the substance of a romance novel and the machismo of a Burt Reynolds mustache comb.

But what exactly is Yacht Rock?

Yacht Rock is ‘70s soft schlock about boats, love affairs, and one-night stands.

Typified by artists like Christopher Cross, Rupert Holmes, and Pablo Cruise, Yacht Rock is not just easy to mock. It’s also deserving of the abuse. There’s a sensitive-male brand of chauvinism that permeates this material—like somehow because you could schnarf an 8-ball of cocaine and sail a boat into the sunset, your indulgences and marital infidelity were actually kind of sexy. Cheap pickup lines and beardly come-ons abound.

And yet, this stuff is irresistible on a slow summer day. It reeks of sunshine and laziness, and couldn’t we all use a little of both?

These are the 25 Best Yacht Rock Songs, in order. Zero suspense. (Sorry if that's less fun for you).

If you would like to learn more about Yacht Rock without getting a sailing license, read on...

The survival of high quality music writing depends on subscribers like you. For as little as $5 per month, you can fund a project dedicated entirely to the love of music (and receive access to special monthly features). Upgrade today and support an endangered species—the independent music writer.

What are the qualifications for inclusion on our list?

So Yacht Rock refers to a type of soft rock, right? But there’s a ton of soft rock out there that doesn’t fit the bill. There’s no room on my boat for Barry Manilow. At the Copa? Sure. But not so much on my boat. So what makes a great yacht rock song exactly?

Ideally, one or more of these themes will be present:

Finding the love of your life;

Having a memorable one-night stand; or 

These features pretty much capture everything that’s great about this milieu. But there's also an important cheese factor at play here. While Steely Dan, Hall & Oates, CSN, and the Doobie Brothers all made songs that might qualify for inclusion here, the artists themselves are--let's just say it--too good to be considered Yacht Rock.

We'll make sure to include them in our deluxe playlist at the article's conclusion.

But in order for a song to be considered for our list, it must be at least slightly embarrassing. Case in point, the top song on our list...

1. "Escape (The Pina Colada Song)" by Rupert Holmes

"The Pina Colada Song" is arguably the most perfect embodiment of yacht rock, fulfilling, as it does, all three of the qualifications cited above. Holmes sings about making love in the dunes, attempts to cheat on his wife, then ultimately, rediscovers that his "old lady" is actually the love he's been searching for all along. That's the holy trinity of Yacht Rock themes, all wrapped up in a breezy story of casual adultery.

And at the turn of a new decade, listeners were feeling it. Released as a single in 1979, "Escape" stood at the top of the charts during the last week of the year. Falling to #2 in the new year, it returned to the top spot in the second week of 1980. This made it the first song to top the charts in two separate, consecutive decades. Fun fact: Rupert Holmes never drank a Pina Colada in his life. He just thought the lyric sounded right. Hard to argue that point.

2. "Brandy (You're a Fine Girl) by The Looking Glass

Formed at Rutgers University in 1969, Looking Glass topped the charts in 1972 with the tale of a lovelorn barmaid in a harbor town haunted by lonely sailors. It would be the band's only hit. Lead singer Elliot Lurie would go on to a brief solo career before becoming head of the music department for the 20th Century Fox movie studio in the '80s and '90s.

That means he was the musical supervisor for the soundtrack to Night at the Roxbury . Do with that information what you will. And with respect to "Brandy," see the film Guardians of the Galaxy 2 for Kurt Russell's surprisingly detailed treatise on its lyrical genius.

3. "Summer Breeze" by Seals and Crofts

The title track from the soft-rock duo's breakout 1972 record, "Summer Breeze" is an incurable earworm, a bittersweet twilight dream that captures everything that's right about Lite FM. From an album inhabited by Wrecking Crew vets and studio aces, "Summer Breeze" curls like smoke drifting lazily through an open window.

4. "Africa" by Toto

Toto singer David Paich had never been to Africa. The melody and refrain for this #1 hit from 1982 came to him fully formed as he watched a late night documentary about the plight of the African continent. The lyrics touch on missionary work and describe the landscape, as inspired by images from National Geographic , according to Paich's own recollection. Putting aside its self-aware inauthenticity, "Africa" is an infectious, 8x platinum AOR monster.

5. "Reminiscing” by Little River Band

Released in the summer of 1978 and reaching up to #3 on the Billboard Hot 100, "Reminiscing" was guitarist Graeham Goble 's nostalgic take on the swing band era. Not only is it the only Australian song ever to reach five million radio plays in the U.S., but rumor is that it was among the late John Lennon's favorite songs.

6. "Drift Away" by Dobie Gray

Originally recorded by a country-swamp rocker named Jeffrey Kurtz, Dobie's 1973 cover became his biggest hit, reaching #5 on the charts. Though not explicitly nautical, "Drift Away" captures the distinct sensation of cruising at sunset.

7. "Love Will Find a Way" by Pablo Cruise

Pablo Cruise may have the most "yachty" of all band names on our list. And "Love Will Find a Way" is sort of the musical equivalent of a ketch skipping along a glassy surface on a crisp summer dawn. Pablo Cruise was formed in San Francisco by expats from various mildly successful bands including Stoneground and It's a Beautiful Day.

And there is a certain slick professionalism to the proceedings here. Of course, Pablo Cruise was never a critic's darling. Homer Simpson once accurately classified them as wuss rock. Still, they perfectly captured the white-folks-vacationing-in-the-Caribbean energy that was all the rage at the time. Love found a way to reach #6 on the Billboard charts, remaining in constant radio rotation during the red-hot summer of '78.

8. "Ride Captain Ride" by Blues Image

Blues Image emerged from South Florida in the late '60s and served as the house band for Miami's vaunted Thee Image music venue upon its inception in 1968. This gave Blues Image the opportunity to open for ascendant headliners like Cream and the Grateful Dead. The association landed them a contract with Atco Records. Their sophomore record, Open , yielded their one and only hit. The Blues Image reach #4 on the charts in 1970 with a tune about a bunch of men who disappear into the mists of the San Francisco Bay while searching for a hippie utopia.

9. "Eye in the Sky" by The Alan Parsons Project

This #3 hit from 1982 has nothing to do with sailing. But it's infectiously smooth production sheen, layered synth, and dreamy vocals make it a perfect Lite FM gem--one cut from the stone that gave us yacht rock. The "Project" was actually a British duo--studio wizard Alan Parsons and singer Eric Woolfson.

The title track from their sixth studio album is their very best recording. It's also often paired with the instrumental lead-in "Sirius," a song famous in its own right for blaring over unnumbered sporting arena PA systems.

If that tune doesn't make you think of Michael Jordan, you probably didn't live through the late 80s.

10. "Miracles" by Jefferson Starship

Marty Balin was a pioneer of the San Francisco scene, founding Jefferson Airplane in 1965 as the house band for his own legendary club--The Matrix. But in 1971, deeply shaken by the death of Janis Joplin, Balin quit his own band. Four years later, he was invited to rejoin his old mates on the already-launched Jefferson Starship.

He immediately contributed what would become the biggest hit by any Jeffersonian vessel. "Miracles" reached #3 in 1975. Gorgeous, elegant, and open, this is a complete anomaly in the Airplane-Starship catalogue. Listen closely for the NSFW lyrics that have often flown under the radar of some adorably innocent censors.

11. "Sad Eyes" by Robert John

In 1972, Robert John had a #3 hit with his cover of "The Lion Sleeps Tonight." And yet, just before recording "Sad Eyes", the Brooklyn-born singer was employed as a construction worker in Long Branch, New Jersey.

In the summer of '79, he would again climb the charts, this time to the top spot. In fact, the charting success of "Sad Eyes" was part of a cultural backlash against the reign of disco. A wave of pop hits swept on to the charts, including this slick soft rock throwback. With his sweet falsetto and doo wop sensibility, Robert John knocked The Knack's "My Sharona" from its 6-week stand atop the charts.

12. "Magnet and Steel" by Walter Egan

Before launching headlong into his music career, Walter Egan was one of the very first students to earn a fine arts degree from Georgetown, where he studied sculpture. The subject would figure into his biggest hit, a #8 easy listening smash from 1978.

Featured on his second solo record, "Magnet and Steel" enjoys the presence of some heavy friends. Lindsey Buckingham produced, played guitar and sang backup harmonies with Stevie Nicks. By most accounts, Nicks was also a primary source of inspiration for the song.

13. "Lido Shuffle" by Boz Scaggs

Of course, not all yacht rock songs are about sailing on boats. Some are about missing boats. Boz Scaggs looks dejected on the cover of 1977's Silk Degrees , but things turned out pretty well for him. This bouncy #11 hit is a classic rock mainstay today.

The band you hear backing Boz--David Paich, Jeff Porcaro, and David Hungate--would go on to form the nucleus of Toto that very same year. Toto, as it happens, is essentially a recurring theme of the genre. Before rising to massive success in their own right, the members of Toto absolutely permeated rock radio in the 70s, laying down studio tracks with Steely Dan, Seals and Crofts, Michael McDonald, and more.

14. "What You Won't Do for Love" by Bobby Caldwell

This smooth-as-silk tune reached #9 on the Billboard Hot 100 upon its 1978 release. It also reached #6 on the Hot Selling Soul Singles Chart. This is significant only because of Caldwell's complexion. He was a white man signed to TK Records, a label most closely associated with disco acts like KC and the Sunshine Band.

Catering to a largely Black audience, the label went to minor lengths to hide their new singer's identity--dig the silhouetted figure on the cover of his own debut. Suffice it to say, once Caldwell hit the road, audiences discovered he was white. By then, they were already hooked on this perfect groove, which you might also recognize as a sample in 2Pac's posthumous 1998 release, "Do For Love."

15. "I Keep Forgettin' (Every Time You're Near)" by Michael McDonald

Technically, Michael McDonald's "I Keep Forgettin'" is an adaptation of an earlier tune by the same name. In fact, the original "I Keep Forgettin" was conceived by the legendary songwriting duo Leiber and Stoller--best known for iconic staples like "Hound Dog", "Kansas City", "Poison Ivy" and much, much more.

The original recording is by Chuck Jackson and dates to 1962. But McDonald's 1982 take is definitive. If that wasn't already true upon its release and #4 peak position on the charts, certainly Warren G. and Nate Dogg cemented its status when they sampled McDonald on "Regulate". Get the whole history on that brilliant 1994 time capsule here .

Oh and by the way, this tune also features most of the guys from Toto. I know, right? These dudes were everywhere.

16. "Baker Street" by Gerry Rafferty

To the casual listener, Gerry Rafferty's name should sound vaguely familiar. Indeed, you may remember hearing it uttered in passing in the film Reservoir Dogs . In a key scene, a radio DJ (deadpan comedian Steven Wright) mentions that Rafferty formed half the duo known as Stealers Wheel, which recorded a "Dylanesque, pop, bubble-gum favorite from April of 1974" called "Stuck in the Middle With You." In the same scene, Mr. Blonde (portrayed with sadistic glee by Michael Madsen), slices off a policeman's ear.

At any rate, this is a totally different song, and is actually Rafferty's biggest hit. "Baker Street" is a tune that reeks of late nights, cocaine, and regret. Peaking at #2 on the Billboard Hot 100, "Baker Street" soared on the wings of the decade's most memorable sax riff. Raphael Ravenscroft's performance would, in fact, lead to a mainstream revitalization of interest in the saxophone writ large.

17. "Wham Bam Shang-A-Lang" by Silver

There are several interesting things about Silver that have almost nothing to do with this song. First, bass guitarist and singer Tom Leadon was both the brother of Bernie Leadon from the Eagles and a member of Tom Petty's pre-fame band, Mudcrutch. Second, the band's keyboardist was Brent Mydland, who would go on to become the Grateful Dead's longest-tenured piano guy. Third, Silver put out their only record in 1976, and future Saturday Night Live standout Phil Harman designed the cover art.

With all of that said, Arista executives felt that their first album lacked a single so they had country songwriter Rick Giles cook up this ridiculous, gooey concoction that I kind of love. Let's say this one falls into the "so bad it's good" category. Anyway, the song peaked at #16 on the charts. The band broke up in '78, leading Mydland to accept the deadliest job in rock music. He defied the odds by playing with the Grateful Dead until an accidental drug overdose claimed his life in 1990.

18. "Biggest Part of Me" by Ambrosia

I admit, I'm kind of hard-pressed to make Ambrosia interesting. In fact, they were extremely prolific, and earned high regard in early '70s prog rock circles. And in the 1990s, lead singer David Pack would actually be the musical director for both of Bill Clinton's presidential inauguration concerts.

But this Southern California combo is much better known to mainstream audiences for their top-down, hair-blowing-in-the-wind soft rock from the decade in between. Peaking at #3 on the Billboard Hot 100 in 1980, "Biggest Part of Me" is the group's best-known tune--a seafoamy bit of blue-eyed soul served over a raw bar of smooth jazz and lite funk.

19. "Baby Come Back" by Player

Player released their self-titled debut album in 1977 and immediately shot up to #1 with "Baby Come Back." Bandmates Peter Beckett and J.C. Crowley had both recently broken up with their girlfriends. They channeled their shared angst into this composition, a self-sorry guilty pleasure featuring former Steppenwolf member Wayne Cook on keys.

Granted, Steppenwolf's edgy disposition is nowhere to be found on this record, but it is pretty infectious in a late-summer-night, slightly-buzzed, clenched-fist sort of way. Player endured various lineup changes, but never returned to the heights of their first hit.

20. "On and On" by Stephen Bishop

Remember that scene in National Lampoon's Animal House (1978) where there's this dude in a turtleneck singing a super cloying folks song before John Belushi mercifully snatches away his guitar and smashes it to smithereens? That guy was Stephen Bishop, who was actually in the middle of enjoying considerable success with his 1976 debut album, Careless .

"On and On" was the album's biggest hit, a vaguely Caribbean soft-rocker that reached #11 on the Billboard Hot 100 in '77. The gentle electric riffs you hear there are supplied by guitarist Andrew Gold--who wrote the theme song for the Golden Girls . (I freakin' know you're singing it right now).

21. "Chevy Van" by Sammy Johns

The classic tale of boy-meets-girls, bangs-her-in-his-van, and brags-to-his-buds, all with backing from the world famous Wrecking Crew studio team. In 1975, a lot of people super related to it. It sold over a million copies and reached #5 on the Billboard Hot 100. I can't tell you this song is good. But I also can't tell you I don't like it.

22. "You Are the Woman" by Firefall

Firefall's lead guitarist Jock Bartley perfectly captures this song's impact, calling the band's biggest hit "a singing version of [a] Hallmark card." That feels right. The second single from Firefall's 1976 self-titled debut was only a regional hit at first. But it was driven all the way to #9 on the Billboard Hot 100 on the strength of radio requests.

As Bartley explained, "Every female between the ages of 18 and 24 wanted to be the woman portrayed in the song, and that caused their boyfriends and spouses to call radio stations and subsequently flood the airwaves with dedications of the song and the sentiment."

23. "Sailing" by Christopher Cross

Arguably, "Sailing" is the single most emblematic song of the Yacht Rock genre. Its thematic relevance requires no explanation. But it's worth noting that the song is inspired by true events. During a tough time in his youth, Cross was befriended by Al Glasscock. Serving as something of an older brother to Cross, Glasscock would take him sailing.

He recalls in his biggest hit that this was a time of escape from the harsh realities of his real life. In 1979, Cross released his self-titled debut. In early 1980, "Sailing" became a #1 hit, landing Cross a hat-trick of Grammys--including recognition as best new artist. Though Cross and Glasscock would lose touch for more than 20 years, they were reunited during a 1995 episode of The Howard Stern Show . Cross subsequently mailed a copy of his platinum record to Glasscock.

24. "Steal Away" by Robbie Dupree

Apparently, this song was perceived as so blatant a ripoff of Michael McDonald and Kenny Loggins' "What a Fool Believes" that legal action was actually threatened.

It never formulated. Instead, Robbie Dupree landed a #6 Billboard Hot 100 hit with the lead single from his self-titled 1980 debut. Critics hated it, but it was a dominant presence in the summer of 1980. It even earned Dupree a Grammy nomination for best new artist. He ultimately lost to the man listed just above--Christopher Cross.

25. "This is It" by Kenny Loggins

You didn't think we'd get through this whole list without an actual Kenny Loggins tune. This song has the perfect pedigree, teaming Loggins and Michael McDonald on a 1979 composition that became the lead single off of Kenny Loggins' Keep the Fire.

Coming on the tail end of the '70s, "This is It" felt positively omnipresent in the '80s. I may be biased here. I grew up in Philadelphia, where a local television show by the same name adopted "This is It" as its theme song. But then, it did also reach #11 on the Billboard Hot 100.

And in that spirit...this is it, the end of our list.

But as usual, here's a bonus playlist--an expanded voyage through the breezy, AOR waters of the mid-'70s to early '80s.

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Feature: The 101 GREATEST YACHT ROCK SONGS OF ALL TIME for Your Summer Playlist - featuring Michael McDonald, Kenny Loggins, Christopher Cross and Steely Dan

What Yacht Rock Classic Hit #1?

Yacht Rock is not for everyone. If you like your rock Cannibal Corpse intense or your hip hop extra Onyx edgy, then Yacht Rock will indubitably be your Kryptonite.

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Some people consider this genre akin to musical wallpaper, marshmallow fluff, whiter-than-white bread snore-tunes or sax-heavy Sominex-inducing elevator muzak. They consider it slick, soulless pablum, even though true Yacht Rock vibrates with liveliness. Yes, it can be slow but it should never be sleepy; it should be relaxed and chill but never boring. Unfortunately, it's oft mistaken for any East Listening or Adult Contemporary tune (although, to be fair, many of the songs on this list do fall in these categories). But true Yacht Rock will not cause you to yawn; so don't worry, you won't find Air Supply, Barry Manilow or Dan Fogelberg anywhere near one of these rockin' yachts.

But what exactly is "Yacht Rock"? For those who don't know, it includes pop-rock songs from the late 1970's/early 1980's that would sound great on a yacht as you sip your pina coladas and get caught in the rain. Yacht Rock was not designed as thus; forty years ago, these songs that joyously filled the airwaves were called "soft rock" or "blue-eyed soul." It wasn't until the early 2000's when the term "Yacht Rock" was coined and the genre's guidelines were determined by the great J. D. Ryznar, Steve Huey, Hunter Stair, and David Lyons. Now it's everywhere, including on your SiriusXM radio app where a really bad Thurston Howell III soundalike introduces these Doobie-bounced ditties.

How can you identify a potential Yacht Rock classic? You can use Justice Potter Stewart's famous "I know it when I see it" (or, in this case, "hear it") dictum. To my ears, Yacht Rock is slick as an oil spill, part smooth pop, part light rock, both funky and jazzy. Most of the songs have tight harmonies, strong background singers (oftentimes sounding like Michael McDonald lost in an echo chamber), with added horns or strings. It's not lounge music, but it's music to lounge to. It's not disco, so you don't dance to it, but it's music where you can't help but tap your feet.

The joy of Yacht Rock is just that...its joyousness. This is bubblegum music for the jet set or the wannabe Richie Rich's. Its delightfully shallow, and part of its vibrancy is that it doesn't have a bad thought in its head. (Some of the songs obviously don't have any thoughts in their head, but if you want to have an intellectually stimulating conversation about, say, Toto's "Georgy Porgy," then have at it.) But never forget that part of its charm lies in its inability for deeper analysis; it's quite a stretch to compare some of these songs to a Winslow Homer painting or a Thomas Pynchon novel, but I'll try.

Officially, to be considered Yacht Rock, the song must have been released between 1976 and 1984, and I adhere to this rule for the 101. That means no songs that are proto-Yacht Rock, such as Seals & Crofts' "Summer Breeze," Ace's "How Long," or Steely Dan's "Dirty Work," are included. Neither did post-yacht rock favorites ("fire keepers") like Michael McDonald's "Sweet Freedom" (1986) get a chance. Some singers or groups, who are nowhere near Yacht Rock when looking at their oeuvre, may have a single YR classic in their midst; artists like Michael Jackson, Andy Gibb, the Eagles, and Earth, Wind and Fire have at least one Yacht Rock goodie on the list. And then there are those tunes that are not Yacht Rock: Nyacht Rock, which I tried but failed to avoid, but debates will happen nonetheless. For example, is "Escape (The Pina Colada Song)" true Yacht Rock? Purists may say no, but I think there are few songs more yachty than the Rupert Holmes earworm.

Who would be on the Yacht Rock Mount Rushmore? Certainly Michael McDonald, whose presence is everywhere on this list with the Doobie Brothers, solos, duets, and as a backing vocalist on many of these tunes; he has 8 entries (not counting his prolific background singing). Kenny Loggins also epitomizes the genre (with 4 songs on the list, plus he co-wrote the #1 tune), as does Christopher Cross (with 5 songs on the list). But who gets that final position? Steely Dan (6 songs), Toto (6 songs), or Boz Scaggs (5 songs)? I'll let you try to settle on the filling of the fourth Rushmore slot.

And shouldn't there be a Yacht Rock Broadway musical? There are Yacht Rock tours, online series, books, websites, radio stations, podcasts, Spotify playlists; why not an official jukebox musical?

Lastly, you may ask: What makes me, a theatre reviewer, a Yacht Rock expert? For starters, I lived through these songs during my teenage years; they are the soundtrack of my younger self, especially when listening to Casey Kasem every Sunday morning on American Top-40 on CK-101. No matter how cheesy, I have a place in my heart for them. And on my 60 th birthday, I hope to rent a yacht, invite friends, don an ascot and captain's hat, and while enjoying mounds of caviar, listen to the soothing sounds of my youth. I'll use this list, my YACHT ROCK 101, as our guide, and hopefully you will too. (And hopefully if a song is unfamiliar to you, then you'll seek it out on You Tube or Spotify.) So, without further ado, counting down Kasem-style from #101 to #1, let's climb aboard...

THE 101 GREATEST YACHT ROCK SONGS!

101. NOTHIN' YOU CAN DO ABOUT IT [Airplay; 1980; Chart Position on the Billboard Hot 100: N/A]

We start our three-hour tour here, Mr. Howell, with Airplay's little-known yachter, "Nothin' You Can Do About It," featuring David Foster, who peppers much of the following 101, and Jay Graydon, who played guitar on the Yacht Rock classic, "Peg." And as you'll find in so many songs here, the session musicians from Toto play the instruments and lift this horn-pocked One-Off into the stratosphere. It's poppy and breezy and everything that a YR hit should be. And its lyrics could be the Yacht Rock credo: "Relax; enjoy the ride!"

100. GEORGY PORGY [Toto; 1978; Chart Position on the Billboard Hot 100: #48]

This sounds like an outtake from a lost Boz Scaggs album. I have a place deep (very deep) in my heart for this. Yes, it's annoying, and Cheryl "Got to Be Real" Lynn's "Georgy Porgy, pudding pie/Kissed the girls and made them cry" refrain will get horrifically stuck in your head, but my oh my, how I love its glorious badness. (Some might claim that this isn't Yacht Rock, it's Yuck Rock.) No other chart would dare unearth this lost remnant that many think should remain lost, but it's too late baby, yes, it's too late. And if you want a sign of the coming Apocalypse: The endearingly ridiculous "Georgy Porgy" is more popular and beloved now than when it was first released.

99. THE THEME FROM "THE GREATEST AMERICAN HERO" (BELIEVE IT OR NOT) [Joey Scarbury; 1981; Chart Position on the Billboard Hot 100: #2]

Yacht Rock songs are usually called "likable," which is sort of a masked insult. When you can't think of something nice to say, you usually fall back on "likable," which doesn't mean you like it; it just means someone out there may like it. And "The Theme from 'The Greatest American Hero'" is certainly likable; it's maybe the only thing we remember from the otherwise forgotten William Katt TV series, which lasted three seasons. For "Seinfeld" fans, George's use of it on his answering machine in "The Susie" episode put the song on a level way above its pay grade. Just last year, it also showed up (with "Seinfeld's" Jason Alexander) in a Tide commercial. So, this song has planted its flag in our more current pop culture landscape; perhaps it and the roaches will be the only things to survive the end of the world. Believe it or not.

98. INTO THE NIGHT [Benny Mardones; 1980; Chart Position on the Billboard Hot 100: #11]

97. WE JUST DISAGREE [Dave Mason; 1977; Chart Position on the Billboard Hot 100: #12]

96. KEY LARGO [Bertie Higgins; 1982; Chart Position on the Billboard Hot 100: #8]

95. ESCAPE (THE PINA COLADA SONG) [Rupert Holmes; 1979; Chart Position on the Billboard Hot 100: #1]

These four songs, including one #1 hit, will cause arguments from purists; they score them low on the official Yacht Rock scale and label them the dreaded Nyacht Rock. But I think each of them deserve to be on the list, even if this low. Benny Mardones was a key part of one of my high school experiences as the special musical guest for 1981's Grad Night at Disney World; I remember hearing "Into the Night" into the nighttime distance and knowing that I was in the right place at the right time. (And I take the song's narrator as a teenager crooning about a girl-because with lines like "she's just sixteen years old/Leave her alone, they say," it's just too creepily cringy to contend with otherwise.) "We Just Disagree" builds as the best Yacht Rock songs do, even if it may be too gloomy in subject matter (the breaking up of a relationship). "Key Largo" by Tampa Bay area native Bertie Higgins may be more Tropical Rock than Yacht Rock, but it's yachty enough to make the cut; besides, who can resist the Humphrey Bogart and Lauren Bacall allusions? And Rupert Holmes's "Escape," the last word in 70's pop, is what many people think of when they read the term "Yacht Rock." And yes, it may be excessively wordy for the genre, complete with a twist ending, but to leave it off the list entirely would be a pop culture misdemeanor if not a crime. For the purists who will not escape the strict Yacht Rock guidelines and unnecessarily nix great and yachty songs like these, then we just disagree.

94. YAH-MO BE THERE [James Ingram with Michael McDonald; 1983; Chart Position on the Billboard Hot 100: #19]

A Yacht Rock staple and the first appearance of the ubiquitous Mr. McDonald on our list. I'm sure more than one person agrees with Paul Rudd from the move The 40-Year-Old Virgin when he, having McDonald's songs on a continuous loop at his work place, exclaims, "...If I hear 'Yah-Mo Be There' one more time, I'm gonna 'yah mo' burn this place to the ground!"

93. BREEZIN' [George Benson; 1976; Chart Position on the Billboard Hot 100: #63]

The first of two instrumentals on the list and the initial Yacht Rock sighting of George Benson. I mentioned earlier that none of these songs should be compared to paintings by Winslow Homer, but if any comes close, it's this one, especially Homer's "Breezin' Up." Try looking at the painting and hearing the Benson hook at the same time, and I'll see you in the morning.

92. FOOLISH HEART [Steve Perry; 1984; Chart Position on the Billboard Hot 100: #8]

Although Steve Perry is more famous as the onetime front man for Journey, and for making "Don't Stop Believin'" the most overplayed track from the Eighties, this is his sole entry into my Yacht Rock 101. His smooth voice haunts this with an uber-emotional yearning that seldom finds its way onto the feel-good vibes found elsewhere on this list.

91. 99 [Toto; 1979; Chart Position on the Billboard Hot 100: #26]

Chalk up another inspiration from a George Lucas film, although not the film you may think it is. Star Wars may be Lucas' biggest achievement, but this song takes its idea from the seldom-seen Lucas cult hit, THX 1138 , which is dystopian cold in feeling. That such a stark story (losing your identity and only being known as numbers) gets the smooth pop-light Toto treatment can only be construed as ironic.

90. ONE STEP CLOSER [The Doobie Brothers; 1980; Chart Position on the Billboard Hot 100: #24]

The Doobie Brothers' last gasp of the Michael McDonald era before our bearded musical Michelangelo would meander into a solo career.

89. HARD HABIT TO BREAK [Chicago; 1984; Chart Position on the Billboard Hot 100: #3]

Love is an addictive drug that lasts years in this beautiful if not overwrought ballad produced by David Foster.

88. DO RIGHT [Paul Davis; 1979; Chart Position on the Billboard Hot 100: #23]

A rare example of RYR: Religious Yacht Rock. Certainly the most unabashedly Christian song on the list, its opening lines like something out of an old Jim and Tammy Bakker telecast from the early 1980's: " I know that he gave his life for me/Set all our spirits free/So I want to do right, want to do right/All of my life ..." Musically it has a total yacht quality, a toe-tapping buoyant drive, that didn't stop it from being the 10 th biggest Adult Contemporary Christian hit of 1980.

87. DON'T TALK TO STRANGERS [Rick Springfield; 1982; Chart Position on the Billboard Hot 100: #2]

A year after "Jessie's Girl," Rick Springfield nearly hit the top of the charts with this Yacht Rock plea of jealous rage (though Springfield's demeanor doesn't come across as "rage"; he seems disdainful but laid back, which is why this perfectly fits the YR mold). It's too much fun to rival "Every Breath You Take" in the paranoid Top-10 hit department. Make sure not to miss the lyrics in French near the song's end which are there because...well, I don't know exactly why they're there, but I appreciate the nod to Francophiles.

86. WAITING FOR YOUR LOVE [Toto; 1982; Chart Position on the Billboard Hot 100: #73]

This is Toto's third song in the 101, paving way for claims that they should be the final slot on the Yacht Rock Mount Rushmore. "Waiting for Your Love" may not have hit big, stalling at a disappointing #73 on the charts, but has since been cited as one of Toto's greatest songs.

85. IT KEEPS YOU RUNNIN' [The Doobie Brothers; 1976; Chart Position on the Billboard Hot 100: #37]

Michael McDonald's soulful vocals and the band's mesmerizingly funky rhythm catapult this entry into the stratosphere. Yes, it was shoved onto the soundtrack of Forrest Gump , but its Yacht Rock status comes from it being featured in another film (and soundtrack that is a Yacht Rock purist's dream): the forgotten film FM (which spawned an even higher entry on this list...Steely Dan's infectious title cut).

84. LOOK WHAT YOU'VE DONE TO ME [Boz Scaggs; 1980; Chart Position on the Billboard Hot 100: #14]

Boz Scaggs wasn't born with the name "Boz." Actually born William Royce Scaggs, he got the nickname "Boz" after someone kept wrongly referring to him as "Bosley" at St. Marks Academy. And with a name like "Boz," Yacht Rock elite status was certainly destined. In the 1970's, Scaggs would perfect that laid back soft rock sound with a slight funky beat, the quintessence of Yacht Rock. This song, slower than most on this list, would become his big reaching-for-the-stars power pop ballad, and it didn't hurt that it was featured in a John Travolta film (Urban Cowboy).

83. KISS YOU ALL OVER [Exile; 1978; Chart Position on the Billboard Hot 100: #1]

It's hard to imagine that learned people that I deeply admire have a difficult time including this as a Yacht Rock staple. With synthesized strings and inspired by the grizzly growling org*smic sound of Barry White in "It's Ecstasy When You Lay Down Next To Me," "Kiss You All Over" was voted ninth in Billboard's 2010 list of "The 50 Sexiest Songs of All Time" (for the record, "Physical" was #1).

82. BABYLON SISTERS [Steely Dan; 1980; Chart Position on the Billboard Hot 100: N/A]

Dante-esque tour of California, with the jaded Yacht Kings, Steely Dan, playing the part of Virgil as your guide. Singing backup on this track, crooning those haunting words "Here comes those Santa Ana winds again," is none other than Patti Austin, who will be even more involved with another Yacht Rock classic that you'll find further down the list [see "Baby, Come to Me"]. A delicious downer.

81. SMOKE FROM A DISTANT FIRE [Sanford Townsend Band; 1977; Chart Position on the Billboard Hot 100: #9]

One of the great One Hit Wonders of the 1970's.

80. HOLD THE LINE [Toto; 1978; Chart Position on the Billboard Hot 100: #5]

The song that put the session musicians of Toto on the map and the fourth of their hits to make our 101.

79. TAKIN' IT TO THE STREETS [The Doobie Brothers; 1976; Chart Position on the Billboard Hot 100: #13]

The world was introduced to Michael McDonald as a Doobie right here, their first song written by him for the Doobie's and with him on lead vocals. And thus, the King of Yacht Rock started his reign. Also, who can forget the 1978 episode of "What's Happening" with Rerun illegally recording the Doobie's singing this very song?

78. KEEP THE FIRE [Kenny Loggins; 1979; Chart Position on the Billboard Hot 100: #36]

Mr. and Mrs. Howell, let me introduce you to our next entry...Kenny Loggins with his very own Herbie Hancock-inspired vocoder long before it was in vogue.

77. ISN'T IT TIME [The Babys; 1977; Chart Position on the Billboard Hot 100: #13]

Michael Corby's opening piano, backed with syrupy violins, leads way to John Waite's oxymoronic soft bombastic vocals and Tony Brock's pulsating drum work. Lisa Freeman-Roberts, Myrna Matthews and Pat Henderson get their gospel groove on while backing Waite's hearty screech in this scrumptious pop treat.

76. YOU CAN'T CHANGE THAT [Raydio; 1979; Chart Position on the Billboard Hot 100: #9]

A cool breeze of a song by Ray Parker Jr. & Co., one of the few Yacht Rock light-soul classics that you can dance to, though it's way too laid back to be considered disco. A song that immediately puts you in a good mood no matter how bad your day had been previously.

75. LIDO SHUFFLE [Boz Scaggs; 1976; Chart Position on the Billboard 100: #11]

Boz again, with this ode to a drifter looking for some luck. The galvanizing music would be created by none other than David Paich (keyboards), David Hungate (bass), and Jeff Porcaro (drums), all of them future members of Toto. Whoa-oh-oh-oh!

74. WHAT'CHA GONNA DO? [Pablo Cruise; 1977; Chart Position on the Billboard Hot 100: #6]

Is there a more apt band name for Yacht Rock greatness than "Pablo Cruise"? And this tune, a key part of that summer of 1977, was where they first introduced themselves to us in all their infectious pop-light glory. The group hit #6 in the U.S., which isn't bad, but Canada got it right when they elevated this tasty morsel to #1 on their charts.

73. SENTIMENTAL LADY [Bob Welch; 1977; Chart Position on the Billboard Hot 100: #8]

Bob Welch, a former member of Fleetwood Mac, originally recorded this for their 1972 album Bare Trees . After leaving the band, he recorded it again, giving it the lush Yacht Rock treatment. Fleetwood Mac may not be considered official Yacht Rock gurus, but this song comes closest, with the majority of their members performing on it: Mick Fleetwood on drums, John McVie on bass, Christine McVie on piano as well as joining Lindsey Buckingham in background vocals. All that's missing is Stevie.

72. MISS SUN [Boz Scaggs; 1980; Chart Position on the Billboard Hot 100: #14]

We can thank this record for giving us our beloved Toto. Originally recorded by them in 1977, and due to their tight musicianship, Toto made a deal with Columbia Records solely based on their performance of this song. Ironically, it didn't make Toto's first LP, but Boz and the Toto gang recorded it for his Hits! compilation and the rest is Yacht Rock history.

71. JOSIE [Steely Dan; 1977; Chart Position on the Billboard Hot 100: #26]

One of Steely Dan's very best, especially Chuck Rainey's hypnotic bass. And those lyrics: " When Josie comes home/So bad/She's the best friend we ever had/She's the raw flame/The live wire/She prays like a Roman/With her eyes on fire." Question: Where is Josie coming home from? College? War? Prison? With Steely Dan's don't-care-if-listeners-understand-them obtuse lyrics, we'll never know.

70. YOU ARE THE WOMAN [Firefall; 1976; Chart Position on the Billboard Hot 100: #9]

69. STILL THE ONE [Orleans; 1976; Chart Position on the Billboard Hot 100: #5]

Two light-rock classics from Year One of Yacht Rock. "You Are the Woman" would become a quasi-staple of yachty wedding reception playlists, especially if a flautist happened to be on board; "Still the One" would be the commercial jingle for both ABC-TV in the 1970's and Applebee's restaurants just a couple of years ago.

68. YEAR OF THE CAT [Al Stewart; 1976; Chart Position on the Billboard Hot 100: #8]

Perhaps the most haunting song on the list; it's what you get when you mix Casablanca with the Vietnamese Zodiac.

67. THUNDER ISLAND [Jay Ferguson; 1977; ; Chart Position on the Billboard Hot 100: #9]

This passionate ode to island lovin' can be heard in Anchorman 2 , the hockey movie Miracle , and the great "To'Hajiilee" episode of Breaking Bad .

66. RICH GIRL [Hall & Oates; 1977; ; Chart Position on the Billboard Hot 100: #1]

Hall & Oates first chart-topper and perhaps the first #1 single to use the word "bitch" in it. Interestingly, the song was written about a guy initially-the spoiled heir to a Chicago-based entrepreneur who owned Walker Bros. Original Pancake House and ran fifteen KFC restaurants; the gender of the person was changed and the song suddenly became destined for pop culture immortality. And yes, it entered skin-crawling notoriety when Son of Sam himself, David Berkowitz, claimed the song inspired him to continue his serial killing rampage that paralyzed New York City that summer of '77.

65. MORNIN' [Al Jarreau; 1983; Chart Position on the Billboard Hot 100: #21]

64. LOVELY DAY [Bill Withers; 1977; Chart Position on the Billboard Hot 100: #30]

Two of the peppiest songs imaginable, both about splendid sunshine days, perfect for relaxing while you count your money on your very own yacht. Jarreau's "Mornin'" sounds like the feel-good opening of a Broadway show, while Withers hit the motherlode with "Lovely Day," ubiquitous in ads and movies for the past 45 years, complete with an impressive 18-second note that Withers sings that may be the longest ever in a Top-40 hit

63. ARTHUR'S THEME (BEST THAT YOU CAN DO) [Christopher Cross; 1981; Chart Position on the Billboard Hot 100: #1]

Christopher Cross is up there with Michael McDonald as the face of Yacht Rock, and this Academy Award winner for Best Song from the movie Arthur put Cross at the pinnacle of his success. He never came close to those heights again, but Yacht Rock gave his cannon (and career) a whole new life.

62. LONELY BOY [Andrew Gold; 1976; Chart Position on the Billboard Hot 100: #7]

Teenage psychopathy never sounded so good.

61. BEING WITH YOU [Smokey Robinson; 1981; Chart Position on the Billboard Hot 100: #2]

Smokey's "Being with You" was kept out of the #1 position because Kim Carnes' owned the top of the '81 charts with the behemoth "Bette Davis Eyes." So the story goes, Smokey loved Carnes' version of his own "More Love" from the year before that he wrote a song specifically for her...and that song was "Being with You." But it was such a strong tune that he opted to record it himself and eventually had to settle with it at #2, behind the person who the song was originally intended for.

60. HOW MUCH I FEEL [Ambrosia; 1978; Chart Position on the Billboard Hot 100: #3]

Ambrosia is another Yacht Rock giant whose slick soft pop sound and lush harmonies would epitomize the genre.

59. LIVING INSIDE MYSELF [Gino Vannelli; 1981; Chart Position on the Billboard Hot 100: #6]

Is this too intense for Yacht Rock? Maybe at times with Vannelli's head-bursting vocals. But it's a musical treasure trove, at times as dramatic as any Hamlet soliloquy, and Vannelli sings it like an overemotive Johnnie Ray resurrected with big hair.

58. JOJO [Boz Scaggs; 1980; Chart Position on the Billboard Hot 100: #17]

Smoothly soulful as it is , "Jojo" deals with the darker side of Yacht Rock. The title character is quite obviously a pimp, especially with lines like "fifty dollars, he'll get you all you want" or "His baby stays high...he keeps her on the street." As rough as the thematic waters may seem, the music is smooth sailing, the perfect fusion of pop, jazz and funk. All this and Toto, too.

57. WHAT YOU WON'T DO FOR LOVE [Bobby Caldwell; 1978; Chart Position on the Billboard Hot 100: #9]

Of course this made the list. A heart-shaped pressing of the song was released just in time for Valentine's Day, 1979, and cost a whopping $7.98 from consumers (which was the price of most LP's back then) . So many artists from Boys II Men, Michael Bolton and even Tupac Shakur either covered it or sampled its contagious mellowness.

56. LOVE TAKES TIME [Orleans; 1979; Chart Position on the Billboard Hot 100: #11]

At the time, here's how Cash Box described the music of this winner: "...synthesizer coloration, firm pounding beat, piano, searing guitar fills, tambourine and dynamic singing." In other words, 100% pure Yacht Rock!

55. KISS ON MY LIST [Hall & Oates; 1980; Chart Position on the Billboard Hot 100: #1]

Certainly on my list of the best things in life.

54. SO INTO YOU [Atlanta Rhythm Section; 1977; Chart Position on the Billboard Hot 100: #7]

The lightest of Southern Rockers, Atlanta Rhythm Section's laid back brand of guitar rock suited the late 70's perfectly, a nice alternate to the disco pandemic but not quite in Lynryd Skynyrd territory either. Also, is the title "So Into You" a double entendre? And were the lyrics more sexually explicit than we ever imagined? " It's gonna be good, don't you know/From your head to your toe/Me into you, you into me, me into you..."

53. YOU'RE THE ONLY WOMAN [Ambrosia; 1980; Chart Position on the Billboard Hot 100: #13]

In sone ways Ambrosia may be the most Yacht Rocky of all groups (don't worry, Toto and Steely Dan will always give them a run for the money). But this song underscores the carefree feel of the genre, like reclining on a yacht with these words on the breeze in the background: "You and I've been in love too long/To worry about tomorrow/Here's a place where we both belong/I know you're the only woman I'm dreaming of..." Not worrying about tomorrow, just floating without a care in tthe world. Is there anything more yachty than that?

52. I'D REALLY LOVE TO SEE YOU TONIGHT [England Dan & John Ford Coley; 1976; Chart Position on the Billboard Hot 100: #2]

Ingenious opening, the listener privy to a one-way phone conversation: " 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 ..." It's up to the listener to decide whether the caller is pathetic or sweet. "I'd Really Love to See You Tonight" may be the perfect easy listening song of all time, better than anything by Barry Manilow (who would cover it decades later); it's its sing-along boisterousness that saves it from being unceremoniously tossed into the Nyacht Rock bin.

51. EVERY TIME I THINK OF YOU [The Babys; 1978; Chart Position on the Billboard Hot 100: #13]

Another feel-good Babys bombast, pounding the power pop vibes in a song that's both intense and full of positive feelies.

50. ALL NIGHT LONG (ALL NIGHT) [Lionel Richie; 1983; Chart Position on the Billboard Hot 100: #1]

This massive hit has a bit of everything, a sort of melting pot of styles--adult contemporary, pop, R&B, Richie's soothing easy listening vocals, all to a Caribbean beat. The song was everywhere in 1984, in the popular music video (directed by Five East Pieces' Bob Rafelson and produced by Mike Nesmith of the Monkees), heard in the premiere of "Miami Vice," and sung by Richie at the closing ceremonies of the '84 Olympics. And what is the translation of the lines, " Tom bo li de say de moi ya/Yeah jambo jumbo"? Don't even bothering going to Google Translate; turns out they're just gibberish with no deeper meaning. No deeper meaning, i.e. the way we like our Yacht Rock.

49. IF YOU LEAVE ME NOW [Chicago; 1976; Chart Position on the Billboard Hot 100: #1]

So popular that it's featured in works as diverse as "The Modern Family," "South Park," Shaun of the Dead and even the video game, Grand Theft Auto V . It's perhaps the most soaring, lush, heartfelt and yearning ballad on the list, with Peter Cetera's lead vocals drowning listeners in waves of pure reverie.

48. JUST REMEMBER I LOVE YOU [Firefall; 1977; Chart Position on the Billboard Hot 100: #11]

Such a sober, serious song in such a vibrantly feel-good genre, and yet it's uplifting and filled with hope. I think of someone on the verge of suicide, maybe wanting to jump off a building or maybe seeking help calling a hotline, and the singer, perhaps a close friend, talking him or her down: " When there's so much trouble that you want to cry/When your love has crumbled and you don't know why/When your hopes are fading and they can't be found/Dreams have left you waiting, friends let you down..." But then the friend reminds the sorrowful soul, "just remember I love you and it will be all right" and that "maybe all your blues will wash away..." And that's really what Yacht Rock does, doesn't it? It washes those blues away.

47. BABY, COME TO ME [Patti Austin & James Ingram; 1982; Chart Position on the Billboard Hot 100: #1]

As with so many songs on this list, Michael McDonald adds superb backing vocals here, in this enchanting ballad made famous by its appearance on "General Hospital" as Luke and Holly's love song.

46. HEY NINETEEN [Steely Dan; 1980; Chart Position on the Billboard Hot 100: #10]

An aging boomer can't connect with his young lover; not quite Nabokovian but close, especially when the leering singer exclaims to his youngling in the perviest way possible, "Skate a little lower now!" The 19-year-old girl in question doesn't even know who Aretha Franklin is; I was 18 when the song was released and I sure knew the Queen of Soul as did most of my peers. Who, I wondered way back when, is this ditsy girl? Perhaps the most startling thing about the work is the singer's unblinking dive into cocaine and alcohol in order to be able to deal with a world that is slowly leaving him behind: " The Cuervo Gold / The fine Colombian / Make tonight a wonderful thing..."

45. YOU BELONG TO ME [Carly Simon; 1978; Chart Position on the Billboard Hot 100: #6]

44. HE'S SO SHY [The Pointer Sisters; 1980; Chart Position on the Billboard Hot 100: #3]

43. THROUGH THE FIRE [Chaka Khan; 1984; Chart Position on the Billboard Hot 100: #60]

Yacht Rock is not known for its diversity. Of course there are several songs by people of color, and there are definitely strong women on the chart, but we would be remiss if we did not mention that overall the genre is mostly male and white. But the women who do appear on the list have created some of the finest tunes of them all. Carly Simon's wondrous "You Belong to Me," written by Simon and Michael McDonald with backing vocals by James Taylor, started as a Doobie ballad, but Simon's more poignant version actually bests the "Brothers." The Pointer Sisters are not Yacht Rock, but their hit, "He's So Shy," certainly is; that they sang it with Isaac on an infamous episode of "The Love Boat" is about the highest order of Yachtdom there is. And Chaka Khan's "Through the Fire," produced by David Foster, is one her all-time greatest songs, even though it didn't score big in the Land of the Hot-100; still, Khan's vocals are breathtaking in this scorching torchy ballad that is nothing short of Yacht Rock gold bullion.

42. TIME OUT OF MIND [Steely Dan; 1980; Chart Position on the Billboard Hot 100: #22]

One of the funkiest songs about heroin ("chasing the dragon") ever written.

41. AN EVERLASTING LOVE [Andy Gibb; 1978; Chart Position on the Billboard Hot 100: #5]

40. AFTER THE LOVE HAS GONE [Earth, Wind & Fire; 1979; Chart Position on the Billboard Hot 100: #2]

39. I CAN'T TELL YOU WHY [The Eagles; 1979; Chart Position on the Billboard Hot 100: #8]

38. HUMAN NATURE [Michael Jackson; 1982; Chart Position on the Billboard Hot 100: #7]

Not all Yacht Rock hits are by Yacht Rock artists, as is the case with these four songs. The Bee Gees are definitely not Yacht Rock, especially their disco hits, and neither is brother Andy Gibb...with one exception. Gibb's "An Everlasting Love" with its nonstop overlapping vocals (combined with Barry Gibb's falsetto and the string arrangement) make this irresistible. Earth, Wind & Fire's "After the Love Has Gone," another David Foster masterpiece, with its rousing vocals and brilliant use of horns, is EWF's most gorgeous tune. The Eagles, certainly not a Yacht Rock group (though often mistaken as such), has one hit in their oeuvre that's unadulterated YR: "I Can't Tell You Why," with Timothy B. Schmidt, pulling out his inner Smokey Robinson and Al Green, providing its stirring lead vocals. And Michael Jackson's Yacht Rock entry, "Human Nature" from the Thriller album , was backed by members of Toto, with some of Jackson's most lush vocals, and is the dictionary definition of the word "euphoric."

37. HOT ROD HEARTS [Robbie Dupree; 1980; Chart Position on the Billboard Hot 100: #15] There are so many hits in the rock era about two teenagers making love in a parked car, from "Night Movies" to "Paradise By the Dashboard Lights," but "Heart Rod Hearts" may be the most daring of them all in its own way: " Ten miles east of the highway/Hot sparks burnin' the night away/Two lips touchin' together/Cheek to cheek, sweatshirt to sweater/Young love born in a back seat/Two hearts pound out a back beat / Headlights, somebody's comin'..." And obviously that last lyric just quoted has a rather sordid double meaning.

36. JUST THE TWO OF US [Grover Washington, Jr. with Bill Withers; 1981; Chart Position on the Billboard Hot 100: #2]

This jazzy ballad, with Withers' heart full o' soul vocals, is a soft-jazz saxfest, later spawning Will Smith's cover (about fathers and sons), Bill Cosby's unlistenable "Just the Slew of Us," and, most hilariously, Dr. Evil's duet with Mini Me in Austin Powers: The Spy Who Shagged Me .

35. MAGNET AND STEEL [Walter Egan; 1978; Chart Position on the Billboard Hot 100: #8]

Inspired by Fleetwood Mac's Stevie Nicks, who sings backup in it, "Magnet and Steel" is totally yachtriffic, with inspiring heavenly harmonies. A sort of musical snapshot of 1978, this light-rock masterwork is featured in the phenomenal Boogie Nights and the phlegmatic Deuce Bigalow: American Gigolo .

34. WHENEVER I CALL YOU FRIEND [Kenny Loggins with Stevie Nicks; 1978; Chart Position on the Billboard Hot 100: #5]

One of the great duet tracks on the list, written by Loggins and Melissa Manchester. When first released, because Stevie Nicks is not credited on the original 45 single, this was officially considered Loggins first solo Top-40 hit.

33. GIVE ME THE NIGHT [George Benson; 1980; Chart Position on the Billboard Hot 100: #4]

Yacht Rock was created for George Benson's jazzy-guitar, cool-funk sensibilities. Although "Give Me the Night" may border on disco, it's not quite there and rests firmly in our beloved Yacht Rock territory.

32. NEVER BE THE SAME [Christopher Cross; 1980; Chart Position on the Billboard Hot 100: #15]

Love never dies, not even after a break up, not even after you've found someone else; that's what this Christopher Cross song teaches us: " The years go by, there's always someone new/To try and help me forget about you/Time and again it does me no good/Love never feels the way that it should..."

31. TIME PASSAGES [Al Stewart; 1978; Chart Position on the Billboard Hot 100: #7]

There's a floating, drifting quality to the song, as '70's mellow as they come. The top single of the year on the Easy Listening charts, "Time Passages" has Al Stewart's thin voice singing, " Drifting into time passages / Years go falling in the fading light / Time passages/Buy me a ticket on the last train home tonight..." If he had sung about a "yacht" rather than a "train," then this classic might rest even higher on the YR list.

30. REAL LOVE [The Doobie Brothers; 1980; Chart Position on the Billboard Hot 100: #5]

29. LOTTA LOVE [Nicolette Larson; 1978; Chart Position on the Billboard Hot 100: #7]

Nicolette Larson sings backup on the Doobie's third biggest hit, "Real Love," and lead on her sweet cover of Neil Young's "Lotta Love." Take the lyric, "It's gonna take a lotta love/To change the way things are..." In Young's version, he comes across as rather somber, yearning, on the verge of melancholia, like it's a wish that he knows can never be fulfilled; Larson sings with a Melanie-like playfulness to a disco-light beat, and in her hands the song becomes life-affirming, vivacious, with a somewhat positive can-do attitude that's not found in the original.

28. I'M NOT GONNA LET IT BOTHER ME TONIGHT [Atlanta Rhythm Section; 1978; Chart Position on the Billboard Hot 100: #14]

This song's sensibility is all Yacht Rock...that the world is in upheaval, and there are terrors out there waiting to destroy us, but who cares when we can save the worry for another day? This outlook stands as the true philosophy of procrastination found in Yacht Rock: " About all the pain and injustice / About all of the sorrow / We're living in a danger zone / The world could end tomorrow/But I'm not gonna let it bother me tonight..."

27. FEELS SO GOOD [Chuck Mangione; 1978; Chart Position on the Billboard Hot 100: #4]

The title of this flugelhorn-driven instrumental says it all.

26. ALL RIGHT [Christopher Cross; 1983; Chart Position on the Billboard Hot 100: #12]

If you're ever down and troubled, then do yourself a favor: Put on Christopher Cross' "All Right," with MM's patented backing vocals, and watch as the bad times wash away and a smile creeps upon your face. This stands as perhaps the most optimistic song ever written: "'Cause it's all right, think we're gonna make it/Think it might just work out this time..."

25. TURN YOUR LOVE AROUND [George Benson; 1981; Chart Position on the Billboard Hot 100: #5]

George Benson + Toto + David Foster + Jay Graydon on guitar + an early use of the Linn LM-1 Drum machine = Yacht Rock platinum status.

24. MINUTE BY MINUTE [The Doobie Brothers; 1978; Chart Position on the Billboard Hot 100: #14]

Listening to this Michael McDonald marvel of mellowness beats Xanax any day.

23. ONE HUNDRED WAYS [Quincy Jones and James Ingram; 1981; Chart Position on the Billboard Hot 100: #14]

What a perfect example of scrumptiously soft soul music with the velvet voice of Mr. Ingram leading the way, singing a litany of 100 things to romance his lady. He's never been better than a moment in this Grammy-winner, when he hits outrageous notes while singing, "Sacrifice if you care/Buy her some moonlight to wear..." To quote Robert Palmer: Simply irresistible.

22. I LOVE YOU [The Climax Blues Band; 1981; Chart Position on the Billboard Hot 100: #12]

This surely plays on rotation in heaven.

21. BAKER STREET [Gerry Rafferty; 1978; Chart Position on the Billboard Hot 100: #2]

Is this the coolest Top-5 hit of the 1970's? With Raphael Ravencroft's searing saxophone riff rivaling anything by Clarence Clemons, the answer must be a resounding YES!

20. FM (NO STATIC AT ALL) [Steely Dan; 1978; Chart Position on the Billboard Hot 100: #22]

Perhaps the only Top-40 hit where the songwriters dare to rhyme "Elvis" with "yells his" and sing about "grapefruit wine." Recorded as the title song for a little-known 1978 film, FM, the significance of this Grammy-winning Steely Dan song cannot go unnoticed. The year it was released was the first time FM radio (clearer sound, no static at all) superseded AM radio (too much static) in listening popularity. So, if you ran an AM station and had to play a song called "FM" in rotation-a song about your competitor, a radio format that was making you obsolete-then what would you do? In the case of some stations, they edited the Steely Dan track and put the "A" sound from the group's song "Aja" where the "F" in "FM" should be. Their newly fine-tuned tune would be called "AM," even though the repeated phrase of "no static at all" would now make no sense whatsoever.

19. COOL NIGHT [Paul Davis; 1981; Chart Position on the Billboard Hot 100: #11]

Paul Davis' ultimate love song, even stronger than his iconic "I Go Crazy." Its boppin' bliss shields the fact that the lead singer is lost: " I sometimes wonder why /All the flowers have to die / I dream about you /And now, Summer's come and gone / And the nights they seem so long ..." But this is Paul Davis, and nothing can bring him down, not when there's a cool night comin' and he invites his love to join him by the fire so that they can bring "back memories of a good life when this love was not so old..." The singer's optimism is so heartfelt, and this being Yacht Rock, we know that these two will ultimately get back together.

18. REMINISCING [Little River Band; 1978; Chart Position on the Billboard Hot 100: #3]

This slick throwback to a black-and-white Cole Porter world should be on any indispensable wedding reception playlist, starting with a young couple falling in love and ending when they're older, spending their hours looking back at their good times. You would think this melodic pop treasure would be a Paul McCartney fave, but in an interesting twist, it was John Lennon who claimed "Reminiscing" as one of his favorite songs.

17. DEACON BLUES [Steely Dan; 1978; Chart Position on the Billboard Hot 100: #19]

This slick, sprawling mega-work about a midlife crisis is the most epic of Yacht Rock songs, its jazzy War and Peace , a veritable A la Recherche du Tremps Perdu . If you want to hear a fan of the University of Alabama cheer, then play them this line: "They call Alabama the Crimson Tide/Call me Deacon Blues." Still, the song is so seriously sober in tone that few people, even the most ardent of Alabama fanatics, will be yelling "Roll Tide!" after hearing it.

16. BABY COME BACK [Player; 1977; Chart Position on the Billboard Hot 100: #1]

Tranquil and comforting even though it was written after two of the Player members suffered recent break-ups. Pop culture has had a heyday with its infectious hook, with "Baby Come Back" popping up in the Transformers, "The Simpsons," "King of the Hill" and even a "General Hospital" ep featuring the band themselves playing this classic live.

15. AFRICA [Toto; 1982; Chart Position on the Billboard Hot 100: #1]

The Gods of Yacht Rock blessed the reign of this "Africa," Toto's sole #1 single that has been hailed by Rolling Stone magazine as "The New 'Don't Stop Believin'." It's been utilized in such works as Stranger Things, South Park and Grand Theft Auto: Vice City . During the funeral of Nelson Mandela, CBS accompanied the footage with this song, raising more than one eyebrow. But if you haven't heard the song in awhile, or have never heard it (who are you?), then please heed the song's advice: "Hurry, boy, it's waiting there for you!"

14. MOONLIGHT FEELS RIGHT [Starbuck; 1976; Chart Position on the Billboard Hot 100: #3]

"The wind blew some luck in my direction/I caught it in my hands today..." One of the earliest Yacht Rock ventures on the list, with nods to French Connections, Ole Miss, the Chesapeake Bay, Southern Belles ("hell at night") and 1974 graduates ("a class of '74 gold ring"). According to Casey Kasem on AT-40, it was also the first song to chart that featured a marimba. Wafts along so joyfully, complete with suggestive giggles at the end of a particularly evocative verse.

13. COOL CHANGE [Little River Band; 1979; Chart Position on the Billboard Hot 100: #10]

In its own way, perhaps the yachtiest song on the list, a plea for escape, to come to terms with nature, to sail away on the "cool and bright clear water." It's not unlike Thoreau's "Walden Pond" set to music: "Well, I was born in the sign of water/And it's there that I feel my best/The albatross and the whales, they are my brothers/It's kind of a special feeling/When you're out on the sea alone/Staring at the full moon like a lover..." With "Cool Change," we don't need to journey outdoors to escape by emracing nature, to climb mountains or to sail the seas; we have the song itself which, to this listener, becomes the perfect escape without ever having to leave the house.

12. THIS IS IT [Kenny Loggins; 1979; Chart Position on the Billboard Hot 100: #11]

"It's not a love song," Loggins once said. "It's a life song." If you want proof of American exceptionalism, go no further than here, because this is it . Although written for personal reasons, the song was needed when America was a bit down and out, "our backs to the corner" so to speak: Long gas lines, the Three Miles Island nuclear catastrophe, the cold war in its iciest state in years, and American hostages in Iran. And this song said it best: "Sometimes I believe/We'll always survive/Now I'm not so sure..." But then he stands tall and proclaims: "For once in your life/Here's your miracle/Stand up and fight!" I look at today, when America and the world once again are down and out (with soaring gas prices, gun violence, Russia invading the Ukraine and extreme tribalism); it's not a bad idea to play "This Is It" at full volume in order to lift our spirits, to help us stand up and fight through these dark days.

11. RIDE LIKE THE WIND [Christopher Cross; 1980; Chart Position on the Billboard Hot 100: #2]

It's like something you'd find in a Sam Peckinpah film: A murderer of ten people is on the run, escaping inevitable execution (by hanging), chased by a posse all the way "to the border of Mexico." And yes, in "Ride Like the Wind," the bad guy gets away with it in this thrilling ride of a song, both driving and jazzy, with the trumpeting death horns and Michael McDonald's background vocals seemingly chasing the outlaw lead singer. Only recently I discovered that the line in the song is "gunned down ten," not "Gunga Din"; am I the only one who misunderstood these lyrics for most of my life?

10. LOWDOWN [Boz Scaggs; 1976; Chart Position on the Billboard Hot 100: #3]

Here's the "dirty lowdown" (the honest truth) about "Lowdown." Boz Scaggs reinvented himself as the sunglasses-at-night bastion of cool with this soft-funk, discofied killer of a track. It was written by Scaggs and David Paich, their first collaboration; Paich, as you may know, would later go on to form the group Toto. Their creation would be honored with a Grammy win for best R&B song, and Scaggs would become the first white artist to win the award in that particular category. It could have also been one of the great additions to the Saturday Night Fever soundtrack, which the filmmakers wanted, but Boz's manager nixed the idea. They lost tons of money and popularity by settling for the soundtrack of the trauma-drama, Looking for Mr. Goodbar , where incidentally I first heard the song and wound up playing it over and over again long after it was a Top-10 hit.

9. LOVE WILL FIND A WAY [Pablo Cruise; 1978; Chart Position on the Billboard Hot 100: #6]

"Shadow Dancing" may have been the #1 song of '78, but it's this Pablo Cruise rollicking heap of pop brilliance that overfilled the radio airwaves that summer the way ivy covers the walls of Harvard. It was everywhere, and you couldn't escape it: "Once you get past the pain/You'll learn to find your love again." Such optimism, such hope, "Love Will Find a Way" became the signature hit of that fun-filled summer. It wasn't deep, but don't worry, it was happy. Pablo Cruise actually exemplifies the YR genre, the positive vibes perfect for summertime paradise by a band long forgotten, now remembered endearingly and, due to the recent adoration of Yacht Rock, justifiably immortalized.

8. ROSANNA [Toto; 1982; Chart Position on the Billboard Hot 100: #2]

The ultimate Toto tune and, thus, one of the Ultimate Yacht Rock entries. Named after Rosanna Arquette, the song became the summer anthem of '82, nesting at #2 for five weeks. The song's West Side Story -inspired music video featured Patrick Swayze, a year before The Outsiders, in a small part and Cynthia Rhodes as the title girl. Sylvester Stallone, who was directing Stayin' Alive at the time, saw Rhodes in the video and immediately cast her as a lead in his film. Stayin' Alive turned out to be a bad film, but it's a great story.

7. PEG [Steely Dan; 1977; Chart Position on the Billboard Hot 100: #11]

Welcome to L.A. where we're at a questionable photoshoot for an actress/model of perhaps ill-repute named Peg; narrating it is a disgruntle, sarcastic boyfriend who keeps her pictures with him and loves her even more due to her fame or infamy. The mention of foreign movies in the lyrics brings to mind seedier fair for our Pag, perhaps pornography. But any Steely Dan darkness that shrouds "Peg" is eclipsed by the jubilant music, so springy, so animated, so full of verve. Add Michael McDonald's patented backing vocals and Jay Graydon's guitar work, and you have nothing less than a fist-in-the-air triumph .

6. I KEEP FORGETTIN' (EVERY TIME YOU'RE NEAR) [Michael McDonald; 1982; Chart Position on the Billboard Hot 100: #4]

The captain of our Yacht Rock, Michael McDonald is everywhere in this 101. If you take only the top 12 songs, his voiceprints can be found somewhere in following: #12, #11, #7, #6, #3 and #1. And this song, his first big solo scribed by both McDonald and Ed Sanford (of the Sanford Townsend Band, famous for "Smoke from a Distant Fire"), obviously typifies the genre as strong as Coca Cola typifies soda. It even boasts the title of an episode of the online video series, "Yacht Rock," which after you've seen it is something you'll never forget.

5. STEAL AWAY [Robbie Dupree; 1980; Chart Position on the Billboard Hot 100: #6]

Yes, it sounds a little too close to the bubbly beat of "What a Fool Believes." And yes, it's the only time you will ever see Robbie Dupree in a Top-10 list during the modern era. But this is a wonder of Yacht Rocky delight, so shallow, so sweetly stupid, and so infectious to the ear. Listening to it might zap a few IQ points away from you, but the song is so agreeable, so toe-tappingly charming, who cares?

4. BIGGEST PART OF ME [Ambrosia; 1980; Chart Position on the Billboard Hot 100: #3]

Michael McDonald did not sing lead or backing vocals in "Biggest Part of Me," and he didn't write it, but he does have a footnote in its creation. When Ambrosia's David Pack scribed the song, the lead singer questioned his own lyrics: " There's a new sun arisin' /I can see a new horizon /That will keep me realizin'/You're the biggest part of me..." He wondered if it was too saccharine sweet for what he wanted, so he called the authority of such things, Michael McDonald. McDonald gave the thumbs up and the rest is Yacht Rock history.

3. HEART TO HEART [Kenny Loggins; 1982; Chart Position on the Billboard Hot 100: #15]

QUESTION: What do you get when your so-good-it-makes-you-wanna-cuss song features the Holy Trinity of Yacht Rock: Kenny Loggins, Michael McDonald and David Foster? ANSWER: A masterpiece.

2. SAILING [Christopher Cross; 1980; Chart Position on the Billboard Hot 100: #1]

Yacht Rock used to be known as the West Coast style, and "Sailing" is its finest example. Hearing it is akin to being on that yacht, wearing that silly captain's hat, and just chilling as the boat gently rocks with the breeze. Its accolades are many: Grammy Awards for Song of the Year, Record of the Year, Arrangemt of the Year and Best New Artist of the Year. Wow. And time has never erased it from our lives. Over the years you could hear the song on "WKRP in Cincinnati," "Family Guy," "Cobra Kai" and Hyundai TV commercials. I don't care who you are or where you are, "Sailing" automatically takes the listener "not far down from paradise." And, like me, you can find tranquility, just you wait and see.

And now for the #1 Yacht Rock song of all time...

1. WHAT A FOOL BELIEVES [The Doobie Brothers; 1978; Chart Position on the Billboard Hot 100: #1]

All right, Mr. and Mrs. Howell, our journey ends here, with this obvious Yacht Rock classic, a song written by our popes of YR, Kenny Loggins and Michael McDonald, where the stars were aligned upon its creation and everything went right. It hit Number One on the charts as well as winning Song of the Year and Record of the Year Grammy Awards. But it's the delectable beat fusing light-jazz and lighter-funk combined with McDonald's smooth velvet vocals that takes "What a Fool Believes" into the coveted top spot. No one can argue that this is the genre's finest three minutes and forty-one seconds. When it pops up on the radio or on your playlist, the world doesn't seem to be such a bad place, not with sophisticated keen pop like this. You have to turn up the volume. And It rightfully stands tall at the Number One position, the bouncy Citizen Kane of Yacht Rock.

And that's that. Have a great summer!

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Playlist of the Week: Top 100 Songs of Yacht Rock

Each week we’re featuring a playlist to get your mind going and help you assemble your favorites. This week we take a deep dive into the soft rock hits of the late ’70s and early ’80s, which have come to be known in some circles as Yacht Rock. The term Yacht Rock generally refers to music in the era where yuppies enjoyed sipping champaign on their yachts — a concept explored in the original web series Yacht Rock, which debuted in 2005 and has developed a cult following. Artists most commonly thought of in the Yacht Rock era include Michael McDonald, Ambrosia, 10cc, Toto, Kenny Loggins, Boz Scaggs, and Christopher Cross. Yacht Rock has become the muse of a great number of tribute bands, and is the current subject of a short-run channel on Sirius XM.

Here is a stab at the Top 100 Songs of Yacht Rock — not necessarily in rank order, with a few more added for honorable mention. We welcome your comments. What songs are ranked too high? What songs are ranked too low? What songs are missing? Make your case. Also, please let us know concepts for playlists you’d like to see — or share a favorite list of your own.

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Yacht or Not?: Sailing the Seas of Yacht Rock

Louis Armstrong said, “If you have to ask what jazz is, you’ll never know.” Duke Ellington said, “There are simply two kinds of music: good music and the other kind.” Christopher Cross said, “If you get caught between the moon and New York City, the best that you can do is fall in love.”

What do these pieces of wisdom add up to? Music, like love, doesn’t follow rules. Musicians as diverse as Armstrong, Ellington and Cross don’t want to be boxed in by genre. They want to write, record and perform and not spend time deciding if they play bebop or hard bop, blues or Southern rock, funk or disco.

But as temperatures heat up and people think of sailing away to find serenity, yacht rock playlists start to float in on the breeze. And that means drawing boundaries with enough latitude that artists don’t object to being boxed in and  still foster playlists with a sense of meaning, a sense of continuity and depth. Peaks and valleys must be smartly balanced against the total annihilation of a common aesthetic. (Yes, despite a fascination with sailing and pina coladas, yacht rock can be taken seriously!)

And so, much to Armstrong’s chagrin, we have to ask, “What is yacht rock?” If it seems obvious, take a look at Spotify’s recent “Yacht Rock” playlist . Spotify is a global streaming leader with some 350 million monthly users, an army of music experts and cutting edge artificial intelligence, and yet the company filled its playlist with songs such as Tears for Fears ’ “Everybody Wants to Rule the World,” Rockwell’s “Somebody’s Watching Me,” Van Morrison ’s “Brown Eyed Girl” and Bruce Hornsby ’s “The Way It Is.”

If somebody wants to create and enjoy a stack of songs that runs from tunes by the J. Geils Band , to the  Police , to Bad Company , to Talking Heads (yup, the company has all these artists on its playlist and even included Ray Parker Jr.’s “Ghostbusters”), they should do that with gusto! It sounds like an evening full of classic jams and fun left turns so cheers to the endeavor. But if a major player in the music business wants to do that and call it yacht rock, we need to take a step back and consider what is and isn’t yacht.

We know breezes, islands, keys, capes, cool nights, crazy love and reminiscing help define the yacht aesthetic (see works by Seals & Crofts , Jay Fergeson, Bertie Higgins, Rupert Holmes, Paul Davis, Poco , and Little River Band ). But let’s get beyond the captain’s caps and map the waters of this perfect-for-summer style.

Watch Bertie Higgins' Video for 'Key Largo' 

Yacht Rock Sets Sail With Help From a 2005 Web Series

Before 2005, people generally placed Toto ’s “ Africa ” and Holmes’ “Escape (The Pina Colada Song)” in the soft rock genre. Maybe if they were getting fancy, they’d call them AM Gold. But in 2005, the online video series Yacht Rock debuted. It fictionalized the careers of soft rock artists of the late ’70s and early ’80s. The cheeky show capitalized on the building renaissance of artists such as Steely Dan and Michael McDonald , who embraced the silliness of the series.

“When it came on I remember watching it pretty avidly,” McDonald admitted in 2018 . “My kids got a huge kick out of it. We would laugh about the characterizations of the people involved. At this point it’s a genre of its own. You’re either yacht or you're not.”

He might be right that you’re either yacht or you’re not. But calling it a genre doesn’t quite work (more on that in a minute).

Listen to the Doobie Brothers' 'Minute By Minute'

Riding the Waters From the Radical ’60s to the Sincere ’70s

By the late ’60s, rock ‘n’ roll had become “art.” The Beatles started as simple teen heartthrobs covering early rock ‘n’ roll, but graduated to the supreme weirdness of the  White Album . Chuck Berry gave birth to the Rolling Stones who gave birth to Led Zeppelin and the gonzo bombast of “Babe I’m Gonna Leave You.” And all sorts of acts went wild from the Grateful Dead , to Pink Floyd , to Frank Zappa  and beyond. The sunshine of ’70s AM Gold came as a reaction to these wonderful excesses. Singer-songwriters aimed to take rock and pop back to the simple pleasures of tight, light tunes such as Beach Boys ’ classics, Motown hits and Brill Building-crafted songs.

Hippies looking for revolution and Gen X-ers on the hunt for rage, irony and sharp edges bristled at the genuine lyrics of tenderness and heartbreak neatly packaged in finely-crafted Top 40. Where the stars and fans of '60s and ’90s rock wanted arty and experimental music, anger and angst, yacht took listeners on a voyage powered by pure earnestness: think of the sincere and intense conviction of Dave Mason’s “We Just Disagree,” Captain & Tennille's "Love Will Keep Us Together," and “Love is the Answer” by England Dan & John Ford Coley.

(Which is why placing the Police or Talking Heads on any yacht mix doesn’t work.)

Yacht rock embodies the final charge of unbridled, heartfelt pop.

“I think these songs remain so popular because they are unabashedly pop,” Nicholas Niespodziani, leader of the hugely successful tribute band  Yacht Rock Revue , explains to UCR. “They’re not self conscious. You couldn’t write a song like ‘Africa’ now. What are they even singing about? Who knows? But it’s fun to sing.”

Watch Captain & Tennille's Video for 'Love Will Keep Us Together'

Music That’s Jazzy, But Sure Isn’t Jazz

Yacht rock doesn’t just have an earnestness to its lyrics, the sax solos come with the same level of sincerity.

If the style was the last gasp of unadulterated pop, it was also the dying breath of jazz’s influence on rock. Jazz rock started in the ’60s with Zappa, Chicago , Santana and Blood, Sweat & Tears , but slowly simple drums and growling guitars stomped horn lines and rhythmic shifts into the ground. However, yacht rock features echoes of swingin’ saxophones, big band horns and Miles Davis ’ fusion projects.

Yacht rock is very pop, but legitimate musical talents made those hooks. Chuck Mangione logged time in jazz giant Art Blakey’s band then took what he learned and crushed complex harmonic ideas into the pop nugget “Feels So Good,” which is basically a Latin-bebop-disco-classical suite. (If you dig “Feels So Good,” dig deeper and groove to smooth jazz mini-symphony “Give It All You Got.”)

Nearly every classic from the style features either an epic sax solo or dazzling guitar part. For horn glory, go spin Little River Band’s “Reminiscing,” Gino Vannelli’s “I Just Wanna Stop” or Grover Washington Jr. and Bill Withers ’ “Just the Two of Us." For six-string wizardry as astounding as anything Jimmy Page came up with (and much more economical), try Atlantic Rhythm Section’s “So Into You,” Pablo Cruise’s “Love Will Find a Way” and pretty much every Steely Dan cut.

(Which is why placing Tears for Fears’ “ Everybody Wants to Rule the World ” and Rockwell’s “Somebody’s Watching Me” on any yacht mix doesn’t work).

Watch the Little River Band's Video for 'Reminiscing' 

A Vibe, Not a Genre or Gender or Demographic of Any Kind

Being a style, a feeling, an aesthetic, a vibe means that yacht rock can pull a song from a wide variety of genres into its orbit. It also means that it’s not just a catalog of hits from bearded white dudes. Yes, Kenny Loggins , McDonald and both Seals and Crofts helped define yacht rock. But quintessential songs from the style came from the women and artists of color, soul singers, folk heroes and Nashville aces.

For every Loggins' tune in a captain’s hat, there’s a Carly Simon track dressed up as your cruise director. Yes, there's Steely Dan's jazz influence, but also  Crosby, Stills & Nash 's folk legacy (“Southern Cross” remains definitively of the style). Yacht rock playlists should also be littered with appropriate R&B gems, such as the Raydio’s “You Can’t Change That” (which features Ray Parker Jr.!), Hall & Oates ’ “Sara Smile” and Kool & the Gang’s “Too Hot.” Likewise, country acts of the era tried to go Top 40 while attempting to retain some twang and managed to make Love Boat music (see Juice Newton’s “Angel of the Morning,” Eddie Rabbit’s “I Love a Rainy Night,” Dolly Parton & Kenny Rogers ’ “Islands in the Stream”).

It’s hard to tell if the Commodores’ “Sail On” is pop or R&B, harder still to know if George Benson’s “Give Me the Night” is pop, R&B or jazz. But they both feel yacht.

(Which is why Santana can do psychedelic Latin music and can do yacht on “Hold On,” and why the Pointer Sisters can do new wave disco with “Neutron Dance” and yacht with “Slow Hand.")

Wishing You a Bon Voyage on the Seas of Yacht

Spotify was right to think about diversity when making its playlist, though the company got the type of diversity wrong. Yacht has some pretty specific sonic parameters, but has no demographic restrictions when it comes to the kind of artists contributing to the style’s catalog. That means when you hit the high seas of yacht, you don’t need to be afraid to fight for your favorites to be included, just please don’t have one of those favorites be “Ghostbusters.”

We began talking about drawing boundaries with enough latitude that artists don’t object to being boxed in. The wide latitude yacht rock affords matters because music comes to define eras and outlines cultural trends (remember that yacht came in reaction to art rock and that says a lot about the swing from the late '60s to the early '80s). Calling Christopher Cross soft rock might feel right, but it doesn't tell us much about where he was coming from and what he was trying to accomplish. Calling Cross yacht rock, now that we know it's not a pejorative, illuminates his aesthetic.

Cross came out of the Texas rock scene that produced blues aces the Vaughan Brothers and guitar shredder Eric Johnson (who plays on a lot of his albums). He loves Joni Mitchell and that shows in his craft. He's jazzy but not jazz (see those horns and guitar on "Ride Like the Wind") with a vibe that's completely yacht -- developed from the scene that took '60s pop, updated it and sheltered it from the trends of punk, metal, new wave and hip hop. The same can be said for Loggins, McDonald, Simon, Lionel Ritchie and so many others.

Spotify needs to tweak its algorithm so it gets this right. Or, better yet, connect with the genre-crossing vibe that makes yacht so unique.

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Yacht Rock: Album Guide

By David Browne

David Browne

Summer’s here and time is right for dancing … on the deck of a large nautical vessel. During the late Seventies and early Eighties, the radio was dominated by silver-tongued white-dude crooners with names like Rupert and Gerry, emoting over balmy R&B beats, swaying saxes, and dishwasher-clean arrangements. Though it didn’t have a name, the genre — soft rock you could dance to — was dismissed by serious rock fans as fluffy and lame. But thanks to a web series in the mid-2000s, the style — belatedly named “ yacht rock ” — has since spawned a satellite-radio channel, tribute bands, and a Weezer cover of Toto’s “Africa.” Is the modern love of the music ironic or sincere? Hard to say, yet there’s no denying yacht rock is a legit sound with a vibe all its own that produced a surprising amount of enduring music perfectly at home in summer. (John Mayer even tips his own sailor’s hat to the genre on his new “Last Train Home” single, and even the aqua-blue cover of his upcoming Sob Rock album.) The resumption of the Doobie Brothers’ 50th anniversary tour, postponed last year due to COVID-19 but scheduled to restart in August, is the cherry atop the Pina colada.

Boz Scaggs, Silk Degrees (1976)

Before yacht rock was an identifiable genre, Scaggs (no fan of the term, as he told Rolling Stone in 2018) set the standard for what was to come: sharp-dressed white soul, burnished ballads that evoked wine with a quiet dinner, and splashes of Me Decade decadence (the narrator of the pumped “Lido Shuffle” is setting up one more score before leaving the country). Add in the Philly Soul homage “What Can I Say,” the burbling life-on-the-streets homage “Lowdown,” and the lush sway of “Georgia,” and Silk Degrees , internationally or not, set a new high bar for Seventies smoothness.

Steely Dan, Aja (1977)

The sophisticated high-water mark of yacht, Donald Fagen and Walter Becker’s masterpiece is the midway point between jazz and pop, with tricky tempo shifts, interlocking horn and keyboard parts, and pristine solos. Not settling for easygoing period clichés, these love songs, so to speak, are populated by a sleazy movie director (the gorgeous rush of “Peg”), a loser who still hopes to be a jazzman even if the odds are against him (the heart-tugging “Deacon Blues”), and a guy whose nodding-out girlfriend is probably a junkie (“Black Cow”). The most subversive cruise you’ll ever take.

The Doobie Brothers, Minute by Minute (1978)

The Doobies got their start as a biker-y boogie band, but they smoothed things out for Minute by Minute . Highlighted by “What a Fool Believes,” the unstoppable Michael McDonald-Kenny Loggins co-write, the LP piles on romantic turmoil, falsetto harmonies, and plenty of spongy electric piano. But it also proves how much personality and muscle the Doobies could bring to what could be a generic sound. McDonald’s husky, sensitive-guy delivery shrouds the unexpectedly bitter title song (“You will stay just to watch me, darlin’/Wilt away on lies from you”)  and honoring their biker roots, “Don’t Stop to Watch the Wheels” is about taking a lady friend for a ride on your hog.

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Further Listening

Seals & crofts, get closer (1976).

The Dylan-goes-electric moment of yacht, “Get Closer” validated the idea that folkie singer-songwriters could put aside their guitars (and mandolin), tap into their R&B side and cross over in ways they never imagined. In addition to the surprising seductiveness of the title hit, Get Closer has plenty of yacht-rock pleasures. In “Goodbye Old Buddies,” the narrator informs his pals that he can’t hang out anymore now that he’s met “a certain young lady,” but in the next song, “Baby Blue,” another woman is told, “There’s an old friend in me/Tellin’ me I gotta be free.” A good captain follows the tide where it takes him.

Christopher Cross, Christopher Cross  (1979)

Cross’ debut swept the 1981 Grammys for a reason: It’s that rare yacht-rock album that’s graceful, earnest, and utterly lacking in smarm. Songs like the politely seductive “Say You’ll Be Mine” and the forlorn “Never Be the Same” have an elegant pop classicism, and the yacht anthem “Sailing” could be called a powered-down ballad. Fueled by a McDonald cameo expertly parodied on SCTV , the propulsive “Ride Like the Wind” sneaks raw outlaw lyrics (“Lived nine lives/Gunned down ten”) into its breezy groove, perfecting the short-lived gangster-yacht subgenre.

Rupert Holmes, Partners in Crime (1979)

The album that made Holmes a soft-rock star is known for “Escape (The Piña Colada Song),” which sports a made-for-karaoke chorus and a plot twist worthy of a wide-collar O. Henry. But what distinguishes the album is the Steely Dan-level musicianship and Holmes’ ambitious story songs, each sung with Manilow-esque exuberance. The title track equates a hooker and her john to co-workers at a department store, “Lunch Hour” ventures into afternoon-delight territory, and “Answering Machine” finds a conflicted couple trading messages but continually being cut off by those old-school devices.

Steely Dan, Gaucho (1980)

The Dan’s last studio album before a lengthy hiatus doesn’t have the consistency of Aja, but Gaucho cleverly matches their most vacuum-sealed music with their most sordid and pathetic cast of characters. A seedy older guy tries to pick up younger women in “Hey Nineteen,” another loser goes in search of a ménage à trois in “Babylon Sisters,” a coke dealer delivers to a basketball star in “Glamour Profession,” and the narrator of “Time Out of Mind” just wants another heroin high. It’s the dark side of the yacht.

Going Deeper

Michael mcdonald, if that’s what it takes  (1982).

Imagine a Doobie Brothers album entirely comprised of McDonald songs and shorn of pesky guitar solos or Patrick Simmons rockers, and you have a sense of McDonald’s first and best post-Doobs album. If That’s What it Takes builds on the approach he nailed on “What a Fool Believes” but amps up the sullen-R&B side of Mac’s music. His brooding remake of Lieber and Stoller’s “I Keep Forgettin’” is peak McDonald and the title track approaches the propulsion of Christopher Cross’ “Ride Like the Wind.” With his sad-sack intensity, McDonald sounds like guy at a seaside resort chewing over his mistakes and regrets – with, naturally, the aid of an electric piano.

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Kenny Loggins, Keep the Fire (1979)

Loggins’ journey from granola folk rocker to pleasure-boat captain embodies the way rock grew more polished as the Seventies wore on. Anchored by the percolating-coffeemaker rhythms and modestly aggro delivery of “This Is It,” another McDonald collaboration, Keep the Fire sets Loggins’ feathery voice to smooth-jazz saxes and R&B beats, and Michael Jackson harmonies beef up the soul quotient in “Who’s Right, Who’s Wrong.” The secret highlight is “Will It Last,” one of the sneakiest yacht tracks ever, fading to a finish after four minutes, then revving back up with some sweet George Harrison-style slide guitar.

Dr. Hook, Sometimes You Win  (1979)

Earlier in the Seventies, these jokesters established themselves with novelty hits like “The Cover of ‘Rolling Stone,’’ but they soon paddled over to unabashed disco-yacht. Sometimes You Win features three of their oiliest ear worms: “Sexy Eyes,” “When You’re in Love with a Beautiful Woman” and “Better Love Next Time,” all oozing suburban pickup bars and the somewhat desperate dudes who hang out there. The album, alas, does not include “Sharing the Night Together,” recently reborn by way of its sardonic use in last year’s Breaking Bad spinoff El Camino .

Carly Simon, Boys in the Trees  (1978)

As a trailblazing female singer-songwriter, Simon was already a star by the time yacht launched. Boys in the Trees features her beguiling contribution to the genre, “You Belong to Me,” a collaboration with the ubiquitous Michael McDonald. The Doobies cut it first, but Simon’s version adds an air of yearning and hushed desperation that makes it definitive. The album also packs in a yacht-soul cover of James Taylor’s “One Man Woman” and a “lullaby for a wide-eyed guy” called “Tranquillo (Melt My Heart),” all proving that men didn’t have a stranglehold on this style.

Anchors Aweigh

More smooth hits for your next high-seas adventure.

“BREEZIN’”

George Benson, 1976

The guitarist and Jehovah’s Witness made the leap from midlevel jazz act to crossover pop star with a windswept instrumental that conveys the yacht spirit as much as any vocal performance.

“WHATCHA GONNA DO?”

Pablo Cruise, 1976

Carefree bounce from a San Francisco band with the best name ever for a soft-rock act — named, fittingly, after a chill Colorado buddy.

“BAKER STREET”

Gerry Rafferty, 1978

Rafferty brought a deep sense of lonely-walk-by-the-bay melancholy to this epic retelling of a night on the town, in which Raphael Ravenscroft’s immortal sax awakens Rafferty from his morning-after hangover.

“REMINISCING”

Little River Band, 1978

The Aussie soft rockers delivered a slurpy valentine sung in the voice of an old man looking back on his “lifetime plan” with his wife. Innovative twist: flugelhorn solo instead of sax.

“WHENEVER I CALL YOU ‘FRIEND’ ”

Kenny Loggins and Stevie Nicks, 1978

After its ethereal intro, this rare genre duet grows friskier with each verse, with both Loggins and Nicks getting more audibly caught up in the groove — and the idea of “sweet love showing us a heavenly light.”

“LOTTA LOVE”

Nicolette Larson, 1978

Neil Young’s sad-boy shuffle is transformed into a luscious slice of lounge pop by the late Larson. Adding an extra layer of poignancy, she was in a relationship with Young around that time.

“STEAL AWAY”

Robbie Dupree, 1980

Is it real, or is it McDonald? Actually, it’s the best Doobies knockoff — a rinky-dink (but ingratiating) distant cousin to “What a Fool Believes” that almost inspired McDonald to take legal action.

“TAKE IT EASY”

Archie James Cavanaugh, 1980

Cult rarity by the late Alaskan singer-songwriter that crams in everything you’d want in a yacht song: disco-leaning bass, smooth-jazz guitar, sax, and a lyric that lives up to its title even more than the same-titled Eagles song.

“BIGGEST PART OF ME”

Ambrosia, 1980

Ditching the prog-classical leanings of earlier albums, this trio headed straight for the middle of the waterway with this Doobies-lite smash. Bonus points for lyrics that reference a “lazy river.”

“I CAN’T GO FOR THAT (NO CAN DO)”

Daryl Hall and John Oates, 1981

The once unstoppable blue-eyed soul duo were never pure yacht, but the easy-rolling beats and shiny sax in this Number One hit got close. Hall adds sexual tension by never specifying exactly what he can’t go for.

“COOL NIGHT”

Paul Davis, 1981

The Mississippi crooner-songwriter gives a master class on how to heat up a stalled romance: Pick a brisk evening, invite a female acquaintance over, and suggest . . . lighting a fire.

“KEY LARGO”

Bertie Higgins, 1981

Yacht’s very own novelty hit is corny but deserves props for quoting from not one but two Humphrey Bogart films ( Key Largo and Casablanca ).

“AFRICA”

The same year that members of Toto did session work on Michael Jackson’s Thriller, they released the Mount Kilimanjaro of late-yacht hits.

“SOUTHERN CROSS”

Crosby, Stills, and Nash, 1982

The combustible trio’s gusty contribution to the genre has choppy-water rhythms and enough nautical terminology for a sailing manual.

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The 20 best guitar solos of all time, ranked

• Since rock and roll music's inception in the 1950s, countless guitarists have delivered mind-bending solos that have become ingrained with the history of the genre. 
• During live solos, Jimi Hendrix frequently played the guitar behind his back, with his teeth, and even when it was on fire.
• Eddie Van Halen's solo on "Eruption" changed the landscape and vocabulary of guitar playing forever. 
• We ranked the 20 best guitar solos ever, and Jimmy Page's "Stairway to Heaven" solo took the top spot. 

• Visit Insider's homepage for more stories .

Few things defined the genre of rock and roll more than the guitar solo. Sometimes powerful and loud, at other times gentle and orchestrated, the guitar solo changed pop culture and the way rock musicians approach composing songs. 

Ranking these solos isn't easy: There are countless solos throughout rock and roll's history that are worthy of recognition. To narrow down the selection process, our ranking only includes studio versions of songs, rather than live performances.

From Carlos Santana's "Europa" to Jimmy Page's "Stairway to Heaven," here are the top 20 guitar solos of all time, ranked.  

20. "Jessica" — Dickey Betts, Allman Brothers Band (1973)

Dickey Betts' Grammy Award-winning instrumental jam is a showcase of the Southern rocker's virtuosity of the guitar.

Throughout the song, Betts conjures a playfully upbeat melody that fits right in the middle of Chuck Leavell's top harmony on the electric piano and Gregg Allman's bottom harmony on the organ. Although the song is grounded by a dominant riff, Betts' playing constantly wheels through new rhythmic variations to keep the train rocking. 

Released in 1973 two years after the death of band leader Duane Allman, Betts shines here as the lead guitarist on the track. 

19. "Johnny B. Goode" — Chuck Berry (1958)

Chuck Berry shaped all future rock and roll songs with the release of his 1958 hit song "Johnny B. Goode." Though it's not the craziest guitar solo ever recorded, it certainly was integral to the development of the instrument and rock and roll because Berry brought elements of the blues and country to electric guitar. 

This is apparent from the opening lick when Berry uses a double stop to play two notes at once while sliding down the first two strings. Throughout the rest of the song, he uses bends and slurs in ways that would be copied by everyone from The Rolling Stones to Jerry Garcia.

It's safe to say that most of the other solos on this list wouldn't be here without Berry and this song, and that electric guitar wouldn't have played such a primary role in the success of rock and roll without "Johnny B. Goode."

18. "Paranoid Android" — Jonny Greenwood, Radiohead (1997)

When "OK Computer" dropped in 1997, it was clear that Radiohead had a masterpiece on its hands. This was ever apparent in the band's lead single "Paranoid Android," which, inspired by The Beatles' "Happiness Is A Warm Gun," can be separated into four distinct parts. 

Guitarist Jonny Greenwood has two solos in the song — a short one in the second section and an epic one in the last part of the song that sends it spiraling to its end. As it switches between 4/4 and 7/8 time, Greenwood's solo weaves through distorted sound effects before ending on a descending chromatic riff.

It's a wicked solo that helped establish "Paranoid Android" as one of Radiohead's biggest hits. 

17. "Crossroads" — Eric Clapton, Cream (1966)

Eric Clapton's spin on Robert Johnson's 1936 Delta blues song "Crossroads" is a classic from the guitar legend's catalog. Over the years it has become one of Clapton's most iconic solos and is a fan-favorite to see live, as the guitarist improvises a new solo each time. 

On the initial recording from 1966, Ginger Baker lays down a driving beat and Clapton goes to work with a dominant riff that he frequently repeats throughout the song. During his solos, Clapton draws from the blues and dances on the high strings, giving us tasty triplets and bends.

What might make the solo most impressive is that Clapton is actually playing on the off beat. He told Guitar World , "Most of that solo is on the wrong beat. Instead of playing on the two and the four, I'm playing on the one and the three and thinking, 'That's the off beat.' No wonder people think it's so good — because it's f---ing wrong."

16. "La Villa Strangiato"— Alex Lifeson, Rush (1978)

In my opinion, Alex Lifeson is one of the most criminally underrated guitarists in progressive and classic rock, largely because he was overshadowed on recordings by Neil Peart's virtuosic drumming and Geddy Lee's imaginative bass playing. But on "La Villa Strangiato" Lifeson showcased his abilities with two insanely crisp solos.

The first is a Spanish classical guitar solo that starts out slow to ease us in before gradually building to an impressive winding flamenco riff. 

The second solo is the vehicle that lets the band build up to the song's climactic breakdown. It starts out ambient and grooves along until Lifeson is screeching through slides and landing mind-bending licks. What stands out here is Lifeson's use of silence; it makes the delivery of each new phrase that much more impactful. 

15. "Texas Flood" — Stevie Ray Vaughan, Stevie Ray Vaughan and Double Trouble (1983)

Known for Hendrix-esque stage antics and effortless blues solos, Stevie Ray Vaughan had a certain magic to his playing, as well as soloing that is unrivaled. When he was in a groove it was like he and the guitar were one entity, and listeners could feel the emotion being portrayed through his playing. 

Arguably his best solo is on the track "Texas Flood." He seamlessly weaves stanky blues licks in between each of the song's verses and relies heavily on vibrato and string bends to achieve his signature sound.

An underrated part of these solos is the warm and tender tone of Stevie's guitar, which delivers the idea of devastating floodwaters to listeners' ears with ease.

14. "Sympathy For The Devil" — Keith Richards, The Rolling Stones (1975)

"Sympathy for the Devil" is amazing in many aspects: It's one of popular music's best songs ever recorded, it's an amazing dance song, and it also features Keith Richards' best guitar solo. 

As Mick Jagger sings from the perspective of the devil in each verse, he's building up for Richards to take over with his solo. Against the background of the samba rhythm coming from the percussion, Richards lets loose a howling solo.

He isn't constantly shredding throughout the entire last three minutes of the song. Instead, the empty space in between each of his crunchy licks emphasizes the power of his solo and keeps the listener on edge waiting for the next run to grace their ears. 

13. "Hotel California" — Don Felder and Joe Walsh, The Eagles (1976)

Over the years this quintessential Laurel Canyon jam has turned into somewhat of a yacht rock classic, but "Hotel California" features one of the best solos in rock history. While others on this list earned a spot for their technicality, what Felder and Walsh prove here is that sliding into the pocket and grooving a more laid back solo can also prove to be just as successful. 

As the two duel back and forth it's like they're communicating through their guitars. The solo features dramatic slides and iconic triplets that have become a favorite for air-guitaring over the years. 

12. "Europa (Earth's Cry Heaven's Smile)" — Carlos Santana, Santana (1976)

On this beautiful instrumental, Carlos Santana's guitar isn't just translating the guitar legend's beautiful playing, it's singing.

From the beginning of the song, the power of Santana's tone is apparent, driving the sorrowful nature of the track home. With about a minute-and-a-half left in the song, Santana's playing begins to seem frenetic. Energized by the clash of the drums, Santana speeds up and begins to shred, sustaining bends on the high strings and spitting out licks effortlessly. 

Santana's solo has made "Europa" a signature track from the band and is what many consider its best instrumental. 

11. "While My Guitar Gently Weeps" — Eric Clapton, The Beatles (1968)

Not counting session musicians, The Beatles almost never featured other artists on their records. On the rare occasion when George Harrison tapped his friend Eric Clapton to play guitar on "While My Guitar Gently Weeps," he surprisingly didn't want to record the track because "nobody ever plays on The Beatles' records." But after some convincing and a promise that it would sound "Beatles-y," he laid down one of the rock world's most legendary solos. 

What makes this solo so poignant is the meaning behind the song. Harrison wrote it as a social commentary about the abundance of hate in the world and humanity's inability to love one another. The song is summed up perfectly in the lyric "the love there that's sleeping."

Clapton captured the emotion of the song perfectly; it's as if with each sorrowful string bend he is pouring out his heart through his guitar. Unsurprisingly the meaning still holds up well today. Despite the fact that a non-Beatle recorded it, I'd argue this is the best guitar solo in the band's catalog.

10. "Voodoo Child (Slight Return) — Jimi Hendrix, The Jimi Hendrix Experience (1972)

Upon hearing the first few notes of "Voodoo Child," even a non-guitar player can tell that there's something about the way Jimi's playing the guitar that's  special.  It's a disorienting pattern of oscillating wah sounds created by the wah-wah pedal. 

While Frank Zappa originally put the wah-wah pedal to use before introducing it to Hendrix and Eric Clapton , Hendrix would ultimately popularize the effect. Throughout the song, Jimi's guitar also features his signature feedback screech — something else he helped popularize — which he created by bringing his guitar in close range to his amps.

The solo is a masterclass in shredding and showcases Jimi's toolbox of effects that helped leave his mark in rock guitar history.

9. "Brighton Rock" — Brian May, Queen (1974)

"Brighton Rock" is a song often overshadowed by Queen's other hits, partly because the energetic soloing on the track is out of character compared to the theatrical solos found on more grandiose tracks like "Bohemian Rhapsody." 

But May's solo on this track is arguably his best. About two minutes into the song, May begins small with some tasteful triplet runs, with lots of echo and delay. A minute later, he picks up the pace and shreds some blues riffs.

But one of the best parts is May's energy with drummer Roger Taylor, who comes in with syncopated hits and uses the hi-hats to build on the suspense and power of May's playing. 

8. "One" — Kirk Hammett, Metallica (1988)

Kirk Hammett's epic solos throughout Metallica's hit song are nothing short of breathtaking.

He begins the song slow and clean by soloing over some Spanish-influenced chords. Hammett returns to that motif in his second solo but elevates it with some slick triplets. On his final, critically acclaimed solo, Hammett dials into the militaristic sounds of gunfire and war that James Hetfield is producing. Later, he switches to some blisteringly fast triplets and throws in a few bends. 

The song, and surely Hammett's solo, would go on to earn the band its first Grammy for Best Metal Performance. 

7. "Purple Rain" — Prince, Prince and the Revolution (1984)

Before "Purple Rain," the world knew that Prince was more than capable of creating pop hits like "Little Red Corvette" or "I Wanna Be Your Lover." But after the 1984 album and song of the same name dropped, it became clear that Prince could shred. 

The emotion at the center of "Purple Rain's" guitar solo is a big reason why it's so memorable. It's at once evocative of the pain haunting Prince yet hopeful that the rain will cleanse him of his sorrow. The rock world has been better off ever since Prince's fiery blues licks graced the airwaves.

6. "Free Bird" — Allen Collins and Gary Rossington, Lynyrd Skynyrd (1973)

Would a best guitar solos list even be complete without "Free Bird"? While I may think the song is a bit overhyped, there's no denying the latter half is a riotous feat of guitar soloing. When played live it often turned into an extended jam session that showcased just how explosive the Skynyrd boys could be while improvising. 

As guitarists Gary Rossington and Allen Collins duel solos back and forth, they use bends and hammer-ons and have an absolute shredfest. As the solo goes on it's almost impossible to stop yourself from dancing along to this Southern rock anthem. 

The "Free Bird" solo left an indelible mark on the guitar world and whenever live shows happen again, you can bet you'll hear someone shout "Play 'Free Bird'!"

5. "November Rain" — Slash, Guns N' Roses (1991)

"November Rain" could have been like any other hair rock-era power ballad, but thanks to Slash's guitar solos, it lives on as one of the best guitar songs to date. 

The song starts out sentimental and Slash's first two solos mirror that, producing mournful melodies that affect the listener. Slash's final solo during the last two minutes of the song, however, is a triumphant juxtaposition compared to the wails of sorrow pouring out of his guitar during the main portion of the song.

His epic, driving conclusion is a reminder that no matter how bad the heartbreak, better times are on the horizon. 

4. "Comfortably Numb" — David Gilmour, Pink Floyd (1979)

David Gilmour's solos in "Comfortably Numb" are acts of genius. They portray the exact feelings the song is trying to convey — loss, melancholy, survival —  and are so emotionally powerful they hit you right in the soul and make your hairs stand up. It's hard to do anything but close your eyes and nod along in amazement at the sounds produced by Gilmour's playing. 

What's important is that Gilmour's solos are melodious — they are a continuation of the ideas in the song's verses and choruses and help push the narrative arc of the song toward its climactic end.

3. "Eruption" — Eddie Van Halen, Van Halen (1978)

When Van Halen dropped its self-titled debut album 1978, people freaked out when they heard "Eruption" for the first time. No one had ever made melodies by tapping the way Eddie Van Halen did. 

As I previously wrote after Eddie's death: The "Eruption" solo is "full of chromatic tapping, hammer-ons, and dive bombs yet there's nothing about it that seems superfluous, every single note helps hook the listener in. Even more impressive – or perhaps frustrating to other guitarists – is that the solo started off as a riff Eddie would jam with Alex while warming up for a gig or before the 'Van Halen' recording session until producer Ted Templeman encouraged him to record it."

The solo forever changed the landscape and vocabulary of rock guitar playing and it instantly became a measure of success whether or not you could play the "Eruption" solo. 

2. "All Along the Watchtower" — Jimi Hendrix, The Jimi Hendrix Experience (1968)

Jimi Hendrix loved Bob Dylan's body of work and played many of his songs throughout his career but his rendition of "All Along the Watchtower" is among his best playing. It also gifted the world one of the best guitar solos ever. 

The fact of the matter is that in 1968 when the song released, guitarists just weren't doing the things Jimi was doing. Through the song's four solos his distinct psychedelic tone mixed with his innovative playing style — in the third solo he used a cigarette lighter for the slides and his trademark wah-wah pedal is most present in the fourth solo — give "Watchtower" its frenzied spirit. It's no wonder the song became the anthem of the Vietnam War. 

According to Rolling Stone , Bob Dylan told the Fort Lauderdale Sun Sentinel in 1995 that he thought Hendrix improved his song. "He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn't think of finding in there. He probably improved upon it by the spaces he was using."

1. "Stairway to Heaven" — Jimmy Page, Led Zeppelin (1971)

Since its release in 1971, "Stairway to Heaven" has topped numerous lists as the best rock song and best guitar solo of all time, and it's primarily thanks to the masterful architecture of Jimmy Page's guitar solo. 

Page begins his solo on a 12-string acoustic guitar and keeps things slow and mellifluous, the pastoral lilt of his playing fitting in perfectly with Robert Plant's smooth vocals. About halfway through the song, John Bonham's driving drums come in and Page begins building the speed and power of his playing, preparing listeners for the song's epic crescendo. With about 2:07 left in the tune, Page switches to electric guitar and starts his gnarly solo filled with the bends, hammer-ons, and pull-offs that have made it a classic — all before crashing to the song's dramatic resolution. 

"Stairway" immediately became the defining track on "Led Zeppelin IV" and cemented itself as one of the greatest guitar songs of the classic rock era. 

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Best Guitar Solos: 40 Face-Melting Fretwork Performances

From rip-roaring metal bends to soul-stirring vibrato, the best guitar solos push guitarists to the edge with earth-shattering consequences.

The history of rock’n’roll has been defined by the virtuosity of countless legendary guitarists, all of whom have pushed their musicianship to the brink of near-impossibility. With dextrous skill, the best guitar solos remind us why rock music remains a life-affirming art form that continues to astonish us with the force of a hurricane and the power of an earthquake. Here, then, is our run-down of the 40 finest examples of face-melting fretwork fireworks…

Listen to our Rock Classics playlist here , and check out our pick of the best guitar solos of all time, below.

40: the darkness: i believe in a thing called love (from ‘permission to land’, 2003; guitarists: justin hawkins, dan hawkins).

On a mission to bring the Lycra-clad stage antics of 70s hard-rock back into the mainstream, The Darkness saw their debut album, Permission To Land go truly stratospheric with the 2003 single I Believe In A Thing Called Love is more than just a novelty throwback. Though frontman Justin Hawkins tackles a couple of solos himself, it’s his brother, Dan, who takes on the biggest challenge by launching into a sensational contender among the best guitar solos.

Straddling the line between over-the-top flamboyance and pitch-perfect phrasing, Hawkins’ solo is completely worthy of his brother’s epic introduction (“GUITAR!” Justin yells, giving Dan the nod to uncage his inner rock god). “Right from the start, this song stuck out like a sore thumb,” Dan later said of I Believe In A Thing Called Love. “It’s at the Def Leppard/Queen end of what we did, whereas 90 per cent of our stuff was inspired by 70s AC/DC. And Aerosmith. And Thin Lizzy. Oh, I could go on!”

39: Steely Dan: Peg (from ‘Aja’, 1977; guitarist: Jay Graydon)

Underpinned by myriad unusual chords inspired by the jazz backgrounds of Steely Dan founders Walter Becker and Don Fagen, Peg was released as a single in November 1977, and stood out largely thanks to session wizard Jay Graydon’s virtuosic guitar solo. Sliding up and down the fretboard like a mysterious medicine man, Graydon never fails to cast his spell from the moment he double-bends listeners into awe-struck catatonia.

As notoriously hard taskmasters, Becker and Fagen hunted high and low to find the best guitarist to perfectly nail Peg, lucking out when Graydon entered the studio. “Every studio guitar player wanted to be on a Steely Dan record,” Graydon told Inside MusiCast. “I was just hoping my solo would make it on the record. All the time I hear: ‘Man, that’s one of the best guitar solos of all time!’ I’m not saying that – that’s what I hear.”

38: Toto: Rosanna (from ‘Toto IV’, 1982; guitarist: Steve Lukather)

Hitting the US Top 10 in 1982, Toto’s yacht-rock classic Rosanna sails along to a half-time shuffle before blindsiding listeners with guitarist Steve Lukather’s scorching guitar solo during the song’s jazzy denouement. “I tend not to be so flashy,” Lukather told Guitar Player . “It just doesn’t come across most of the time. On something like Rosanna, I played a solo at the end which was never rehearsed.”

In other words, what’s since been hailed as one of the best guitar solo of all time was totally improvised on the spot. Utilising some delectable tone bending to summon his most tasty licks, Lukather’s impromptu performance lifts Rosanna into metaphysical realms.

37: Neil Young: Cortez The Killer (from ‘Zuma’, 1975; guitarist: Neil Young)

Telling the story of Spanish conquistador Hernán Cortés and the fall of the Aztec Empire, Neil Young ’s Cortez The Killer uses a discordant, fuzz-laden effect on his long-serving “Old Black” Les Paul to paint a grim sonic picture with his guitar solo. Savage and yet intricately melodic, it’s a masterful performance that sits among the best Neil Young songs , and it perfectly complements the real-life historic story Young vividly evokes in his lyrics.

Twenty years after the song was released, Lou Reed admitted to being one of Neil Young’s biggest admirers – particularly after hearing Young’s 1975 album Zuma – and positively gushed about the Canadian rocker’s spine-tingling guitar work. “The guy is a spectacular guitarist,” Reed said. “Those melodies are so marvellous, so calculated, constructed note to note… he must have killed to get those notes. It puts my hairs on end!”

36: Chicago: 25 Or 6 To 4 (from ‘Chicago’, 1970; guitarist: Terry Kath)

While it may be easy to take Terry Kath’s guitar solo on Chicago’s 25 Or 6 To 4 for granted nowadays, it’s important to remember just how groundbreaking it was at the time. Released in 1970, not only was it one of the longest guitar solos on a pop song up to that point, but Kath’s use of feedback and sustain was particularly innovative.

A dynamic example of how a guitar solo can elevate a song to new heights, 25 Or 6 To 4 remains a fitting testament to Terry Kath’s incredible skill as a player. Tragically, Kath died in 1978, at the age of 31, after accidentally shooting himself, but his legacy lives on thanks to the indelible influence he had on the many guitarists who followed him.

35: Dream Theater: Constant Motion (from ‘Systematic Chaos’, 2007; guitarist: John Petrucci)

Full of complex runs and licks, John Petrucci’s fast-paced solo on Constant Motion, from Dream Theater’s 2007 album, Systematic Chaos , is a wondrously ambitious prog-metal marvel. Clocking in at over eight minutes long, it’s clear Petrucci put a lot of time and effort into perfecting this solo, navigating the song’s many different time-signature changes and tempo shifts.

Despite the song’s difficulty, Petrucci makes it look easy with his flawless guitar playing: the perfect showcase for his jaw-dropping technical proficiency and sheer bloody-minded musicality, Petrucci’s solo is a challenge for even the most seasoned musicians to play. It’s astonishing how Dream Theater ever got the ball rolling on Constant Motion, but we should be thankful they did.

34: Mastodon: Oblivion (from ‘Crack The Skye’, 2009; guitarist: Brent Hinds)

Delivering a fine guitar solo that sends chills down the listener’s spine, Brent Hinds’ performance on Mastodon’s 2009 single Oblivion is the audio equivalent of watching a knight joust with a fire-breathing dragon. Bearing its fangs on the band’s fourth studio album, Crack The Skye , it’s a fiery blast of progressive metal that burns its way into the memory as one of the best guitar solos of all time.

Beginning with a slow build up, Hinds’ solo starts at around the song’s 3.32 mark and lasts around a minute, increasing in intensity as it goes on. It’s just one example of why Hinds is considered to be one of the best metal guitarists in the world.

33: Muse: Reapers (from ‘Drones’, 2015; guitarist: Matt Bellamy)

Tucked away on Muse’s seventh album, Drones , Matt Bellamy’s superlunary solo on Reapers is one of the guitarist’s greatest. Overseen by iconic AC/DC and Def Leppard producer Robert John “Mutt” Lange, there’s a touch of glam metal to Reapers, whose savage takedown of drone warfare boasts an Eddie Van Halen -esque guitar performance that returned Bellamy to his rock roots.

Spidery and convoluted, Bellamy’s hyperactive fretwork tangles around treadle-controlled pitch-shifting aided by the magical squealing of his DigiTech Whammy pedal. As one of Muse’s finest rock moments, Reapers was released as the sixth single from Drones , and fans continue to fawn over Bellamy’s captivating solo, hailing it as one of his greatest performances.

32: The Smashing Pumpkins: Cherub Rock (from ‘Siamese Dream’, 1993; guitarist: James Iha)

By the time The Smashing Pumpkins released their second album, Siamese Dream , in 1993, their guitarist James Iha was already a force to be reckoned with. The album’s lead single, Cherub Rock, bore the unmistakable shriek of Iha’s guitar and contained a searing solo that is equal parts melody and noise.

Built around a simple three-note motif, Iha uses his solo to distil the band’s signature sound: alternately beautiful and abrasive, with an underlying sense of melancholy. His use of vibrato and note bends gives the solo a pleading quality, as if he’s begging the listener to understand. Don’t worry, James, we understand perfectly.

31: ZZ Top: La Grange (from ‘Tres Hombres’, 1973; guitarist: Billy Gibbons)

Coming straight out of the heart of Texas with their long-flowing beards, blues-rock powerhouse ZZ Top scored a No.41 hit on the US Hot 100 with La Grange, a propulsive two-chord rocker about a Southern brothel. With pure-power tube distortion and a fuzz-laden shuffle, guitarist Billy Gibbons feeds his deeply-felt love of the blues into a Marshall amp and delivers a barnstorming solo that kick-started ZZ Top’s lengthy career in the spotlight.

Inspired by a John Lee Hooker song called Boogie Chillen’, what makes Gibbons’ performance on La Grange one of the best guitar solos of all time is how vampishly it rides along to the song’s relentless backbeat. “We did three takes of the solo, and I just went off into the ozone,” Gibbons told Guitar Player magazine. It proved to be a star-making performance that remains a fan favourite among the best ZZ Top songs .

30: Fleetwood Mac: Albatross (standalone single, 1968; guitarist: Peter Green)

When it comes to iconic guitar solos, nothing quite compares to Peter Green ’s performance on Fleetwood Mac ’s Albatross. The understated and elegant solo – a laidback instrumental of reverb-addled tones with a beguiling surf-rock twang – makes the most of the song’s sparse arrangement and allows Green to lull listeners into a daydream.

With vibrato and bending techniques that give Green’s performance a feeling of yearning and nostalgia, Albatross became a huge hit in the UK and peaked at No.1, even inspiring The Beatles to emulate it on the Abbey Road track Sun King. It’s no wonder that Albatross endures as one of the best Fleetwood Mac songs – it’s a true classic in every sense of the word.

29: Boston: More Than A Feeling (from ‘Boston’, 1976; guitarist: Tom Scholz)

Demonstrating his mastery of the Gibson Les Paul, Tom Scholz’s barnstorming guitar solo on Boston’s most famous single, More Than A Feeling, helped the track become one of the best rock songs in history when it peaked at No.5 on the US Hot 100 in September 1976.

“It’s a piece of music that really takes me to someplace else when I listen to it,” Scholz told Entertainment Weekly . Combining bluesy licks with complex melodic runs, the guitarist’s star-making turn is well and truly captivating, earning its place among the best guitar solos by sheer force of will.

28: Rush: Limelight (from ‘Moving Pictures’, 1981; guitarist: Alex Lifeson)

Though there are ample instances of Alex Lifeson’s fast and frenetic playing throughout Rush’s catalogue, the guitarist has cited his work on Limelight as his own personal favourite. “The sound itself is quite pure, and, with all of the dives and the falling repeats, it feels very, very fluid to me,” Lifeson told Guitar magazine in 1996.

As always, Lifeson’s playing is full of technical wizardry, showcasing his fondness for suspended chords and arpeggios, but it never sounds forced. Instead, Limelight’s solo flows naturally and enhances an already great song. It’s no wonder it occupies a special place in Lifeson’s heart.

27: Judas Priest: Painkiller (from ‘Painkiller’, 1990; guitarists: KK Downing, Glenn Tipton)

Released as a single in 1990, Judas Priest’s Painkiller sees guitarists KK Downing and Glenn Tipton trade licks back and forth, creating a sense of urgency and excitement that is simply unbeatable. For one thing, the song pioneered a unique soloing technique called sweep picking. From goosebumps-inducing tapping and slick legato licks through to whammy-bar high jinks, Painkiller has it all.

Downing’s playing is particularly noteworthy, employing harmonics and vibrato to effectively convey the intensity of the song’s subject matter. However, Tipton’s melodic and catchy solo is no less impressive, acting as the yin to Downing’s yang. Truly ahead of its time, Painkiller more than earns its place among the best guitar solos of all time.

26: Ram Jam: Black Betty (from ‘Ram Jam’, 1977; guitarist: Bill Bartlett)

One of the most memorable songs of the 70s, it’s not difficult to appreciate why Ram Jam’s whip-cracking hit, Black Betty, became a classic-rock favourite. A fast-paced and energetic take on a blues standard, the song’s galloping solo sees guitarist Bill Bartlett deliver a thoroughbred performance.

Sliding his fingers up and down the strings, Bartlett uses vibrato and picks the strings as if coursing along a race track, flying towards the finish line like a prize-winning stallion. It all ensures Black Betty as a safe bet among the best guitar solos in rock.

25: Red Hot Chili Peppers: Dani California (from ‘Stadium Arcadium’, 2006; guitarist: John Frusciante)

Widely considered to be one of the best 90s musicians , guitarist John Frusciante, of Red Hot Chili Peppers , has created numerous solos worthy of legendary status. However, on Dani California, the lead single from the Chili Peppers’ 2006 album, Stadium Arcadium , he cut loose with arguably his most wild and primal solo yet.

Feverish and complex, Frusciante’s fretwork expertly conjures depth of feeling and palpable emotion. Varying his volume and tone like a master, it’s a bravura performance that proves why the guitarist is so respected by his peers.

24: Avenged Sevenfold: Bat Country (from ‘City Of Evil’, 2005; guitarists: Synyster Gates, Zacky Vengeance)

Inspired by the gonzo spirit of Fear And Loathing In Las Vegas author, Hunter S Thompson, Bat Country is not only one of best Avenged Sevenfold songs , it also features an incredible guitar duel between Synyster Gates and Zacky Vengeance.

Both highly talented musicians, Gates and Vengeance’s instrumental stand-off brilliantly draws upon their incredible skills to capture the dark, brooding mood of the song’s lyrics. High-powered and fast-moving, Bat Country boasts the best guitar solo of the 2000s, and it remains a trippy and mind-altering listening experience.

23: Slipknot: Psychosocial (from ‘All Hope Is Gone’, 2008; guitarists: Mick Thomson, Jim Root)

Guitarists Mick Thomson and Jim Root both lay down some serious shredding on Slipknot’s 2008 single Psychosocial, one of the most memorable songs on the nu-metal group’s fourth album, All Hope Is Gone . Containing not one but two riotous guitar solos, the song finds the masked duo on blazingly good form throughout.

Thomson’s solo is up first, tearing through the riff with ease before unleashing a flurry of fast runs and tapping licks. Root’s solo follows, taking a more melodic approach, full of emotion and feeling, while still packing plenty of punch. It makes for a wild ride from start to finish.

22: Michael Jackson: Beat It (from ‘Thriller’, 1983; guitarist: Eddie Van Halen)

After receiving a surprise invite from producer Quincy Jones, guitarist Eddie Van Halen visited Michael Jackson’s recording studio to lay down a soon-to-be iconic solo for the singer’s 1983 single Beat It. Amazingly, Eddie came up with the goods in around 20 minutes, dutifully wringing the neck of his guitar to make it screech and wail with howls of sublime distortion.

As one of the best guitar solos in pop history, Van Halen’s work on the track helped Beat It win Record Of The Year at the 1984 Grammy Awards, and the song quickly became an MTV-era classic. Amazingly, the guitarist recorded the solo entirely for free. “I did it as a favour,” he said. “I was not used. I knew what I was doing – I don’t do something unless I want to do it.”

21: The Rolling Stones: Sympathy For The Devil (from ‘Beggars Banquet’, 1968; guitarist: Keith Richards)

With lyrics sung from the perspective of the Prince Of Darkness, The Rolling Stones’ devilish slice of samba-flavoured rock proved the perfect showcase for guitarist Keith Richards’ exemplary soloing. With twangy fervour, Sympathy For The Devil sees Richards cast a voodoo-like spell over the listener with a master class of vicious vibrato and fiendish feel.

Richards has rarely topped the deliciously diabolical feats he achieves here. Easily one of the best guitar solos he ever delivered, it is the sonic embodiment of wickedness and the perfect foil to Jagger’s poetic posturing. Though the Stones’ studio version is, naturally, spectacular, the live version of Sympathy For The Devil on Get Yer Ya-Ya’s Out! is perhaps the finest demonstration of Keith Richards’ improvisatory talents, capturing him at the peak of his powers during a show at Madison Square Gardens, New York City, in 1969.

20: Black Sabbath: Paranoid (from ‘Paranoid’, 1970; guitarist: Tony Iommi)

When it comes to the pioneers of heavy metal, there are few guitar players more influential than Tony Iommi. Forced to rely on bending, vibrato and power chords to compensate for losing his fingers in an industrial accident, Iommi delivered a solo on Black Sabbath’s Paranoid that moves at breakneck speed without sacrificing any of his bluesy feel.

Pummelling the listener with quick, roots-based licks over a dark and portentous drum groove, Iommi’s jackhammering solo quickly saw the song gain widespread recognition as a proto-metal anthem. Helping to define the sound of heavy metal in the 70s, it remains a master class in hard-rock alchemy.

19: Iron Maiden: The Trooper (from ‘Piece Of Mind’, 1983; guitarist: Adrian Smith)

A true legend beloved by metalheads, Adrian Smith’s work for Iron Maiden has inspired generations of guitarists. The band’s 1983 single The Trooper, taken from their fourth album, Piece Of Mind , places his fast and melodic guitar style centre stage, stealing the show with a memorable and catchy solo.

Using a variety of techniques, among them vibrato, palm muting, and tone bending, Smith’s solo walked the harmonic tightrope between tension and release, and quickly came to be regarded as one of the best guitar solos heavy metal had to offer. Cementing the sound of a burgeoning genre, it leaves little doubt over the impact the best Iron Maiden songs have had on the world.

18: AC/DC: Back In Black (from ‘Back In Black’, 1980; guitarist: Angus Young)

One of the most iconic and recognisable solos of all time, Angus Young’s performance on AC/DC’s Back In Black not only showcases some of the Australian axeman’s most legendary licks but also his all-round prowess. His use of space and silence, combined with his technical ability, easily makes it one of the best guitar solos in hard rock. Having already won listeners over with the song’s riffs, Young builds up to a series of fast runs that show off his incredible proficiency, leading to a spectacular solo that culminates in a huge bend that sustains for several seconds.

17: Deep Purple: Highway Star (from ‘Machine Head’, 1972; guitarist: Ritchie Blackmore)

Though Highway Star is far from being the first rock’n’roll song written about a fast car, this Deep Purple cut, which opens the group’s sixth album, Machine Head , deserves credit for pioneering what would later be called “speed metal”. Ritchie Blackmore’s solo is a diesel-powered marvel, unashamedly breaking speed limits with a whiplash-inducing fusion of driving hard-rock and – of all things – classical music.

“I played those very rigid arpeggios across that very familiar Bach progression,” Blackmore revealed to Guitar World magazine. Grooving along to Jon Lord’s organ, Blackmore bestowed us with one of the best guitar solos and established Deep Purple as a pioneering force in the development of heavy metal. Without it, the likes of Motörhead and Metallica may never have existed.

16: Pantera: Floods (from ‘The Great Southern Trendkill’, 1996; guitarist: Dimebag Darrell)

With typically biblical bombast, Pantera’s Floods sees guitarist Dimebag Darrell ride a sonic wave like Noah fighting the seas on his ark. With frontman Phil Anselmo’s lyrics mining the book of Genesis, the song was clearly the start of something new for the band. Building to ambitiously catchy arpeggios, Dimebag starts off slowly but, by the time his solo reaches its squealing conclusion, it’s clear he’s single-handedly made Floods one of the best Pantera songs.

Doubling up on his bars in a similar manner to Ozzy Osbourne’s guitarist Randy Rhoads, Dimebag’s solo is a blistering highlight on the band’s eighth album, The Great Southern Trendkill , and it brought Pantera into metal’s upper echelons. In 2004, Dimebag Darrell, aged just 38, was fatally shot by a crazed fan at an Ohio nightclub. His legacy as one of metal’s greatest guitarists lives on.

15: Megadeth: Tornado Of Souls (from ‘Rust In Peace’, 1990; guitarist: Marty Friedman)

Auditions rarely get better than this. Guitarist Marty Friedman joined former Metallica member Dave Mustaine’s thrash metal group, Megadeth, for their fourth album, Rust In Peace , and immediately blew the group away with his high-speed solo for Tornado Of Souls. Fast and aggressive, the six-minute wonder is riff-heavy and laser-focused, erupting thanks to Friedman’s otherworldly intuition for grandiloquent soloing.

Even more remarkable is the fact that Friedman’s solo was entirely improvised in the studio. “I just remember thinking that it was a lot of space to fill with a guitar solo,” he said in a fan Q&A on his website. Upon hearing Friedman’s ear-splitting exploits for the first time, a speechless Mustaine shook the guitarist’s hand in silent admiration.

14: Metallica: Fade To Black (from ‘Ride The Lightning’, 1984; guitarist: Kirk Hammett)

Introducing music theory to Metallica’s game-changing thrash-metal sound, the band’s second album, Ride The Lightning , became what many consider to be the group’s mainstream breakthrough. New guitarist Kirk Hammett was clearly out to prove himself, if his career-defining performance on the six-minute epic Fade To Black is anything to go by. As if his sweeping introductory riffs weren’t enough, the improvised solo Hammett launches into towards the end of the song astounded listeners with its lightning-fast arpeggiated picking and breakneck legato licks.

Offering a window onto the Ennio Morricone-inspired landscape Metallica would roam on their self-titled 1991 album (aka “The Black Album”), Fade To Black stands out as an unfurling emotional journey from its melodic verses to its fast-moving metal breakdown. Not only does it contain one of Hammett’s best guitar solos, it’s quite possibly Metallica’s greatest musical achievement.

13: Ozzy Osbourne: Mr Crowley (from ‘Blizzard Of Ozz’, 1980; guitarist: Randy Rhoads)

After fronting one of the best rock bands in history, Ozzy Osbourne’s post-Black Sabbath renaissance owed a lot to the genius of guitarist Randy Rhoads. Rhoads’ performance on Mr Crowley, the second single taken from Ozzy’s debut solo album, Blizzard Of Ozz , boasts not one but two hot-fingered guitar solos, wowing listeners with his innate virtuosity. From chromatic wizardry to pentatonic pull-offs, his work on Mr Crowley emulates the tapping style Eddie Van Halen perfected, while also adding lashings of fluid legato licks with ultra-speedy gusto.

A defining element one of the greatest metal songs of all time, the guitarist’s magic was captured during an After Hours TV appearance in 1981. Right up until his tragic death, in a plane crash at age 25, Rhoads inspired millions of metalheads with his incredible prodigiousness and mind-boggling guitar chops. Metal would never be the same again.

12: Cream: Crossroads (from ‘Wheels Of Fire’, 1968; guitarist: Eric Clapton)

By recording a cover version of Robert Johnson’s Down To The Crossroads for their hybrid studio/live album, Wheels Of Fire , Eric Clapton was more than prepared to flaunt his mastery of the blues. Already a legend in his own time, Clapton’s performance on Crossroads is a freewheeling and ramshackle affair, his solo veering perilously close to losing tempo but ultimately emerging victorious and earning “Slowhand” his place among the world’s best guitarists .

With scalding bluesy phrasings and white-hot disjointedness, Crossroads is tempestuous and evocative, with Clapton’s solo throwing fuel on the fire of the rootsy original and forging a new path for high-energy blues-rock. The best guitar solos always push things forward to furtive territory, and this one is no exception. It ignited the cinder path that bands such as Led Zeppelin would later follow.

11: Prince: Purple Rain (from ‘Purple Rain’, 1984; guitarist: Prince)

There’s no denying Prince ’s multifarious talents, but on the Purple Rain album ’s title track he proved that an MTV-era pop star could rank among the rock’n’roll elite. A power ballad boasting an epic guitar solo that etched magenta on a million hearts, Prince’s regal performance is by turns impassioned and bombastic.

Beyond all doubt, Purple Rain stands as one of the best Prince songs and shows its creator at the top of his game. Making guitarists green with envy at The Purple One’s sheer virtuosity, the live performance he unleashed at the close of his March 1985 concert at Syracuse, New York, was truly out of this world. Placing him at the heart of the cultural lexicon in a hooded sequined cloak fit for royalty, it was a moving and career-defining turn from a bona fide musical genius.

10: Dire Straits: Sultans Of Swing (from ‘Dire Straits’, 1978; guitarist: Mark Knopfler)

Nobody expected a pub-rocker to become a rock superstar, but Mark Knopfler dreamt big. Dire Straits’ debut single, Sultans Of Swing caught notice thanks to the scintillating sounds of Knopfler’s guitar solo, which stuck out from like a sore thumb in an era dominated by disco and punk. Smooth and easygoing, it ranks among the best guitar solos for the way in which Knopfler’s clean-as-a-whistle tone builds into a flurry of frantically played arpeggios.

As the song peaked at No.4 in the US and No.8 in the UK, it immediately thrust Dire Straits into the mainstream – a position they would hold well into the 80s. Just like that, Knopfler proved you could go from riffing in dreary pubs to selling out stadiums.

9: The Beatles: While My Guitar Gently Weeps (from ‘The Beatles’, 1968; guitarist: Eric Clapton)

It says something of Eric Clapton’s generosity that he gifted The Beatles with one of his best guitar solos of all time. Invited to Abbey Road Studios (then EMI Studios) by his friend George Harrison, Clapton’s guest performance on While My Guitar Gently Weeps remains one for the ages. Almost literally making a Gibson Les Paul cry, he wrings every ounce of emotion from Harrison’s sorrowful melody.

Bringing life to the sentiment behind Harrison’s song, Clapton’s performance remains a signature moment for any guitar lover. It’s also the only time The Beatles invited a different lead guitarist to play a solo on their record. No wonder they didn’t do so again – this one is impossible to beat.

8: Van Halen: Eruption (from ‘Van Halen’, 1978; guitarist: Eddie Van Halen)

Known for pioneering a unique style of guitar tapping that was soon added to heavy metal’s growing box of tricks, Eddie Van Halen redefined the electric guitar for the 80s. Nowhere is this piloted more successfully than on 1978’s hard rock instrumental Eruption. Like a volcano bubbling with lava, the tune explodes with classical-inspired cadence, its tricksy triads demonstrating the guitarist’s unconventional approach to rock’n’roll.

Showy and excessive, Eruption was a highlight from Van Halen’s debut album and emboldened rock guitarists to try something completely new. Soon enough, tapping was all over the commercial radio stations, as Eddie’s performance set the blueprint for any aspiring metalhead to wrap their fingers around. From hyperactive fretwork to squalling distortion, Eruption was released as the B-side to Van Halen’s second single, Runnin’ With The Devil, but that didn’t stop radio stations playing it. It still sounds like nothing else.

7: Guns N’ Roses: Sweet Child O’ Mine (from ‘Appetite For Destruction’, 1987; guitarist: Slash)

Nobody could have predicted that Guns N’ Roses would find a home on MTV. Too rough to be glam but too musically accomplished to remain part of Los Angeles’ hard rock underground, the band’s breakout single, Sweet Child O’ Mine, was a breath of fresh air from a rock scene overrun with hair-metal bands. Undoubtedly, this was partly thanks to Slash’s coruscating guitar solo, which amounted to a Gibson-aided assault on the senses. Deafeningly loud and life-changing, it reignited the wider world’s then-dormant passion for rock’n’roll.

Plugging into a wah-wah pedal and dangling a cigarette from his mouth, Slash moodily winds his industrious fingers around Sweet Child O’ Mine’s magnificent solo with an attitude that verges on nonchalance. Making him a rock icon overnight, his solo also helped Guns N’ Roses’ debut album, Appetite For Destruction , sell over 30 million copies worldwide to date.

6: Eagles: Hotel California (from ‘Hotel California’, 1976; guitarists: Don Felder, Joe Walsh)

In a simple case of double or quits, the twin guitar solos on Eagles ’ panoramic soft-rock ballad Hotel California showcases a duelling battle of one-upmanship between Don Felder and Joe Walsh. It’s Felder who primarily holds the fort, kicking against the song’s six-string groove like a bellhop demanding a pay rise from an incalcitrant boss.

Having said that, there’s clearly something elemental going on here. “Every once in a while it seems like the cosmos part and something great plops into your lap,” Don Felder later told Guitar World. As if making music out of stardust, Felder and Walsh end up taking turns at soloing with undeniable panache, blessing the Hotel California album ’s title track with one of the best guitar solos ever. As one of the best Eagles songs , too, it’s not only an FM radio classic – it’s a modern standard.

5: Lynyrd Skynyrd: Free Bird (from ‘(Pronounced ’Lĕh-’nérd ’Skin-nérd)’, 1973; guitarist: Allen Collins)

Sometimes jokingly considered an albatross around the neck of rock’n’roll, the solo on Free Bird became short-hand for guitar overkill, no doubt thanks to guitarist Allen Collins’ blistering four-and-a-half-minute performance. Astonishingly, Lynyrd Skynyrd’s live show often stretched the solo even longer, brilliantly displaying the Southern rock group’s extraordinary jamming prowess.

Collins’ fretwork is, however, nothing short of majestic, soaring well beyond the song’s flighty chord arrangement to go down in history as one of the best guitar solos. Tragically, in 1977, Lynyrd Skynyrd’s plane crashed in Mississippi, killing some of the band’s members, but Collins miraculously survived. Refusing to have his seriously damaged arm amputated, he was later paralysed in a car accident and died of chronic pneumonia in 1990. Needless to say, his music still flies as high as ever.

4: Queen: Bohemian Rhapsody (from ‘A Night At The Opera’, 1975; guitarist: Brian May)

Though Queen’s six-minute rock opera Bohemian Rhapsody was originally written on piano by frontman Freddie Mercury, Brian May added a touch of guitar-laced grace to proceedings. With a whirling solo that makes this ode to a wayward son infinitely more dramatic, May extravagantly crams in lashings of leaping harmonics and high frequencies without compromising the song’s eccentric genius.

His incendiary soloing acts as a prelude to Bohemian Rhapsody’s operatic section, dazzling the listener with busy-fingered brilliance before bemusing us with the song’s unexpected U-turn. With endless replay value, May’s performance never gets old and fully deserves its place among the best guitar solos. The guitarist would go on to create increasingly ambitious solos in Queen’s later years, but this one captures a magic that would rarely be replicated again.

3: The Jimi Hendrix Experience: All Along The Watchtower (from ‘Electric Ladyland’, 1968; guitarist: Jimi Hendrix)

Jimi Hendrix ’s breathtaking solo on his cover of Bob Dylan’s All Along The Watchtower is a true work of art. “It overwhelmed me, really,” Dylan said of Hendrix’s work. “He had such talent, he could find things inside a song and vigorously develop them.” Taken from The Jimi Hendrix Experience’s third album, Electric Ladyland , Hendrix’s soloing initially starts off with mellow tones before his innovative use of delay pedals eventually lifts the song to unassailable heights.

Masterful and mesmerising, it left little doubt in anyone’s mind about Jimi Hendrix’s superlative talents. Still regarded as one of the greatest guitarists of all time, Hendrix’s high-octane All Along The Watchtower performance proves his genius and stands tall among the best guitar solos for completely reinventing Bob Dylan’s original folky tune. It’s arguably the definitive cut.

2: Led Zeppelin: Stairway To Heaven (from ‘Led Zeppelin IV’, 1971; guitarist: Jimmy Page)

Unmoored from Led Zeppelin’s bluesy bedrock and more attuned to the free-floating melancholy of English folk, Stairway To Heaven found guitarist Jimmy Page flaunting his innate skill on his Gibson EDS-1275 like a stage-bound angel stretching his wings. Of all the moments that make up the best Led Zeppelin songs , Page’s solo has acquired almost mythic status.

“It was a milestone for us,” the guitarist told Rolling Stone in 1975, four years after the song had appeared on Led Zeppelin’s untitled fourth album. “Every musician wants to do something of lasting quality, something which will hold up for a long time, and I guess we did it with Stairway.” Page was preaching to the converted. His solo on Stairway To Heaven takes a song about fate into the celestial realm, the guitarist hurling himself skyward with a divine performance that continues to inspire quasi-religious awe.

1: Pink Floyd: Comfortably Numb (from ‘The Wall’, 1980; guitarist: David Gilmour)

Topping our list of the best guitar solos, David Gilmour’s fretwork on Comfortably Numb provides a high point on Pink Floyd’s 1980 album, The Wall . A rousing rock ballad, the song is elevated by Gilmour’s goosebumps-inducing solo – a hugely emotive and undeniably vital performance which ebbs and flows with woozy finesse.

Incontestably, Comfortably Numb is musically inventive and truly rapturous to behold. As Gilmour touches the clouds, his fingers moving like blissful tendrils stretching to the heavens, there can be no doubt that this, one of his best guitar solos, more than earns its place among Pink Floyd’s grandest accomplishments. Only the uncomfortably numb would argue with that.

You’ve heard the best guitar solos of all time, now find out our best guitar riffs : the licks that changed the face of rock.

Original article: 2 November 2021

Updated: 29 October 2022

• Led Zeppelin
• Iron Maiden
• Red Hot Chili Peppers
• Fleetwood Mac
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Kirk Hammett’s 10 greatest Metallica guitar solos

The solos that have elevated Metallica guitarist Kirk Hammett to ‘legend’ status

Metallica are the biggest metal band on the planet, which means that more people have listened to Kirk Hammett play than other guitarist from the genre. Since jumping ship from thrash pioneers Exodus back in the early 80s – taking the riff for future classic Creeping Death with him – he’s helped shape Metallica’s sound for more than 40 years. When new metal guitarists break through, you can guarantee Kirk was an influence without needing to ask. These 10 classic Hammett solos prove why.

10. Seek and Destroy

All Hammett’s solos are structured into distinct phrases which answer each other musically. That’s most obvious here, when the sections are broken up by bouts of riffing. Right from the beginning there was more method than madness, and Kirk’s balance of composition and spontaneity gave his solos huge appeal. In keeping with Kill ‘Em All ’s aesthetic, many of the licks here are classic metal ideas, just delivered harder and faster.

9. Eye of the Beholder

When he joined Metallica, Kirk was taking lessons from the legendary Joe Satriani , a man who knows a thing or two about guitar melodies. The initial break on this …And Justice For All cornerstone shows Kirk had been paying attention, as he develops a simple theme into a masterful lead break. He then comes back for a second bite, this time supplying eerie lines that raise the technical bar without compromising the melody.

8. The Unforgiven

Having made his name soloing at frenetic tempos, Kirk took the chance on the black album to show what he could do over a grinding, Sabbathy metal groove. Always more of a blues player than most of his peers, here Kirk sounds like a jet-fuelled Jimmy Page. Where early Kirk sounded like a teenage joyrider speeding through a city, here he sounds like Godzilla eating one.

7. Creeping Death

Kirk had obviously been listening to Swedish shred pioneer Yngwie Malmsteen when he came up with this  (in his defence, a lot of guitarists thought this was acceptable in 1984). But where Yngwie couldn’t write a song if his Ferrari collection depended on it, Kirk was armed with a fistful of instant metal classics. His pyrotechnic solo puts this one over the top.

6. Wherever I May Roam

One of Kirk’s most important contributions is popularising phrygian scales in metal. They were more associated with flamenco than thrash before Kirk spotted their metallic potential. Wherever I May Roam is a prime example of Kirk exploiting exotic sounds for his own twisted ends.

How do you produce a solo intense enough to match these riffs? With omnipresent wah and this perfectly-judged freakout. This break is relentless without being monotonous, with Kirk’s wild string bending breaking up the shred barrage. The second half is more melodic, a euphoric release from the preceding chaos. No guitarist can deliver a shot of adrenalin like Kirk.

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4. Fade to Black

For the epic outro to this, Kirk shows a brilliant awareness of how to build excitement. His entrance is restrained, a melodic theme that builds anticipation for the fireworks to come. He pays homage to the 70s masters of the outro solo, channelling first UFO ’s Michael Schenker and then Thin Lizzy ’s Scott Gorham.

3. Master of Puppets

Amid the talk of his fast playing, Kirk’s melodic phrasing is consistently undervalued. The gorgeous break at 4:11 makes everything sound even more brutal when the band starts breathing fire again. The shred blitz that follows is among Kirk’s best executed. The 80s weren’t exactly short on whammy bar action, but the spectacular harmonic at 5:50 is as good as it ever got.

2. Enter Sandman

More people have air guitared to Enter Sandman than any other Kirk classic, and this is clearly a solo that was written to be played in stadiums. Hammett peels off a sequence of infectious phrases that are as memorable as the song’s chorus. This was a new side to Kirk: the solo you could sing. If George Harrison had played metal, he’d have done it like this.

The solos over the clean sections early on are moments of beauty amidst unrelenting bleakness. When Kirk unleashes at 5:46, it’s catharsis for all the trauma up to that point, a virtuoso primal scream. Guitarists consistently vote this Kirk’s best solo, but it appeals far beyond guitar nerds. One made Metallica MTV stars in no small part because of the raw fury of its guitar climax. When Kirk and Lars sync up for the stabs at the end, fist pumping is compulsory.

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“There’s spite and aggression in the performance”: Unreleased Prince documentary suggests his iconic While My Guitar Gently Weeps solo was an “act of revenge” against Rolling Stone

Prince's famous solo from the 2004 Rock & Roll Hall of Fame induction ceremony was performed a year after Rolling Stone omitted him from its 100 Greatest Guitarists list

A documentary that may never be released has shed new light on Prince’s famous While My Guitar Gently Weeps guitar solo from the 2004 Rock & Roll Hall of Fame induction ceremony, which was reportedly performed in part to spite Rolling Stone magazine.

Prince’s legendary career was filled with plenty of iconic onstage electric guitar moments, but the night he was finally inducted into the Hall of Fame is especially notable.

On that night, Prince joined Tom Petty, Steve Winwood, Jeff Lynne and Dhani Harrison for a cover of While My Guitar Gently Weeps , during which he ripped through a powerfully moving solo.

It was long seen as an exemplary display of Prince’s guitar prowess, and while that still holds true, it seems there is slightly more to the solo. In a feature recently published by The New York Times Magazine , which focuses on Ezra Edelman's new nine-hour Prince documentary, that night is cast in a new light.

As the documentary reports, Prince’s solo was “an act of revenge” designed to spite Rolling Stone , who had left the musician off its 100 Greatest Guitar Players Of All Time list the year before his RRHOF induction.

His response to being omitted from the list? Unleash a guitar solo so epic that it would forever live on in the memory of music fans, and cap it off by launching his guitar in the air. It would become one of Prince’s enduring guitar legacies.

As The New York Times Magazine reports, “On its face, it’s a supreme expression of Prince’s superiority and bravura. But the film gives it a new context. Questlove, on the screen, talks about his disbelief, the previous year, when Rolling Stone made a list of the 100 greatest guitar players of all time, and Prince was left off it.

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“Prince nursed these kinds of slights, and his commandeering of the stage – at an event associated with [founder] Jann Wenner and Rolling Stone – was, in part, an act of revenge. There’s spite and aggression in the performance. But there’s also pain – in his wincing face, his apartness: a small, soigné Black man onstage with these rumpled white rockers.”

Those who shared the stage with Prince that night knew they were witnessing history.

In 2016, following Prince’s death, Petty told The New York Times, “You see me nodding at him, to say, ‘Go on, go on.’ He just burned it up. You could feel the electricity of ‘something really big’s going down here.'”

Prince’s solo clearly made quite the impression, and Rolling Stone avoided making the same mistake when it came to assembling its recently updated list of the 250 Greatest Guitarists Of All Time .

Published last year, that list put Prince in 14th place – a huge improvement after being completely left off the lineup two decades ago. That new list wasn’t without its own controversies , though, and was called out for having omitted a number of indisputable game-changers.

The release of Edelman's nine-hour Prince documentary is currently in doubt. As The New York Times Magazine reports, the artist's estate is attempting to block it, worried it will tarnish Paisley Park's reputation.

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Matt is a Senior Staff Writer, writing for Guitar World , Guitarist and Total Guitar . He has a Masters in the guitar, a degree in history, and has spent the last 16 years playing everything from blues and jazz to indie and pop. When he’s not combining his passion for writing and music during his day job, Matt records for a number of UK-based bands and songwriters as a session musician.

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