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**Official Yacht Rock Headquarters** - It's time to feel good (1 Viewer)

It's Friday morning. You haven't slept. You're still trying to get over the breakup with your girl. The night before, some bromigos convinced you to come out with them to get some drinks at a bar called O'Malleys. See if you can find some ladies to take your mind off things.

 Come on, they said. It'll be fun, they said. And it was, for a time. But it didn't last. Just after "last call," the DJ decided to play one last banger, and YOU'RE HIT BY A THUNDERBOLT.

The next thing you know, you're swept out onto the dance floor. And you just sway. Everything makes sense again. You and your lady. Together again. Everything is gonna be just fine.

But then the house lights come up, and you realize you're swaying by yourself. So you skulk out of the place. You buy a dime bag and a handful of pills off Chico in the parking lot. On the way back to your apartment, you hit the Piggly Wiggly and pick up some mint chocolate chip, a family-size bag of Funyons and three bottles of Chablis. Because that's all you can afford.

You know you're in a dark place. At first, you try to fight it. You think, maybe SOME TV WILL CHEER ME UP.

But it doesn't work. You find yourself spread-eagle on the shag carpet, empty ice-cream carton at your side, eating Funyons lint out of your belly button, Chablis bottles in tatters.

You start dedicating songs to yourself on the radio station. You even feather your bangs again. YOU'RE SPIRALLING OUT OF CONTROL NOW. All you want is to love and to be loved.

Time doesn't exist now. The amphetamines are kicking in. You're back. Bouncing around the place. It's your manic phase. Nothing can stop you now.

You finally find your happy place, but then the mailman walks through your open front door and sees you standing on the couch, naked except for your favorite afghan, SINGING INTO AN ICE-CREAM SCOOP.

You finally black out. You put yourself back together Saturday night and head out to the Regal Beagle. Your friends are there. They ask you, "What the heck happened to you the other night?"

And you have no choice. YOU TELL THEM THE TRUTH.

 
BeTheMatch said:
It's Friday morning. You haven't slept. You're still trying to get over the breakup with your girl. The night before, some bromigos convinced you to come out with them to get some drinks at a bar called O'Malleys. See if you can find some ladies to take your mind off things.

 Come on, they said. It'll be fun, they said. And it was, for a time. But it didn't last. Just after "last call," the DJ decided to play one last banger, and YOU'RE HIT BY A THUNDERBOLT.

The next thing you know, you're swept out onto the dance floor. And you just sway. Everything makes sense again. You and your lady. Together again. Everything is gonna be just fine.

But then the house lights come up, and you realize you're swaying by yourself. So you skulk out of the place. You buy a dime bag and a handful of pills off Chico in the parking lot. On the way back to your apartment, you hit the Piggly Wiggly and pick up some mint chocolate chip, a family-size bag of Funyons and three bottles of Chablis. Because that's all you can afford.

You know you're in a dark place. At first, you try to fight it. You think, maybe SOME TV WILL CHEER ME UP.

But it doesn't work. You find yourself spread-eagle on the shag carpet, empty ice-cream carton at your side, eating Funyons lint out of your belly button, Chablis bottles in tatters.

You start dedicating songs to yourself on the radio station. You even feather your bangs again. YOU'RE SPIRALLING OUT OF CONTROL NOW. All you want is to love and to be loved.

Time doesn't exist now. The amphetamines are kicking in. You're back. Bouncing around the place. It's your manic phase. Nothing can stop you now.

You finally find your happy place, but then the mailman walks through your open front door and sees you standing on the couch, naked except for your favorite afghan, SINGING INTO AN ICE-CREAM SCOOP.

You finally black out. You put yourself back together Saturday night and head out to the Regal Beagle. Your friends are there. They ask you, "What the heck happened to you the other night?"

And you have no choice. YOU TELL THEM THE TRUTH.
Click to expand...


Sounds like a hell of a weekend.  But now we've veered off from Yacht Rock and we've just got a soundtrack of easy listening hits.  

And I can't hear a Bee Gees song anymore without hearing Fallon and Timberlake.

 
Today's offering:

Ace - How Long?

"How long has this been going on" sure sounds like something a guy would say to his cheating lover, but this song has a very different meaning. Ace bass player Terry Comer was working with other bands - he played briefly with The Sutherland Brothers and Quiver - and he didn't tell his bandmates, who felt cheated when they found out.

Ace lead singer Paul Carrack wrote the song; when he appeared on the BBC Breakfast news program he was asked about the inspiration. Rather than being about a two-timing lover it was, he said, about another band who were "trying to nick our bass player."

"How Long?" was one of the first songs he ever wrote and remains one of his biggest hits. It was released on the Anchor label in 1974, backed by "Sniffin' About" and produced by John Anthony for Neptune Productions. It has been recorded many times since. Comer, the bass player a rival band were trying to "nick," returned in time to play on the original recording.

Carrack went on to sing for Squeeze and Mike And The Mechanics and had a solo hit with "Don't Shed a Tear."

This was Ace's only hit. They broke up in 1977.

 
BeTheMatch said:
It's Friday morning. You haven't slept. You're still trying to get over the breakup with your girl. The night before, some bromigos convinced you to come out with them to get some drinks at a bar called O'Malleys. See if you can find some ladies to take your mind off things.

 Come on, they said. It'll be fun, they said. And it was, for a time. But it didn't last. Just after "last call," the DJ decided to play one last banger, and YOU'RE HIT BY A THUNDERBOLT.

The next thing you know, you're swept out onto the dance floor. And you just sway. Everything makes sense again. You and your lady. Together again. Everything is gonna be just fine.

But then the house lights come up, and you realize you're swaying by yourself. So you skulk out of the place. You buy a dime bag and a handful of pills off Chico in the parking lot. On the way back to your apartment, you hit the Piggly Wiggly and pick up some mint chocolate chip, a family-size bag of Funyons and three bottles of Chablis. Because that's all you can afford.

You know you're in a dark place. At first, you try to fight it. You think, maybe SOME TV WILL CHEER ME UP.

But it doesn't work. You find yourself spread-eagle on the shag carpet, empty ice-cream carton at your side, eating Funyons lint out of your belly button, Chablis bottles in tatters.

You start dedicating songs to yourself on the radio station. You even feather your bangs again. YOU'RE SPIRALLING OUT OF CONTROL NOW. All you want is to love and to be loved.

Time doesn't exist now. The amphetamines are kicking in. You're back. Bouncing around the place. It's your manic phase. Nothing can stop you now.

You finally find your happy place, but then the mailman walks through your open front door and sees you standing on the couch, naked except for your favorite afghan, SINGING INTO AN ICE-CREAM SCOOP.

You finally black out. You put yourself back together Saturday night and head out to the Regal Beagle. Your friends are there. They ask you, "What the heck happened to you the other night?"

And you have no choice. YOU TELL THEM THE TRUTH.
Click to expand...


simply outstanding work here. 

🥇

 
otb_lifer said:
always struck me as "What A Fool Believes" played sideways 

📺
Click to expand...
Robbie admitted it may have been "based on" a Michael McDonald/Doobie Brothers song. Interestingly, McDonald sings backup on this song. Because it's a Yacht Rock song, and by rule, he has to.

 
BeTheMatch said:
Today's moment of zen:

Hall & Oates - She's Gone
Click to expand...
Released on the 1973 album, Abandoned Luncheonette, the soaring and forlorn ballad, “She’s Gone,” is one of the more personal songs for the popular and platinum-selling 1970s soul duo, Hall & Oates. Written in the group’s upper eastside New York City home apartment, “She’s Gone” was inspired by real heartbreak and buoyed by the comradery of deep friendship that’s often needed to get over a pain in order to move forward with life.

Even though the song was written nearly five decades ago, the feeling of loss expressed in the lyrics is as poignant now as it was in the era it was composed.

Oates had this to say about the origin of the song:

What was happening was we were sharing an apartment on the upper eastside in New York, which I didn’t really care for, that neighborhood in New York City. I never felt comfortable there. I always loved Greenwich Village. So, every opportunity I had I would always go to Greenwich Village and hang out downtown in SoHo and hit the clubs and music venues and things like that.

I was downtown one night. It was December, it was freezing cold, it was very late, like 2 o’clock in the morning. There was a soul food restaurant that was open. I think it was called, The Pink Tea Cup, on Bleaker Street. I went in there to get a bite to eat and this gal came in. She was dressed in cowboy boots and a tutu. I remember it well. She sat down, we began to talk and hang out.

We started hanging out together and I asked her if she wanted to get together on New Year’s Eve, which was coming up. She said yes but she didn’t show up that night. So, instead, I sat in the house by myself and started plunking around the guitar and coming up with this folky kind of chorus saying that, well, if she’s not coming tonight, then she’s probably never coming. That’s how “She’s Gone” was born, in terms of the chorus idea.

Then Daryl got back a few days later. He had gone through a breakup of his own. So, he and I sat down and we kind of pooled our sorrowful resources, so to speak. We began to write. He came up with the idea for the verse. We just pulled my chorus and his verse together. We picked very, kind of, you know, poetic but simple lyrics for the verse that really just somehow embodied loss. I think it’s a universal loss but done in a very personal way.

 
BeTheMatch said:
Released on the 1973 album, Abandoned Luncheonette, the soaring and forlorn ballad, “She’s Gone,” is one of the more personal songs for the popular and platinum-selling 1970s soul duo, Hall & Oates. Written in the group’s upper eastside New York City home apartment, “She’s Gone” was inspired by real heartbreak and buoyed by the comradery of deep friendship that’s often needed to get over a pain in order to move forward with life.

Even though the song was written nearly five decades ago, the feeling of loss expressed in the lyrics is as poignant now as it was in the era it was composed.

Oates had this to say about the origin of the song:

What was happening was we were sharing an apartment on the upper eastside in New York, which I didn’t really care for, that neighborhood in New York City. I never felt comfortable there. I always loved Greenwich Village. So, every opportunity I had I would always go to Greenwich Village and hang out downtown in SoHo and hit the clubs and music venues and things like that.

I was downtown one night. It was December, it was freezing cold, it was very late, like 2 o’clock in the morning. There was a soul food restaurant that was open. I think it was called, The Pink Tea Cup, on Bleaker Street. I went in there to get a bite to eat and this gal came in. She was dressed in cowboy boots and a tutu. I remember it well. She sat down, we began to talk and hang out.

We started hanging out together and I asked her if she wanted to get together on New Year’s Eve, which was coming up. She said yes but she didn’t show up that night. So, instead, I sat in the house by myself and started plunking around the guitar and coming up with this folky kind of chorus saying that, well, if she’s not coming tonight, then she’s probably never coming. That’s how “She’s Gone” was born, in terms of the chorus idea.

Then Daryl got back a few days later. He had gone through a breakup of his own. So, he and I sat down and we kind of pooled our sorrowful resources, so to speak. We began to write. He came up with the idea for the verse. We just pulled my chorus and his verse together. We picked very, kind of, you know, poetic but simple lyrics for the verse that really just somehow embodied loss. I think it’s a universal loss but done in a very personal way.
Click to expand...


this is the most gorgeous thing they ever laid down ... just too ####in' smoove for their own good, a luscious slice of BES.

🖤

 
<hot take>

There is very little about this genre that can be reasonbly classified as "rock" at all, yacht or otherwise.

Most of it is freaking "pop" on its best day, and an uncomfortable amount of it is actually skirting veeeeery, veeeery closely to the borders of "AM Gold."

</hot take>

Ill leave you all to your England Dan and John Ford Coley/Hamilton, Joe Frank, & Reynolds mashups now.  Good day.

 
5-ish Finkle said:
<hot take>

There is very little about this genre that can be reasonbly classified as "rock" at all, yacht or otherwise.

Most of it is freaking "pop" on its best day, and an uncomfortable amount of it is actually skirting veeeeery, veeeery closely to the borders of "AM Gold."

</hot take>

Ill leave you all to your England Dan and John Ford Coley/Hamilton, Joe Frank, & Reynolds mashups now.  Good day.
Click to expand...


Randy VanWarmer farts in your general direction.

:banned:

 
Last edited by a moderator:
zamboni said:
If you’re going to have this tune, at least have the Academy Award-caliber promotional video.
Click to expand...
Okay.... this changes everything.

- John Oates in just a tuxedo half shirt with the requisite "Oatesian"-level porn 'stache.

- Darryl Hall at the height of his femme phase, half-assing his lip sync while smoking and making it rain on the most LGBTQ Satan ever committed to celluloid

Well played, yacht rock. Well played.

 
Last edited by a moderator:
Today's bonus comes in the form of more brass:

Chicago - 25 or 6 to 4

I linked the live version because I find it astonishing that they could even come close to the studio sound while performing this live.

The song “25 or 6 to 4” appeared on “Chicago II” and was written by organist/vocalist Robert Lamm. The title and lyrics have puzzled many since it appeared in 1970. Some say it’s a drug reference, suggesting a unit of measurement involving the quantity of joints that can be rolled from a what-used-to-be dime bag. Some feel it’s about looking for spiritual revelation, undergoing a mysterious soul-searching journey.

Perhaps you’re too young to recall that in the late ’60s and ’70s it was a popular parlour game — if not quite an intellectual pursuit — to read hidden messages and double meanings into song lyrics. Many people thought “Hey Jude” was about shooting heroin. Just about everything Bob Dylan wrote went through hours of scrutiny by his fans. Did you ever check into the “Hotel California” by the Eagles? Many of the Rolling Stones songs were supposedly about drugs, though it’s hard to ignore the more explicit meanings (“You make a dead man come.”) What about “I Am the Walrus,” which was supposedly written on an acid trip about Paul McCartney’s greatly exaggerated and rumored demise? Goo goo g’joob, baby.

Lamm says it’s simpler than that. “The song is about writing a song. It’s not mystical,” he says. Take a look at some of the lyrics:

Waiting for the break of day — He’s been up all night and now it’s getting close to sunrise.

Searching for something to say — Trying to think of song lyrics.

Flashing lights against the sky — Perhaps stars or the traditional flashing neon hotel sign.
Giving up I close my eyes — He’s exhausted and his eyes hurt from being open too long, so he closes them.
Staring blindly into space — This expression can be seen often on the faces of writers and reporters. Trust me.
Getting up to splash my face — Something you do when you’re trying to stay awake, though a good cup of Starbuck’s does wonders for Cecil and me.
Wanting just to stay awake, wondering how much I can take — How far can he push himself to get the song done?
Should I try to do some more? — This is the line that makes many think it’s a drug song. But it is just as easily construed as a frustrated writer wondering if he should try to do some more lyrics/songwriting.

As for the curious title, Lamm says, “It’s just a reference to the time of day” — as in “waiting for the break of day” at 25 or (2)6 minutes to 4 a.m. (3:35 or 3:34 a.m.)

 
BeTheMatch said:
Today's bonus comes in the form of more brass:

Chicago - 25 or 6 to 4

I linked the live version because I find it astonishing that they could even come close to the studio sound while performing this live.

The song “25 or 6 to 4” appeared on “Chicago II” and was written by organist/vocalist Robert Lamm. The title and lyrics have puzzled many since it appeared in 1970. Some say it’s a drug reference, suggesting a unit of measurement involving the quantity of joints that can be rolled from a what-used-to-be dime bag. Some feel it’s about looking for spiritual revelation, undergoing a mysterious soul-searching journey.

Perhaps you’re too young to recall that in the late ’60s and ’70s it was a popular parlour game — if not quite an intellectual pursuit — to read hidden messages and double meanings into song lyrics. Many people thought “Hey Jude” was about shooting heroin. Just about everything Bob Dylan wrote went through hours of scrutiny by his fans. Did you ever check into the “Hotel California” by the Eagles? Many of the Rolling Stones songs were supposedly about drugs, though it’s hard to ignore the more explicit meanings (“You make a dead man come.”) What about “I Am the Walrus,” which was supposedly written on an acid trip about Paul McCartney’s greatly exaggerated and rumored demise? Goo goo g’joob, baby.

Lamm says it’s simpler than that. “The song is about writing a song. It’s not mystical,” he says. Take a look at some of the lyrics:

Waiting for the break of day — He’s been up all night and now it’s getting close to sunrise.

Searching for something to say — Trying to think of song lyrics.

Flashing lights against the sky — Perhaps stars or the traditional flashing neon hotel sign.
Giving up I close my eyes — He’s exhausted and his eyes hurt from being open too long, so he closes them.
Staring blindly into space — This expression can be seen often on the faces of writers and reporters. Trust me.
Getting up to splash my face — Something you do when you’re trying to stay awake, though a good cup of Starbuck’s does wonders for Cecil and me.
Wanting just to stay awake, wondering how much I can take — How far can he push himself to get the song done?
Should I try to do some more? — This is the line that makes many think it’s a drug song. But it is just as easily construed as a frustrated writer wondering if he should try to do some more lyrics/songwriting.

As for the curious title, Lamm says, “It’s just a reference to the time of day” — as in “waiting for the break of day” at 25 or (2)6 minutes to 4 a.m. (3:35 or 3:34 a.m.)
Click to expand...
This is their best song. But it’s not yacht rock. They have plenty of stuff that is, but not this.

 
simey said:
My sister had "If You Leave Me Now" on a 45, and she would play it and cry. It was her breakup song. She had "Baby, What a Big Surprise" on 45 too, but she didn't cry to that one.
Click to expand...


Chicago Peter Cetera/David Foster era - is the epitome of yacht rock (though a really gross segment of it)

@BeTheMatch ...I'm thinking Sirius XM's algo's just smushed Chicago popular songs onto their yacht rock list

 
BeTheMatch said:
No, I think it's part of a larger question, how to define Yacht Rock. 
Click to expand...
I'm of the same mind as Justice Potter Stewart on pornography -- I know it when I hear it. 25 or 6 to 4 is too intense to be yacht rock.

Similarly, most Steely Dan songs are yacht rock, but Reelin' in the Years is not. 

 
Today's offering:

Doobie Brothers - What a Fool Believes

Kenny Loggins co-wrote "What a Fool Believes" with Doobie Brothers lead singer Michael McDonald. Loggins put his version on his album Nightwatch, which was released in July 1978, five months before The Doobies included it on their Minute by Minute album. Loggins' version was never released as a single, but The Doobie Brothers took it to #1 in the US in April 1979.

While he was waiting for Loggins to arrive at his home, McDonald played some of the songs that were "in progress" and asked his sister Maureen which she thought was best. As Loggins was getting out of his car, he heard McDonald playing a fragment of this. According to Loggins, he heard about three-quarters of the verse's melody (no lyrics), but McDonald stopped at the bridge. Loggins' mind continued without a break... and the song's bridge was born. Then Loggins knocked on the door, introduced himself to McDonald, and demonstrated the bridge that he devised before the two of them could sit down. The lyrics were finished over the telephone the next day.

McDonald's concept for the lyric was a scenario where two people meet in a restaurant - two people who had a passionate relationship long ago. To the man, the affair was the best thing in his life; to the woman, it was fun, but it was time to move on. In the conversation, the man makes a complete fool of himself. When the woman excuses herself to leave, he doesn't get the message, believing he still has a shot and that their affair was much more meaningful than it actually was. Love makes a man a fool, and even a wise one can't reason it away.

Instant bonus:

Michael McDonald - Sweet Freedom

 
Sensing a theme, here's today's bonus:

Kenny Loggins - This is It

Loggins and Michael McDonald were spooked after their first collaboration, "What A Fool Believes," became a hit for McDonald's band The Doobie Brothers and won a pair of Grammys for Song of the Year and Record of the Year. Fearing they couldn't top their first hit, they put off working together again for a while until Loggins insisted they meet up and write "a ####ty song" to shake out their nerves. They ended up writing "This Is It."

From Loggins:

"The best musical statements are usually the ones that aren't calculated and the ones that come out in the largest chunks. Michael McDonald and I must have written 'This Is It' four times. The first three times it was a love song, 'Baby I this, baby I that…,' and we both said, 'Eh! This is boring. This song is not working as a love song.'

Then I had a fight with my dad when he was going into the hospital because he gave me the feeling that he was ready to check out. He'd given up, he wasn't thinking in terms of the future, and I was so pissed at him. It was real emotional. That afternoon, I was meeting with Michael to work on new tunes and I walked in and said, 'Man, I got it. It's 'This Is It.' And Michael said, 'This is it?' I said, 'Trust me. This is it.' But that one took a while.

And then one review said it was your average boy-girl song and the writer didn't understand why people were making such a big deal out of it. The fact of the matter was, he didn't understand the song and it didn't move him because he wasn't in a situation to be moved. But immediately after that, I got a letter from a girl who had just recently gotten out of the hospital from a life-and-death situation and that was her anthem. She was holding onto it. That means so much more to me. She hadn't read the press about my father or anything. All she knew was that the song was on the nose for her, exactly what Michael and I intended. That makes you feel like you're doing something important."

 
Today's wonderment is another Yacht Block:

Ambrosia - Biggest Part of Me

Ambrosia - How Much I Feel

Ambrosia lead singer David Pack came up with the chords, melody, and some of the lyric for "Biggest Part of Me" in a 10-minute burst on July 4, 1979. He was waiting for his family to get ready for a trip when he realized he left the equipment on in his home studio. When he went to turn it off, inspiration struck. He sat down at the piano and came up with the skeleton of the song, which he recorded on a reel-to-reel tape deck. By the time he was done, the family was ready to go.

The first verse rhymes "arisin'" "horizon" and "realizin'." Pack thought the lyric would come off as Hallmark-card cheesy, so he did what any of us would do in that situation: he called Michael McDonald. Pack said he could envision bands singing it at a Holiday Inn; McDonald assured him that was good thing.

The drum pattern was something Ambrosia drummer Burleigh Drummond had been working on with his teacher, Freddie Gruber. "He had me doing these exercises that resulted in me playing that groove like 'Biggest Part Of Me' incessantly, Drummond said. "I mean, I wouldn't stop. So at our rehearsals, we probably wrote six to eight songs that had that exact same groove. And 'Biggest Part Of Me' just happened to be the best one. So, we owe it all to my drum teacher."

While "Biggest Part of Me" was all rainbows and cupid arrows, "How Much I Feel" deals with regret and still being hung up on the one that got away.  Even though now married to someone else, Pack laments, "sometimes when we make love, I can still see your face." 

In Greek, ambrosia means "immortality," and I'd say these sunsa#####es have achieved that with these bangers.

@urbanhack@Binky The Doormat

 
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