If recorded today, Gadd would be quantized enough to sound exactly like a drum machine.
/beato
Several bands mentioned in this thread surprised me.
How about Chicago? Is it in the Yacht Rock category.
Their Love Songs album is on frequent rotation on my phone.
Early Chicago (i.e., before Terry Kath’s death) is rock with a horn section, and a bit of a jazz influence.
Later Chicago is prom music.
Neither are yacht rock, IMO.
Did Michael McDonald ever sing background high notes for them?
Chicago had several singers. Terry Kath, Peter Cetra and Robert Lamm are the three I’m familar with.
I don’t think Michael McDonald guested with Chicago. But it’s hard to know for sure. He got around a lot.
Exapno is tweaking you; pretty much any song that McDonald sang on (either as a lead vocalist, or a background vocalist) in the late '70s and early '80s is de facto yacht rock. And, no, I don’t think he ever sang with Chicago.
I suppose there’s no need for a Michael McDonald when you have Peter Cetera.
I’m not sure if time frame has been mentioned but in my mind it’s necessarily tied to the 70s and part of the 80s. Obviously that’s arbitrary and completely subjective but it’s essential to my idea of YR.
I stopped deliberately listening to Chicago after they changed their style to match the times. First two albums were amazing. Five and later were, frankly, not. Of course cuts from them were played incessantly; the newer style seemed enormously more profitable. The Doobies didn’t much like McDonald changing their sound, but his songs gave them number one albums and singles and they cried all the way to the bank, in the classic phrase.
Those later Chicago songs - released during the heyday of the yacht rock era - might well be included in the definition. They were smooth and certainly featured top-level musicianship. The YR canon is entirely arbitrary and retrospective. Something about Chicago just puts them outside the box. Not enough rock in their hit singles, maybe.
Good question. I have the same question why some Beach Boys 70s’ music isn’t included. “Sail On, Sailor,” from 1973s Holland album, should be as basic as Christopher Cross’ “Sailing.” Somebody made a decision somewhere and we all live with the consequences.
ETA: This was supposed to be a reply to @Aceplace57. Another snafu.
Thinking solely about my own mental model of YR, maybe it’s time frame. To me, most of the songs that I consider to be in the Yacht Rock canon are from a little later in the '70s (or the very early '80s).
(But, I don’t disagree about “Sail On, Sailor” - it does feel like it should fit.)
Chicago did a lot of albums and changed styles as personnel shifted.
I stick with the Best of Chicago: 40th Aniversary Edition and the Love Songs compilation albums.
The producers of NOW That’s What I Call Yacht Rock Vol 2 would seem to disagree with you.
Chicago as a band, strictly speaking, isn’t Yacht Rock. But the following songs do appear on several top YR song lists:
If You Leave Me Now
Saturday In The Park
Hard to Say I’m Sorry
People sail yachts on Lake Michigan.
I also found this link to a Chicago-based Yacht Rock cover band.
More specifically, they changed styles when David Foster started producing them. He is reviled by classic Chicago fans, but he knew how to write 80s hits.
My memory is that the plot of the web series (using the term “plot” loosely) was that Loggins fell out of the “smooth music” fold with Caddyshack and Footloose and McDonald was trying to bring him back in.
Despite their name, Chicago writes songs about NYC (“the park” is Central park, even on another rainy day in New York City) and they know from yachts there!
I don’t know why they didn’t just call the band NYC Port Authority instead…
Yeah, that’s one of the episodes. In another, producer Ted Templeman gets lured away from the ‘smooth music’ world to produce Van Halen. And so on.
The funny thing is that nowhere in the series that created the term do they use the phrase “Yacht Rock” to describe the music. It’s just smooooth music. The series is called Yacht Rock because the central character, a fictional producer at the heart of the scene, uses the money he earns on the music to buy and live on a yacht in Marina del Rey. And later vanishes into a storm on the Pacific, presumably to die. That’s the yacht they’re talking about. Not the music itself.