##HOT## Download Yacht Rock Radio

I'm trying to get my wife off SiriusXM and avoid the outrageous renewal fee, but she is very much a "radio" person in the car. She listens almost exclusively to the Bridge, the Blend, and Yacht Rock Radio. I figured I could get her listening to a 70s or 80s station for the last one, but does anyone have recommendations for the first two stations?

I was trying to find a Youtube recording of the guy that does the bumpers in the exaggerated "Thurston Howell III" voice but could only find this old promo. Just hilarious comments that must have been a blast to write, like somehow oblivious to the fact that not everyone in the world owns a yacht etc., or "ooooo that tune is sooo yachtty", "...a bunch of tunes by dudes with mustaches and feathered hair".":lol: I`ve heard "Peg" at least twice in the last 24 hourssmiley-veryhappy.

Download Yacht Rock Radio

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Part of the fun of Yacht Rock is deciding what is Yacht or Nyacht and why. Setting your own definitions. A friend and I listened to this station on a long drive last summer deciding whether each song or artist was truly Yacht and to what degree.

But the best yacht rock songs (IMO) are those with a bit of ironic sadness to them. Those that you'd play while busting out the lines of coke to impress that girl who is probably way too young for you but since you're now spending so much more time on your boat now that the wife has left you and has taken the house and the kids.....

Hmm. Interesting. I have never had any problems with playing Yacht Rock on my Alexa devices. Other stations yes, but I can always count on Yacht rock. Even play it on the phone sometimes. I hope you got it all resolved.

Yacht rock (originally known as the West Coast sound[4][5] or adult-oriented rock[6]) is a broad music style and aesthetic[7] commonly associated with soft rock,[8] one of the most commercially successful genres from the mid-1970s to the mid-1980s. Drawing on sources such as smooth soul, smooth jazz,[1] R&B, and disco,[7] common stylistic traits include high-quality production, clean vocals, and a focus on light, catchy melodies.[6] The term yacht rock was coined in 2005 by the makers of the online video series Yacht Rock, who connected the music with the popular Southern Californian leisure activity of boating. Considered a pejorative term, prominent artists that have been labeled "yacht rock" include Christopher Cross, the Doobie Brothers, Fleetwood Mac, Steely Dan, Rupert Holmes, Michael McDonald, Kenny Loggins, Toto and Supertramp.

The term "yacht rock" did not exist contemporaneously with the music the term describes,[6] which was produced from 1975 to 1984.[7][8] It refers to "adult-oriented rock"[6] or "West Coast Sound",[4][3] which became identified with yacht rock in 2005, when the term was coined in J. D. Ryznar et al.'s online video series of the same name.[9][10][11] Understood as a pejorative term,[6] "yacht rock" referred, in part, to a stereotypical yuppie yacht owner enjoying smooth music while sailing. Many "yacht rockers" included nautical references in their lyrics, videos and album artwork, exemplified by Christopher Cross's anthemic track, "Sailing" (1979).[12] Long mocked for "its saccharine sincerity and garish fashion", the original stigma attached to the music has lessened since about 2015.[6][3]

The "exhilaration of escape" is "essential to yacht", according to journalist and documentary-film maker Katie Puckrik. She quoted the lyrics of Cross's "Ride Like the Wind" (1979), "to make it to the border of Mexico", as an example of the aspirational longing that demonstrates "the power of the genre". Thwarted desire is another key element that counters the "feelgood bounce" of yacht in the same song. Puckrik identified a sub-genre, "dark yacht", exemplified in Joni Mitchell's "accidental yacht rock" song "The Hissing of Summer Lawns" (1975), which described the "tarnished love" of "a woman trapped in a big house and a loveless marriage".[13]

According to Mara Schwartz Kuge, who worked in the L.A. music industry for two decades, "Soft rock was a genre of very popular pop music from the 1970s and early 1980s, characterized by soft, mostly acoustic guitars and slow-to-mid tempos ... most people have generalized the term to mean anything kind of soft-and-1970s-ish, including artists like Rupert Holmes. Not all yacht rock is soft, either: Toto's 'Hold the Line' and Kenny Loggins' 'Footloose' are both very yacht rock but not soft rock."[14]

Comprehensively defining yacht rock remains difficult, despite agreement that its central elements are "aspirational but not luxurious, jaunty but lonely, pained but polished". Journalist Jack Seale stated that, as in other "micro-genres", certain albums of artists who are accepted as proponents are "arbitrarily ruled in or out". For example, Michael Jackson's Thriller (1982) is accepted as yacht rock, but Fleetwood Mac's Rumours (1977) is not.[15]

Yacht Rock web series co-creators Ryznar, Steve Huey, Hunter Stair, and David Lyons have attempted to apply precision to what is defined as yacht rock, and have been critical of overly expansive definitions of the term. In 2016, they invented the term "nyacht rock" to refer to songs that have sometimes been classified as yacht rock but that they felt did not fit the definition.[16][17] On their podcasts Beyond Yacht Rock and Yacht or Nyacht?, they have ranked various songs as being either within or outside of the genre.[18]

Ryznar and co. have argued that many artists sometimes associated with yacht rock, particularly the folk-driven soft rock of Gordon Lightfoot and the Eagles, fall outside the scope of the term as originally conceived.[5] They have also disputed the use of the term as an umbrella for any song whose lyrics include nautical references.[5][17]

The socio-political and economic changes that contributed to the emergence of the genre[20] have recently been described by journalists like Steven Orlofsky, and by documentary-film maker Katie Puckrik. Orlofsky pointed out that some contemporaneous pop groups such as Fleetwood Mac, Steely Dan and Supertramp were well-respected by critics and listeners.[21] Yacht rock was art "untouched by the outside world." By contrast to what followed, this "was probably the last major era of pop music wholly separated from the politics of its day."[3] Yacht rock represented an "introspective individualism" that emerged after the death of the "mass-movement idealism" of the 1960s. Its "reassuringly vague escapism" was boosted by the rise of FM radio which brought together two consequences of gender emancipation: women who controlled household spending and men who "felt freer to convey their emotions in song".[15]

The roots of yacht rock can be traced to the music of the Beach Boys, whose aesthetic was the first to be "scavenged" by acts like Rupert Holmes, according to Jacobin's Dan O'Sullivan. Captain & Tennille, who were members of the Beach Boys' live band, won "yacht rock's first Best Record Grammy" in 1975, for "Love Will Keep Us Together," a song that composer Neil Sedaka acknowledged was inspired in part by a Beach Boys riff.[23] O'Sullivan also cites the Beach Boys' recording of "Sloop John B" (1966) as the origin of yacht rock's predilection for the "sailors and beachgoers" aesthetic that was "lifted by everyone, from Christopher Cross to Eric Carmen, from 'Buffalo Springfield' folksters like Jim Messina to 'Philly Sound' rockers like Hall & Oates."[24]

Orlofsky has argued that the genre's resurgence is partly due to its function as an antidote to the negativity of the post Obama era in the US just as in its original context, when yacht rock created "the perfect soundtrack for listeners trying to ignore Watergate and Vietnam",[15] it now again represents "a defiant, fingers-planted-firmly-within-ears disregard of any and all political unrest."[3]

A 2012 Jacobin article described yacht rock as "endlessly banal, melodic and inoffensive, fit to be piped into Macy's changing rooms".[33] The article describes the popularity of yacht rock as reflective of a regressive Reagan-era American society and "about the garden of nightmares America had become". According to the Jacobin article, yacht rock served as "an escape from blunt truths" about sociopolitical issues of the day. In an article in The New Inquiry, music scholar J. Temperance stated that yacht rock "sterilized the form of its soul and blues elements and instead emphasized disinterested, intentionally trite lyrical themes".[34] In a uDiscovermusic article, Paul Sexton expressed how yacht rock as a genre seemed to "exude privileged opulence: of days in expensive recording studios followed by hedonistic trips on private yachts."[35] According to writer Max McKenna in a 2018 Popmatters article, the lack of political messaging in the yacht rock genre is a "conservative gesture(s) flying under the radar in a climate of poptimist reappraisal."[36]

In response to the Jacobin article, music scholar J. Temperance wrote in The New Inquiry that, rather than being a reactionary genre, yacht rock was essential to the growth of pop music in a time of "cultural darkness", "serving as a dialectical pole to progressive rock as well as to punk, postpunk and even proto-postpunk, spurring drastic retrenchments".[34] J. Temperance attributed the "smooth" sound that is characteristic of yacht rock to an indifferent approach to capitalist culture and a "regressive tolerance of allegedly transgressive music with a truly liberatory anality" by using existing symbols rather than create new anti-establishment symbols that are eventually added into the establishment symbols. The New Inquiry article describes the role of yacht rock as a genre that would help people differentiate music appreciation from status by using common symbols and "rendering the popular into the smooth."[34] ff782bc1db