WEBVTT

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Hey, this is Nick. And this is Peter at the Yacht

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Rock Review. And you're listening to My Weekly

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Mixtape with Brian Colburn. Welcome to My Weekly

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Mixtape, a podcast that takes the classic mixtape

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approach to building a modern playlist. I'm your

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host, Brian Colburn. Joining me tonight is Nick

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Nespagiani and Peter Olson from Yacht Rock Review.

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Gentlemen, thank you so much for joining me tonight.

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What's up? Happy to be here. Yeah. Well, tonight

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I get to start by asking you both my first time

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guest question. So I guess Peter, we'll start

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with you. What does the word mixtape mean to

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you? Mixtape has such a feel associated with,

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for me, it was like a way to communicate. with

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my friends growing up. Like you'd make a mixtape

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if you were excited about something, you'd make

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a mixtape for a girlfriend or a potential girlfriend.

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But it's just like a collection of songs that

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mean something personally to you. Nick, same

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question to you. I remember listening to mixtapes

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in Peter's basement in elementary school that

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he had made. Like mixtapes go way back for me

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and same kind of thing. Definitely. In wooing

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various girlfriends, including my wife, the right

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mixtape at the right time was always crucial.

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So having that knowledge of how to flow from

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song to song and really strike a mood, that's

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what a mixtape's about. And that's what we're

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going to attempt to do tonight, creating the

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ultimate Yacht Rock playlist. This is one that

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several of the mixtapers have been requesting

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for quite a while. And I don't think there could...

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possibly be a better pair of experts on this

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subject. So for those who might not be familiar

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with the term Yacht Rock, Nick, could you give

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us maybe a Cliff Notes version of the spirit

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of what Yacht Rock is? Yacht Rock is soft rock

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and AM gold made between 1976 and 1984, primarily

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by session musicians in Southern California.

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Your biggest Yacht Rock artists are going to

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include Michael McDonald, Kenny Loggins, Boss

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Gags, and Steely Dan. Nick, anything you'd like

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to add on the genre? No, I think that's the cliff

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notes right there. That's pretty much it. You

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can tell I've done this a few times. I know how

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to describe Yacht Rock as Yacht Rock is supposed

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to be described. Well, there you have it. Then,

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Nick, I'll throw this next question to you. With

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your ever -expanding playlist over the years,

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which covers the full spectrum of the genre,

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how did you go about honing in on the songs you

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wanted to bring to the discussion tonight? It

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was very difficult to narrow it down to my songs.

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Luckily, I saw Peter's songs before I had to

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do mine, so he knocked out some of the essentials.

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I think about if I'm trying to describe Yacht

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Rock to someone who just has no idea what I'm

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talking about, which songs are the ones that

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strike the mood most immediately? And that's

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where I chose my songs from. Yeah, so I was trying

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to keep in line with what the masses might refer

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to as Yacht Rock. I did my best. I certainly

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strayed a little bit. But also songs that I've

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got some personal connection to, whether it be

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the artists that wrote or sang them or... just

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how they work in our set with our band. And personally,

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I'm just hoping to bring enough cool to this

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mix to keep things sailing smoothly with you

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both tonight. No pun intended. But with that

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said, let's get down to business. Tonight, as

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I mentioned at the top of the show, Peter, Nick,

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and I will be curating the ultimate yacht rock

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mixtape, and we'll use the old cassette deck

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approach. Since I have two guests this evening,

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the format will be slightly altered, as Peter

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will begin side A with his first song choice,

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and then we'll roundtable the panel until we've

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mapped out 10 songs for side A. We'll then give

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our mixtape a proverbial flip and we'll map out

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side B. Only this time, Nick will kick off the

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roundtable discussions. Our overall goal for

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the episode is to craft the best yacht rock mixtape

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possible through only 20 songs. At the end of

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the show, you can take our conversation to the

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next level by visiting the episode page at myweeklymixtape

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.com to give our final mixtape a listen. via

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the embedded playlist. And if you like what you're

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hearing on the show, you can help me out by either

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telling a friend, leaving the show a five -star

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review wherever you're tuning in, or becoming

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a Patreon mixtaper at patreon .com forward slash

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myweeklymixtape. There you can enjoy ad -free

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episodes of the show, become a future guest,

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and so much more. And I want to take this moment

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to welcome brand new Patreon mixtaper Chris Pazica

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to the Patreon mixtaper family. Looking forward

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to talking with you in the forums. And with that

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said, a few of the fellow Patreon mixtapers chimed

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in with the songs they would use to kick off

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this evening's festivities. And I'd like to give

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a quick shout out to those. Christopher Cross

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got a lot of love tonight as Chad LaMassa chimed

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in with Sailing and Sherry Thomas chimed in with

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Ride Like the Wind. Tom Hutchinson chimed in

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with Steely Dan's Dirty Work and Eagles Take

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It Easy. Philip Bergman chimed in with Kool and

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the Gang's Hollywood Swinging. Sean Goff chimed

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in saying that he grew up with his father playing

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Ambrosia, Player, and Little River Band, so he

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listened to a lot of yacht rock as a kid. But

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after careful consideration, he starts off with

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Exile's Kiss You All Over. And Seeker is chiming

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in with, and I quote, the yachtiest rock that

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ever rocked a yacht, that being Jerry Rafferty's

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Baker Street. And once again, if you want to

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chime in for future My Weekly Mixtape episodes,

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you can join us at patreon .com forward slash

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My Weekly Mixtape. All right, Peter, the time

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has come. Let's set sail on our Yacht Rock playlist

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with your first song choice to kick off side

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A. All right, so I'm going to start with a disclaimer

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that it's impossible to narrow down the perfect,

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essential Yacht Rock playlist. into 20 songs

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which genre is much too vast to squeeze it down

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that being said i have selected the perfect track

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to lead off this mixtape with george benson's

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turn your love around composed by bill champlin

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of chicago fame and steve lukather from toto

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as well as jay grayton who's known for uh doing

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lots of work with Steely Dan and it's uh the

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opening to this tune when you listen to the track

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and also when we play it live it's one of those

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songs that just sinks into you a little bit it's

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not like there are so many songs where when it

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kicks off all of a sudden your fist is in the

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air and this one I think more just like leans

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you back into the couch a little bit and feels

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it's so silky But at the same time, it's an irresistible

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dance jammer that sets off the dance floor, I

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think, pretty much every time. Yeah, I feel like

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when that first string note comes in and the

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beat comes in, everybody knows they know what

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song it is, but they're not sure what song it

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is. They know they know this song, but they're

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not positive what it is. And I think that that

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is one of the great... elements of yacht rock

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is that these songs everybody knows them but

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they can't always say oh yeah that was george

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benson or oh yeah that was ace or whoever it

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was and i think that little bit of mystery that

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comes with it you know because you they're not

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sure that this is turn your love around until

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the chorus hits and it's turn your love around

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right like that's the aspect of this song that

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i love Well, it reached number five on the Billboard

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U .S. Hot 100 and number one on the R &B singles.

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You had mentioned the writers of the song, Jay

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Graydon, who produced the track. I actually find

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it pretty humorous that he admitted at one point

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that he came up with the melody for this song

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on the toilet of all places. This is a song that

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pretty much the players on the track include.

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I guess you could say all the Toto because Steve

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Lukather, David Peitch and Jeff Piccaro all play

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on this song. And I always like to bring in cover

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versions when possible. In 1995, Tony DeBart

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covered this in a Eurodance style. And that charted

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in the UK, Netherlands, and Belgium. Unfortunately,

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never made a splash in the US. But if you like

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that 90s Eurodance sound and you want to hear

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a fun version of Turn Your Love Around, definitely

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look up Tony DeBart's cover. But moving on from

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there. We are going to go to you, Nick, to choose

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track two. Now, I mean, things got serious very

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quickly because when you hear the wind come in

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and the ominous opening notes of this Christopher

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Cross classic, you know, Yacht Rock is more than

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just pini coladas and backing vocals. Like, this

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is a serious, serious song. Ride Like the Wind,

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Christopher Cross. Nice. This is one I would

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say that in our set is more of a rocker than

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most of your yacht rock. It leans heavier on

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the rock. And the thing that I really love about

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this song, honestly, is I always think about

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the Rick Moranis SCTV sketch in which she is

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playing Michael McDonald coming into the studio.

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We've been obsessed with this sketch since the

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first show of Yacht Rock Review. And we would

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be playing in this very small basement club.

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And I would always want to do the Michael McDonald

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from the microphone, like way, you know, over

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at the bar and then have to climb over people

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just to get back in time, barely to sing such

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a long way to go. And I'll just always think

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about the SCTV Rick Moranis. We actually recreated

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it with Peter and a shaker for a promo reel for

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our new single, which I was pretty proud of.

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It was pretty fun. What's interesting about our

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position with these tunes, like not only performing

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them, and which would maybe give us a little

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upper hand as an expert, as you said, is that

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we get to see what these songs do to people.

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And you would never assume that Christopher Cross

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is just like Nick said, just a rock artist, right?

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You would never classify him as a rock artist.

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But when we get into Ride Like the Wind, People

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are reacting like they would to Bon Jovi. I mean,

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they're just deep into it and it's got so much

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energy. And part of that is because of the energy,

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I think, that we put into it. But you can hear

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that on the track and it's still Christopher

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Cross's silky smooth vocal, you know, that sails

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over the top of this. But Ride Like Elaine is

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a jam. Quick side note, though, if you haven't

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seen Christopher Cross live, he's a shredder

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on guitar. The dude can play super fast, knows

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all the scales. He's a total shredder, which

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listening to sailing, you don't assume that Christopher

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Cross is a guitar shredder like Eddie Van Halen,

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but he totally is. He's amazing. Well, I want

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to give a shout out again to Patreon mixtaper

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Sherry Thomas, who chimed in with this one. Christopher

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Cross got a lot of love on the Patreon mixtaper

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channel. And the song reached number two on the

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Billboard US Hot 100. And obviously you talked

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about Michael McDonald's instantly recognizable

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backing vocals on the track. And I don't know

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what it is, but 90s dance. Really dove into Yacht

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Rock because in 1991, East Side Beat released

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a dance cover of Ride Like the Wind that charted

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as high as number four in Belgium, Ireland and

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Spain and hit number three on the UK singles

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chart. So it's not moving the needle here in

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the US, but these Yacht Rock songs. are seeing

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a second life a decade later in the European

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dance scene, which I think is just ridiculous.

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Bizarre. We were busy with Technotronic in the

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CNC Music Factory. Yes. That's true. Well, following

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both of those gems up here, this is tough because

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now I've got two home runs and I've got to go

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with something that is going to show that I can

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hang in the Yacht Rock category. But I have my

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rock side of me that always wants to come out.

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And this was a song that when I've listened to

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this group growing up with my parents and I listened

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to the Deja Vu album and I listened to songs

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like Long Time Gone, when first the words Crosby,

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Stills, Nash came up with Yacht Rock, I'm like,

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I don't know if that really counts. But then

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when you put on Southern Cross, yes, this is

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Crosby, Stills, and Nash. Going the Yacht Rock

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route. The video on MTV screams everything about

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it. They're literally on the boat called the

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Southern Cross. And there you've got Crosby,

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Stills and Nash all singing together. However,

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David Crosby did not reunite with the band prior

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to this song getting recorded. So he's not on

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the studio version of the track. Really? Yeah.

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He does not sing on the studio version, which

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I thought was ridiculously interesting because

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if you listen to the harmonies, it feels like

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he's there, but he's not. Right. And then obviously

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Parrot Heads and there's a whole Is Jimmy Buffett

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Yacht Rock? Regardless, they're familiar with

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Southern Cross as well because on his... Tuesdays,

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Thursdays, and Saturdays live album, Jimmy Buffett

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covered this song as well. Unfortunately, though,

00:14:29.879 --> 00:14:34.399
no Eurodance versions of Southern Cross. I'll

00:14:34.399 --> 00:14:36.919
tell you, people love it when we play this song.

00:14:37.059 --> 00:14:41.639
It's not one that I would have ever really categorized

00:14:41.639 --> 00:14:45.799
as yacht rock, honestly, of my own power. But

00:14:45.799 --> 00:14:47.740
I was like, oh, people are going to love this

00:14:47.740 --> 00:14:50.000
song. Let's just do it. The sing -along factor

00:14:50.000 --> 00:14:55.480
is undeniable. Undeniable. And as a fan of, like,

00:14:55.559 --> 00:14:58.820
60s Crosby, Sills, and Nash, it's easy for me

00:14:58.820 --> 00:15:00.600
to just get right in the lane with this one.

00:15:01.179 --> 00:15:03.899
Yeah, same thing. I feel like there's maybe a

00:15:03.899 --> 00:15:06.440
little hesitation when we get into this tune

00:15:06.440 --> 00:15:09.679
live, but, you know, the form of the tune is

00:15:09.679 --> 00:15:12.120
A, B, C, A, B, C, and the pre -chorus and the

00:15:12.120 --> 00:15:14.799
chorus sections of this song, they hit every

00:15:14.799 --> 00:15:17.639
time. And I think there's something about just,

00:15:17.779 --> 00:15:20.679
you know, it's clearly less folky than the early

00:15:20.679 --> 00:15:23.779
Crosby, Sills, and Nash. music but it's like

00:15:23.779 --> 00:15:26.059
if you heard this in a what you call a yacht

00:15:26.059 --> 00:15:28.059
rock playlist at like the dentist's office or

00:15:28.059 --> 00:15:31.100
home depot or whatever like it fits right in

00:15:31.100 --> 00:15:33.580
where these songs you can kind of jump in and

00:15:33.580 --> 00:15:36.299
out of when they're in the background and you

00:15:36.299 --> 00:15:38.960
know they can grab you and they had so many pieces

00:15:38.960 --> 00:15:42.960
to latch on to but they're all also interesting

00:15:42.960 --> 00:15:45.700
and like the structures are a little complex

00:15:45.700 --> 00:15:49.600
so that like nick was saying even With the familiarity

00:15:49.600 --> 00:15:52.200
to the music, there's a mystery about these songs

00:15:52.200 --> 00:15:54.799
on different levels that I think have kept them

00:15:54.799 --> 00:15:57.460
intriguing all this time. And with that, we're

00:15:57.460 --> 00:15:59.440
throwing it back to you, Peter, for track four.

00:16:00.059 --> 00:16:03.539
All right. So fourth on the next tape, we've

00:16:03.539 --> 00:16:08.440
got Love Will Find A Way by Pablo Cruz. Growing

00:16:08.440 --> 00:16:11.419
up, I just caught like the tail end of the Yacht

00:16:11.419 --> 00:16:15.919
Rock era. So some of these songs I was very familiar

00:16:15.919 --> 00:16:19.419
with. Not as familiar as people a little older

00:16:19.419 --> 00:16:22.419
than me that these songs got drilled on the radio

00:16:22.419 --> 00:16:25.519
or whatever. So part of it, learning these songs

00:16:25.519 --> 00:16:28.659
in the band was a bit of a discovery process.

00:16:29.200 --> 00:16:32.340
And I actually was not really familiar with Pablo

00:16:32.340 --> 00:16:36.480
Cruz, but I love this song. It's got kind of

00:16:36.480 --> 00:16:39.559
that rock groove at the beginning, but then when

00:16:39.559 --> 00:16:42.779
the verse kicks in, the milky Fender Rhodes or

00:16:42.779 --> 00:16:45.720
Whirly or whatever's on there. Kind of sets it

00:16:45.720 --> 00:16:49.759
into the Yacht Rock vibe. And it's a lot of fun

00:16:49.759 --> 00:16:52.860
to play this one. So I've just always liked it

00:16:52.860 --> 00:16:55.200
since we learned it. One thing this song has

00:16:55.200 --> 00:16:58.399
in common with a lot of other Yacht Rock songs

00:16:58.399 --> 00:17:01.519
is that it's incredibly difficult to sing. The

00:17:01.519 --> 00:17:05.019
male vocal just goes up into the stratosphere

00:17:05.019 --> 00:17:08.380
and he's doing some acrobatics up there. I mean,

00:17:08.400 --> 00:17:11.480
so many of these Yacht Rock singers were just...

00:17:11.769 --> 00:17:14.490
these singers singer, you know, like they're,

00:17:14.490 --> 00:17:16.950
they're these pure guys with pure voices who

00:17:16.950 --> 00:17:19.930
can just physically do anything. And I think

00:17:19.930 --> 00:17:22.710
the vocal take on this track is just incredible

00:17:22.710 --> 00:17:27.390
and always a challenge for me to say always challenge.

00:17:28.170 --> 00:17:30.849
The track reached number six on the U .S. Billboard

00:17:30.849 --> 00:17:33.730
Hot 100, as well as number eight in Australia

00:17:33.730 --> 00:17:37.410
and number five in Canada. So worldwide hit here.

00:17:37.630 --> 00:17:41.009
I always like to give the PSA that Pablo Cruz,

00:17:41.269 --> 00:17:45.130
along with Marshall Tucker and Jethro Tull and

00:17:45.130 --> 00:17:48.849
Leonard Skinner are band names. His name is not

00:17:48.849 --> 00:17:50.950
Pablo Cruz. That's the band name. I just want

00:17:50.950 --> 00:17:53.589
to put that out there. PSA for everyone. And

00:17:53.589 --> 00:17:57.720
for me, I love the tone. that david jenkins has

00:17:57.720 --> 00:18:02.200
on his guitar on this track it's clean and it

00:18:02.200 --> 00:18:04.599
cuts through the song but there's just enough

00:18:04.599 --> 00:18:08.799
reverb to keep it smooth in line with the other

00:18:08.799 --> 00:18:12.180
yacht rock songs of the time yeah he's uh and

00:18:12.180 --> 00:18:14.960
going back sorry going back to his vocal it's

00:18:14.960 --> 00:18:17.480
like a blue -eyed soul track like the you know

00:18:17.480 --> 00:18:20.519
like he's it's an r b style singing over a track

00:18:20.519 --> 00:18:23.180
that's really just kind of straight ahead blues

00:18:23.180 --> 00:18:28.400
almost david jenkins Bad man. Yeah. That he is.

00:18:28.619 --> 00:18:31.240
And Nick, with that, we're heading back to you

00:18:31.240 --> 00:18:35.140
now for track five. So this song is one that

00:18:35.140 --> 00:18:38.440
I'm excited about because it's a new addition

00:18:38.440 --> 00:18:44.579
to our set list this year. It is the most requested

00:18:44.579 --> 00:18:48.859
song every time we've asked what Yacht Rock songs

00:18:48.859 --> 00:18:52.500
we haven't played. do you, our fans, want us

00:18:52.500 --> 00:18:54.480
to play? What do you guys want to hear? This

00:18:54.480 --> 00:18:56.920
has always been number one on the list, and it's

00:18:56.920 --> 00:19:01.000
Sweet Freedom by Michael McDonald and his solo

00:19:01.000 --> 00:19:04.859
career from the Running Scared soundtrack starring

00:19:04.859 --> 00:19:08.420
Gregory Hines and Billy Crystal. I love it because

00:19:08.420 --> 00:19:15.799
it's got the MIDI keyboard loop. That thing,

00:19:16.000 --> 00:19:20.289
entire song, it goes the whole way. Never stops.

00:19:20.289 --> 00:19:23.950
Even when the chords go off into jazz land, they

00:19:23.950 --> 00:19:28.029
just keep that ostinato rolling. And it shouldn't

00:19:28.029 --> 00:19:31.809
work, but it totally works. I love the energy

00:19:31.809 --> 00:19:34.589
of this song, and I'm really excited to play

00:19:34.589 --> 00:19:38.170
it live on our 2024 tour. I love the way that

00:19:38.170 --> 00:19:40.210
Michael McDonald, it's almost like he's telling

00:19:40.210 --> 00:19:43.890
a story in this tune. He's in no hurry. The style

00:19:43.890 --> 00:19:47.250
of the burst just comes real slow, like he's

00:19:47.250 --> 00:19:50.509
leading you somewhere. And while the music is

00:19:50.509 --> 00:19:53.309
really pretty intense with that midi loop going

00:19:53.309 --> 00:19:56.750
on, and then it just builds and builds to the

00:19:56.750 --> 00:20:00.609
chorus, and the horns on this track are wicked,

00:20:00.730 --> 00:20:04.289
and it has so much energy for a Yacht Rock track.

00:20:04.589 --> 00:20:07.759
I just love the energy. There's just certain

00:20:07.759 --> 00:20:10.539
names and voices that are synonymous with Yacht

00:20:10.539 --> 00:20:12.220
Rock, like Nick was talking about at the top

00:20:12.220 --> 00:20:15.160
of the episode. I think Michael McDonald, be

00:20:15.160 --> 00:20:17.640
it his solo work or what he did with the Doobie

00:20:17.640 --> 00:20:21.200
Brothers, is certainly one name that cannot be

00:20:21.200 --> 00:20:24.359
omitted from a Yacht Rock mix. This song reached

00:20:24.359 --> 00:20:27.019
number seven on the Billboard US Hot 100 and

00:20:27.019 --> 00:20:31.059
also charted in the UK and Canada. Once again,

00:20:31.319 --> 00:20:33.680
dance got a hold of a Yacht Rock staple because

00:20:34.349 --> 00:20:37.589
Danish electronic percussion duo, Sapphire I

00:20:37.589 --> 00:20:41.470
duo covered the song with Michael McDonald in

00:20:41.470 --> 00:20:45.170
the 1990s. And it charted across Europe going

00:20:45.170 --> 00:20:49.170
as high as number two in Spain. However, I'm

00:20:49.170 --> 00:20:52.190
a big fan of cover songs and even rock bands

00:20:52.190 --> 00:20:56.390
get a hold of it because in 2001, Phantom Planet

00:20:56.390 --> 00:20:59.369
covered the song for the perfectly titled Not

00:20:59.369 --> 00:21:02.829
Another Teen Movie, which if you love 80s music

00:21:02.829 --> 00:21:05.069
and you love cover songs, that whole soundtrack

00:21:05.069 --> 00:21:09.430
is amazing. Apparently, we need to do a new mixtape

00:21:09.430 --> 00:21:13.349
that's just 90s Euro dance covers of dot rock

00:21:13.349 --> 00:21:16.029
songs. That's what I'm learning so far. There

00:21:16.029 --> 00:21:18.829
are so many. It actually blew my mind when I

00:21:18.829 --> 00:21:22.230
saw how many Yacht Rock songs became dance staples

00:21:22.230 --> 00:21:25.609
at one point. Amazing. All right. With that,

00:21:25.670 --> 00:21:30.430
now we are back to me for track six. And I'm

00:21:30.430 --> 00:21:32.269
going to stick with this movies theme. We just

00:21:32.269 --> 00:21:35.009
talked about Not Another Teen Movie and 80s movies

00:21:35.009 --> 00:21:36.910
and stuff like that. I'm going to go with one

00:21:36.910 --> 00:21:40.910
that's from the 1980s. classic and that would

00:21:40.910 --> 00:21:44.150
be fast times at ridge mount high and i'm not

00:21:44.150 --> 00:21:46.670
going with the song that everyone out there is

00:21:46.670 --> 00:21:49.029
probably thinking of immediately which is moving

00:21:49.029 --> 00:21:52.049
in stereo by the cars for different reasons one

00:21:52.049 --> 00:21:56.609
it's not yacht rock and two um yeah But we're

00:21:56.609 --> 00:21:59.250
going to go with the hit track from that. The

00:21:59.250 --> 00:22:01.349
lead single, which reached number seven on the

00:22:01.349 --> 00:22:04.589
U .S. Billboard Hot 100, Somebody's Baby by Jackson

00:22:04.589 --> 00:22:07.730
Browne. The song also charted in Australia and

00:22:07.730 --> 00:22:10.869
Canada as well. Again, this is an artist very

00:22:10.869 --> 00:22:13.509
much like Crosby, Stills and Nash that you don't

00:22:13.509 --> 00:22:18.089
normally align with Yacht Rock. But for some

00:22:18.089 --> 00:22:20.569
reason, he just hit the nail on the head with

00:22:20.569 --> 00:22:23.609
Somebody's Baby and it flows perfectly into the

00:22:23.609 --> 00:22:27.250
Yacht Rock sound. If you listen to Jackson Browne's

00:22:27.250 --> 00:22:29.630
earlier music, sure, I'm sure you could pull

00:22:29.630 --> 00:22:31.630
some songs from it and include them in the set.

00:22:31.730 --> 00:22:34.269
I just don't know if it would hit the same way

00:22:34.269 --> 00:22:37.329
that somebody's baby would. Yeah, I think there

00:22:37.329 --> 00:22:40.250
must have been something. I feel like the 80s

00:22:40.250 --> 00:22:42.430
were happening, right? Southern California was

00:22:42.430 --> 00:22:46.250
not immune to what was going on with 80s music.

00:22:46.349 --> 00:22:48.490
So this was a little later in the Yacht Rock

00:22:48.490 --> 00:22:51.539
era or whatever. And I feel like. Artists like

00:22:51.539 --> 00:22:53.880
Jackson Browne and Crosby, Stills, and Nash are

00:22:53.880 --> 00:22:55.319
just kind of like, oh, well, we'll just kind

00:22:55.319 --> 00:22:58.119
of taste a little bit of what's going on with

00:22:58.119 --> 00:23:00.940
popular music right now or something like that.

00:23:01.079 --> 00:23:05.200
But it certainly fits right in with all the other

00:23:05.200 --> 00:23:08.279
Yacht Rock songs. And this was the first song.

00:23:08.460 --> 00:23:12.319
I was never a lead vocalist in the band. I've

00:23:12.319 --> 00:23:14.859
shared a little bit of vocal duties in the past

00:23:14.859 --> 00:23:18.000
in bands that we've been in before. And I think

00:23:18.000 --> 00:23:20.779
this was the first song that I... sang in the

00:23:20.779 --> 00:23:23.640
Yacht Rock show. And that's something that's

00:23:23.640 --> 00:23:25.279
interesting about our band is that we've got

00:23:25.279 --> 00:23:28.579
various lead vocalists in the group and everyone's

00:23:28.579 --> 00:23:32.160
got a different timbre and range and style. And

00:23:32.160 --> 00:23:35.480
so it's really fun when a song lands with you

00:23:35.480 --> 00:23:38.740
that really fits your style of singing. So the

00:23:38.740 --> 00:23:41.539
song in particular pushes my range a little bit

00:23:41.539 --> 00:23:43.799
because it's limited, but we've played this song

00:23:43.799 --> 00:23:47.559
countless times. I have no idea how many. And

00:23:47.559 --> 00:23:50.609
it's... It's a little bit of a love -hate. People

00:23:50.609 --> 00:23:53.650
ask, which song have you played so many times

00:23:53.650 --> 00:23:57.470
that you just can't stand it anymore? Certainly,

00:23:57.630 --> 00:24:00.829
some songs wear on you, but it's fun. It always

00:24:00.829 --> 00:24:03.150
comes back around, and you get to explore these

00:24:03.150 --> 00:24:06.569
songs inside and out. So I've always really liked

00:24:06.569 --> 00:24:08.950
this song. Pete, you've probably sang this song

00:24:08.950 --> 00:24:12.230
on stage more than you've sang lead vocals on

00:24:12.230 --> 00:24:15.430
any other song ever. That's my prediction. I

00:24:15.430 --> 00:24:18.059
think that's probably true. This is the one in

00:24:18.059 --> 00:24:20.579
the set list where it's like, oh, we need a Pete

00:24:20.579 --> 00:24:22.900
song here and he needs to like be a banger that

00:24:22.900 --> 00:24:24.400
really connects with the crowd. Like this one

00:24:24.400 --> 00:24:28.980
is just automatic. People always love this song

00:24:28.980 --> 00:24:32.279
and it's so simple and it doesn't really have

00:24:32.279 --> 00:24:35.019
a lot of rise and fall. It kind of stays like

00:24:35.019 --> 00:24:37.440
right at the same level the whole time, which

00:24:37.440 --> 00:24:41.019
somehow completely works in a way that you wouldn't

00:24:41.019 --> 00:24:43.799
expect it to. Yeah. Jackson Brown is a master

00:24:43.799 --> 00:24:47.440
and this is a master at work. All right, Peter,

00:24:47.640 --> 00:24:50.440
we're back to you now for track seven. All right,

00:24:50.519 --> 00:24:53.720
track seven. So we had the distinguished honor

00:24:53.720 --> 00:24:56.799
last year of getting to tour with Kenny Loggins

00:24:56.799 --> 00:25:02.339
on his final This Is It tour. We played a dozen

00:25:02.339 --> 00:25:06.259
or more shows with him around the country and

00:25:06.259 --> 00:25:11.339
got the chance to see him and his band play night

00:25:11.339 --> 00:25:14.839
after night and how they work and how Kenny.

00:25:15.359 --> 00:25:18.380
training up his vocal to brush it absolutely

00:25:18.380 --> 00:25:22.059
every single time. And so for track seven on

00:25:22.059 --> 00:25:25.619
the mixtape, I selected the Kenny Loggins co

00:25:25.619 --> 00:25:29.259
-pen with Michael McDonald, I Gotta Try, which

00:25:29.259 --> 00:25:32.799
Nick can allude to the story of it, but we worked

00:25:32.799 --> 00:25:35.799
it up for a little bit and got his blessing to

00:25:35.799 --> 00:25:37.480
perform it at some of the shows we opened for

00:25:37.480 --> 00:25:39.880
him, right? Yeah, in Los Angeles and at the last

00:25:39.880 --> 00:25:42.529
show in Santa Barbara. Yeah. But it's a tune

00:25:42.529 --> 00:25:45.009
that was kind of not on my radar. Nick brought

00:25:45.009 --> 00:25:47.710
this one up to the group. And I don't think it

00:25:47.710 --> 00:25:49.849
was, I'm sure you've got the chart information,

00:25:50.230 --> 00:25:53.369
but it wasn't a huge hit. And both Kenny and

00:25:53.369 --> 00:25:56.470
Michael released the song within a month of each

00:25:56.470 --> 00:25:59.809
other. Yeah, really close. And of course, they've

00:25:59.809 --> 00:26:02.910
got Yacht Rock studio musicians all over both

00:26:02.910 --> 00:26:05.450
tracks. And the version we did, I think, was

00:26:05.450 --> 00:26:09.849
a little closer to Michael's. But it's just such

00:26:09.849 --> 00:26:13.529
a great song. The various versions, that's evidence

00:26:13.529 --> 00:26:16.750
of a great song when it can be performed in various

00:26:16.750 --> 00:26:18.049
ways, kind of like you're talking about with

00:26:18.049 --> 00:26:20.130
cover versions. I mean, a song is a song is a

00:26:20.130 --> 00:26:22.349
song. And so you can do it in different styles

00:26:22.349 --> 00:26:25.890
and it still comes across every time. So I love

00:26:25.890 --> 00:26:28.809
I Gotta Try. Yeah, I always knew the Michael

00:26:28.809 --> 00:26:32.250
McDonald version more than I knew the Kenny Loggins

00:26:32.250 --> 00:26:33.890
version. I don't know that I was even aware of

00:26:33.890 --> 00:26:36.329
the Kenny Loggins version until somewhat recently.

00:26:36.950 --> 00:26:40.769
And his version is much more. 80s, whereas Michael's

00:26:40.769 --> 00:26:44.269
is a little more like kind of soul. And it's

00:26:44.269 --> 00:26:46.970
very interesting to see two guys who co -wrote

00:26:46.970 --> 00:26:49.529
a song together have such different takes on

00:26:49.529 --> 00:26:52.730
how that song gets realized in the recording

00:26:52.730 --> 00:26:57.390
studio. And I remember, as Peter said, we talked

00:26:57.390 --> 00:27:00.269
to Kenny about maybe doing one of his songs and

00:27:00.269 --> 00:27:02.170
asked him if we could do it at one of the shows.

00:27:02.250 --> 00:27:03.490
And he said, yeah, you got to play it for me

00:27:03.490 --> 00:27:06.109
and soundcheck first. And so it's the YouTube

00:27:06.109 --> 00:27:09.910
theater in Los Angeles. We're at soundcheck and

00:27:09.910 --> 00:27:11.930
we recorded this song, but only rehearsed it

00:27:11.930 --> 00:27:15.309
a few times. And we go up there on stage and

00:27:15.309 --> 00:27:17.769
there's nobody out in this entire theater out

00:27:17.769 --> 00:27:20.869
there, except for just Kenny Loggins sitting

00:27:20.869 --> 00:27:24.490
there like judging. And he's not very judgmental

00:27:24.490 --> 00:27:26.269
at all, but like, you know, you feel like he's

00:27:26.269 --> 00:27:30.470
judging. Yeah. And he's jamming along and feeling

00:27:30.470 --> 00:27:32.349
it the whole time. And then at the end, he just

00:27:32.349 --> 00:27:34.369
looks up and he says, you guys need to turn the

00:27:34.369 --> 00:27:37.150
bass up and then just pieces out. It was an awesome

00:27:37.150 --> 00:27:40.210
night. Super memorable. It's a great tune. I'm

00:27:40.210 --> 00:27:43.650
the actual opposite of you. I knew Kenny Loggins'

00:27:43.769 --> 00:27:46.309
version first and found out about the Michael

00:27:46.309 --> 00:27:48.670
McDonald version second. I was a kid that grew

00:27:48.670 --> 00:27:52.009
up 80s soundtracks. Kenny Loggins was the man

00:27:52.009 --> 00:27:55.410
between, you know, Footloose, Danger Zone from

00:27:55.410 --> 00:27:58.509
Top Gun, I'm Alright from Caddyshack, Nobody's

00:27:58.509 --> 00:28:01.829
Fool from Caddyshack 2, Meet Me Halfway from

00:28:01.829 --> 00:28:05.029
Over the Top. So I dove into his catalog and

00:28:05.029 --> 00:28:08.240
that's how I got... introduced to i gotta try

00:28:08.240 --> 00:28:10.519
and it wasn't until i started listening to the

00:28:10.519 --> 00:28:12.799
doobie brothers and going into michael's catalog

00:28:12.799 --> 00:28:16.279
that i realized the connection of the two on

00:28:16.279 --> 00:28:19.460
kenny logan's version richard page and steve

00:28:19.460 --> 00:28:22.279
george of mr mr doing the background vocals on

00:28:22.279 --> 00:28:25.960
that one which i with that i guess maybe gives

00:28:25.960 --> 00:28:27.720
it a little bit of an edge for me i think both

00:28:27.720 --> 00:28:29.759
versions are great but like you said they're

00:28:29.759 --> 00:28:32.480
distinctly different but still the same song

00:28:32.480 --> 00:28:34.279
and at the end of the day the song is strong

00:28:34.279 --> 00:28:37.410
enough that both versions worked well. I'm just

00:28:37.410 --> 00:28:40.910
kind of surprised that neither one truly made

00:28:40.910 --> 00:28:44.130
a dent on the charts at all. So shocking, but

00:28:44.130 --> 00:28:47.430
it's a great song. And with that, Nick, we're

00:28:47.430 --> 00:28:50.170
throwing it to you for track eight. Ah, yes.

00:28:50.890 --> 00:28:55.930
So if there's one song that you have to play

00:28:55.930 --> 00:29:00.470
at every Yacht Rock show, it is Africa by Toto.

00:29:00.690 --> 00:29:02.970
You know, it's less so this way now that our

00:29:02.970 --> 00:29:05.230
repertoire is expanded and our... Crowds are

00:29:05.230 --> 00:29:07.190
bigger and we aren't so much at the mercy of

00:29:07.190 --> 00:29:09.150
the crowd. But when we were playing small theaters,

00:29:09.430 --> 00:29:13.309
people need to hear the chorus of Africa. And

00:29:13.309 --> 00:29:16.250
there have been, you know, so many, I feel like

00:29:16.250 --> 00:29:18.329
there's even been a TED talk on like the greatness

00:29:18.329 --> 00:29:22.549
of this song. Like you can't get into hyperbole

00:29:22.549 --> 00:29:25.130
and overstate the greatness of the song because

00:29:25.130 --> 00:29:27.970
it speaks for itself. It's like a billion streams.

00:29:28.730 --> 00:29:32.809
This is the song that really crossed over from

00:29:32.809 --> 00:29:36.829
yacht rock into pop. in a way. This was a Michael

00:29:36.829 --> 00:29:41.630
Jackson level pop song that was also one of the

00:29:41.630 --> 00:29:45.250
smoothest songs ever written. Peter talked earlier

00:29:45.250 --> 00:29:47.849
about which songs annoy you, blah, blah, blah.

00:29:48.210 --> 00:29:51.130
This song honestly has never really annoyed me

00:29:51.130 --> 00:29:53.109
that much because even though we have to play

00:29:53.109 --> 00:29:55.609
it every night, it's just a great song. Yeah.

00:29:55.670 --> 00:29:58.849
I don't know what else to say about Africa, except

00:29:58.849 --> 00:30:01.950
that it's just a little piece of perfection.

00:30:02.730 --> 00:30:07.369
It really is. And what kind of random lyrics

00:30:07.369 --> 00:30:12.029
and song, like what is this song really saying?

00:30:12.269 --> 00:30:15.210
I don't know, but the production, the magic happened

00:30:15.210 --> 00:30:17.990
on this one for sure. It's a beautiful tune and

00:30:17.990 --> 00:30:22.009
it hits every time we play it. It connects every

00:30:22.009 --> 00:30:25.130
single time. And I feel like it does the same

00:30:25.130 --> 00:30:28.990
thing. just in life when this song comes on everybody

00:30:28.990 --> 00:30:31.869
you know latches on to a look like if this song

00:30:31.869 --> 00:30:34.230
if you walk into a restaurant or a store where

00:30:34.230 --> 00:30:37.589
africa is playing you get into it oh by all means

00:30:37.589 --> 00:30:39.829
my group culbert and company's been playing this

00:30:39.829 --> 00:30:43.670
song for well over a decade and once that opening

00:30:43.670 --> 00:30:46.519
riff hits People could be doing anything and

00:30:46.519 --> 00:30:48.819
it's almost like they stop and turn around and

00:30:48.819 --> 00:30:52.019
they're now invested. And it's not one of the

00:30:52.019 --> 00:30:54.839
easiest songs to hit if you're going for the

00:30:54.839 --> 00:30:58.759
high notes without hitting some falsettos, especially

00:30:58.759 --> 00:31:00.839
at the end of the night, which is usually when

00:31:00.839 --> 00:31:03.319
most people want to hear it. For the guy that

00:31:03.319 --> 00:31:05.140
has to hit the high notes, sometimes I prefer

00:31:05.140 --> 00:31:07.619
it to be earlier in the night, but the rest of

00:31:07.619 --> 00:31:09.900
the band's going, no, no, let's shelve that for

00:31:09.900 --> 00:31:11.539
later. And I'm like, yeah, great. When it's the

00:31:11.539 --> 00:31:14.980
hardest time to sing, thankfully. You could back

00:31:14.980 --> 00:31:17.240
off the mic at that point because everybody's

00:31:17.240 --> 00:31:19.059
singing with you. And that's what I love about

00:31:19.059 --> 00:31:21.960
the song. Reach number one on the Billboard US

00:31:21.960 --> 00:31:25.440
Hot 100. We talked about this on episode 49,

00:31:25.539 --> 00:31:27.420
which was the ultimate number one hits of the

00:31:27.420 --> 00:31:31.200
1980s. It also hit number one in Canada and cracked

00:31:31.200 --> 00:31:34.839
the top 10 in Australia, Belgium, Ireland, Netherlands,

00:31:35.279 --> 00:31:40.019
New Zealand, Switzerland, and the UK. NPR, just

00:31:40.019 --> 00:31:43.990
to be edgy, I think, in 2019. added the song

00:31:43.990 --> 00:31:47.369
to their worst songs of all time list, saying,

00:31:47.609 --> 00:31:52.410
and I quote, it's the moistest, dampest song

00:31:52.410 --> 00:31:56.230
and then the synth. I honestly couldn't disagree

00:31:56.230 --> 00:31:59.109
with that more because I think they were just

00:31:59.109 --> 00:32:02.269
angry that a year earlier, Weezer's cover hit

00:32:02.269 --> 00:32:05.609
number 51 on the US Hot 100 and reintroduced

00:32:05.609 --> 00:32:09.079
the song to an entire new generation of... kids

00:32:09.079 --> 00:32:11.019
and millennials who never heard the original.

00:32:11.259 --> 00:32:14.259
So now the song holds different levels, whether

00:32:14.259 --> 00:32:17.380
it's the Toto or the Weezer version of the track.

00:32:17.720 --> 00:32:20.680
Bobby Kimball is an acrobat on that team. There's

00:32:20.680 --> 00:32:23.900
improv vocals at the end of the song that everyone

00:32:23.900 --> 00:32:26.980
loves to sing along to. They're just incredible.

00:32:27.160 --> 00:32:29.500
The way he tells it, the way they would choose

00:32:29.500 --> 00:32:33.019
the keys of songs is they would find out how

00:32:33.019 --> 00:32:35.720
high Bobby could go, and then that's where they

00:32:35.720 --> 00:32:38.930
would set it. And then they would ask him to

00:32:38.930 --> 00:32:41.750
sing it night after night after night. No pressure,

00:32:41.829 --> 00:32:44.470
right? I think they would say like how high he

00:32:44.470 --> 00:32:46.609
thought he could go. And then they would set

00:32:46.609 --> 00:32:50.670
it like three steps higher than that. Make him

00:32:50.670 --> 00:32:53.089
go for it and then expect him to do it every

00:32:53.089 --> 00:32:55.069
day. I mean, it's just so ridiculously high.

00:32:55.529 --> 00:32:58.670
And what a monster track to have to follow up.

00:32:58.730 --> 00:33:02.390
So you've got this crowd pleaser, this anthem

00:33:02.390 --> 00:33:06.740
that I've got to follow up with next. I think

00:33:06.740 --> 00:33:08.940
I know a way to do it that's going to bring in

00:33:08.940 --> 00:33:12.819
younger people as well as the older original

00:33:12.819 --> 00:33:15.640
Yacht Rock crowd. This was actually the first

00:33:15.640 --> 00:33:18.920
song by a Native American band to reach the top

00:33:18.920 --> 00:33:22.500
five on the Billboard US Hot 100. And the song

00:33:22.500 --> 00:33:27.220
reached number five from 1973's Wovoka. I'm going

00:33:27.220 --> 00:33:29.200
to go with Red Bones, Come and Get Your Love.

00:33:29.720 --> 00:33:32.039
If the name of that song sounds slightly familiar

00:33:32.039 --> 00:33:35.230
to you and you're younger. Guardians of the Galaxy

00:33:35.230 --> 00:33:39.950
Volume 1 and Volume 3 and Avengers Endgame. Peter

00:33:39.950 --> 00:33:43.490
Quill or Star -Lord Awesome Mix Volume 1. Come

00:33:43.490 --> 00:33:46.890
on, you know the song. And with it now becoming

00:33:46.890 --> 00:33:51.210
a trend, 1995 German Euro dance group Real McCoy

00:33:51.210 --> 00:33:54.210
covered the song for their U .S. debut album

00:33:54.210 --> 00:33:57.829
Another Night. And that version cracked the top

00:33:57.829 --> 00:34:01.119
20 on the Billboard U .S. Hot 100 reaching number

00:34:01.119 --> 00:34:05.319
19, and also cracked the top 10 in Canada, Europe,

00:34:05.559 --> 00:34:09.579
Finland, the Netherlands, New Zealand, and Zimbabwe.

00:34:09.860 --> 00:34:13.139
So outside of the U .S., there's a good chance

00:34:13.139 --> 00:34:17.179
that people don't even realize Real McCoy's song

00:34:17.179 --> 00:34:20.920
is actually a cover. That's crazy. Red Bull,

00:34:21.019 --> 00:34:25.920
what a classic jam. This song just feels so good.

00:34:26.159 --> 00:34:29.579
I love the groove in this tune. and it's different

00:34:29.579 --> 00:34:31.559
than a lot of the other yacht rock music that

00:34:31.559 --> 00:34:34.500
was made by the session musicians in southern

00:34:34.500 --> 00:34:38.000
california because they were also technically

00:34:38.000 --> 00:34:41.960
trained or you know they could tread on whatever

00:34:41.960 --> 00:34:44.599
instrument it is that they play but there was

00:34:44.599 --> 00:34:46.760
similarly to the way that there was magic when

00:34:46.760 --> 00:34:49.679
africa was recorded this has the same thing but

00:34:49.679 --> 00:34:52.679
it's more of like the stars align for the feeling

00:34:52.679 --> 00:34:55.960
of the tune i don't know what it is about this

00:34:55.960 --> 00:34:59.050
song especially since like A lot of it is a little

00:34:59.050 --> 00:35:01.469
indistinguishable. I mean, I really, we just

00:35:01.469 --> 00:35:03.710
started doing this one recently. We're going

00:35:03.710 --> 00:35:06.949
to be playing it later this year. And I had no

00:35:06.949 --> 00:35:09.869
idea what the lyrics were. We had to read them

00:35:09.869 --> 00:35:14.050
to understand what was going on. But great tune.

00:35:14.590 --> 00:35:17.909
Love this one. Yeah, it's like, it's very early,

00:35:17.969 --> 00:35:21.449
almost like pre -Yacht Rock. We called it Plymouth

00:35:21.449 --> 00:35:24.309
Rock, you know, like the Yacht Rock before the

00:35:24.309 --> 00:35:26.980
yacht. But it's also like got... I think this

00:35:26.980 --> 00:35:29.059
is what you were relating to, Peter. It's got

00:35:29.059 --> 00:35:33.480
some garagey elements to it. These aren't the

00:35:33.480 --> 00:35:36.960
super shredder Toto guys backing up Boz Skaggs

00:35:36.960 --> 00:35:39.139
on Silk Degrees. This is a completely different

00:35:39.139 --> 00:35:42.920
feeling. I remember when we were first learning

00:35:42.920 --> 00:35:46.159
all the Yacht Rock tunes, we had DVDs of the

00:35:46.159 --> 00:35:47.880
Midnight Special that we were passing around

00:35:47.880 --> 00:35:49.920
because this is before everything was on YouTube.

00:35:50.159 --> 00:35:54.119
We passed these around and seeing them perform

00:35:54.119 --> 00:35:56.599
this song, Midnight Special, with the full Native

00:35:56.599 --> 00:35:58.980
American headdress and everything. I was like,

00:35:59.039 --> 00:36:01.639
oh, that's these guys' background, or that was

00:36:01.639 --> 00:36:04.400
part of their music. So that was kind of a learning

00:36:04.400 --> 00:36:07.519
experience for me. All right. Peter, you started

00:36:07.519 --> 00:36:10.840
Side A, so now you get to close out Side A with

00:36:10.840 --> 00:36:14.980
your final pick. This song was a no -brainer,

00:36:15.019 --> 00:36:17.519
and I know that if I wouldn't have selected it,

00:36:17.539 --> 00:36:21.659
Nick would have. It's a top 20 yacht rock essential

00:36:21.659 --> 00:36:27.230
for sure, and that is Robbie Dupree's 1980 classic,

00:36:27.590 --> 00:36:31.329
Steal Away. It's just got the total Yacht Rock

00:36:31.329 --> 00:36:35.650
vibe. It's got such a beautiful voice. It's kind

00:36:35.650 --> 00:36:38.090
of like Christopher Cross singing a Michael McDonald

00:36:38.090 --> 00:36:41.949
song or something. It's just the perfect mesh

00:36:41.949 --> 00:36:45.110
of all the Yacht Rock worlds. And we've been

00:36:45.110 --> 00:36:49.219
playing this one since day one. And certainly

00:36:49.219 --> 00:36:54.039
there's a flow to our set in terms of songs that

00:36:54.039 --> 00:36:56.019
are up or down. I mean, you can't keep people

00:36:56.019 --> 00:37:00.059
at 11 for an entire show, or at least not in

00:37:00.059 --> 00:37:02.480
a Yacht Rock show. And you would think that this

00:37:02.480 --> 00:37:04.860
one is kind of one of the mellower moments, but

00:37:04.860 --> 00:37:08.000
it's a song that people groove just as hard to

00:37:08.000 --> 00:37:11.059
and love to sing along to. And we've had the

00:37:11.059 --> 00:37:14.139
pleasure of playing with Robbie and knowing him

00:37:14.139 --> 00:37:18.070
for quite a long time now. And one of my favorite

00:37:18.070 --> 00:37:21.710
stories about this incredibly lucky career path

00:37:21.710 --> 00:37:24.409
that we've been on is that we were playing, you

00:37:24.409 --> 00:37:27.269
mentioned Weezer. This was pre -Africa Weezer.

00:37:27.329 --> 00:37:32.909
We played aboard the Weezer Cruise musical festival.

00:37:33.309 --> 00:37:38.230
And so we're on there and the, I can't remember

00:37:38.230 --> 00:37:40.010
if it was the bass player or the drummer of Weezer

00:37:40.010 --> 00:37:43.309
had brought along a friend who stopped Nick and

00:37:43.309 --> 00:37:47.880
I in the aisle of, the theater and said, hey,

00:37:48.000 --> 00:37:50.900
you guys are great. You're amazing. I caught

00:37:50.900 --> 00:37:54.519
your set. I really love what you're doing. And

00:37:54.519 --> 00:37:57.139
we're staring at this guy like we kind of know

00:37:57.139 --> 00:37:59.420
who he is, so we can't place him. And we're like,

00:37:59.500 --> 00:38:01.059
oh, what are you doing here? And he says, oh,

00:38:01.099 --> 00:38:02.820
I'm friends with one of the guys at Weezer. I

00:38:02.820 --> 00:38:06.639
just came along. And it turns out that it's Brian

00:38:06.639 --> 00:38:09.920
Ray, who at the time was touring with Paul McCartney.

00:38:10.119 --> 00:38:13.289
Wow. And also... Just happened to be the guitar

00:38:13.289 --> 00:38:15.630
player, the recording guitar player on Robbie

00:38:15.630 --> 00:38:19.550
Priest's Steal Away. So after that cruise, he

00:38:19.550 --> 00:38:21.909
called up Robbie and said, hey, reach out to

00:38:21.909 --> 00:38:24.269
this band Yacht Rock. They're doing something

00:38:24.269 --> 00:38:27.289
really cool. And we got a call from him and we've

00:38:27.289 --> 00:38:29.389
been friends ever since and had the pleasure

00:38:29.389 --> 00:38:32.449
of playing with Brian as well. And so this song

00:38:32.449 --> 00:38:35.010
is really meaningful, I think, to everyone in

00:38:35.010 --> 00:38:38.570
the band. So always love this one. In terms of

00:38:38.570 --> 00:38:41.489
rock songs that have a special place in my heart,

00:38:41.530 --> 00:38:44.530
this probably ranks number one. It was the one

00:38:44.530 --> 00:38:48.150
yacht rock song that my wife insisted be played

00:38:48.150 --> 00:38:50.690
at our wedding. It's always been special for

00:38:50.690 --> 00:38:53.369
us. And then it's just really inspiring to be

00:38:53.369 --> 00:38:57.710
around an old timer and get to know them in an

00:38:57.710 --> 00:38:59.690
intimate way and understand everything that they've

00:38:59.690 --> 00:39:01.269
been through. You know, most people just think

00:39:01.269 --> 00:39:04.230
of Robbie Dupree as... the steal away guy, like

00:39:04.230 --> 00:39:06.090
the one hit wonder guy, but he's so much more

00:39:06.090 --> 00:39:08.050
than that. There are so many more layers and

00:39:08.050 --> 00:39:10.190
getting to experience that on a personal level

00:39:10.190 --> 00:39:14.210
with him has been really a highlight of our career,

00:39:14.289 --> 00:39:16.429
as Peter said. Well, the song reached number

00:39:16.429 --> 00:39:19.550
six on the U .S. Billboard Hot 100 and also charted

00:39:19.550 --> 00:39:22.789
in Australia and Canada. And as far as cover

00:39:22.789 --> 00:39:25.730
versions go, well, actually, before I get into

00:39:25.730 --> 00:39:34.070
that, let me play this. Just like you told me

00:39:34.070 --> 00:39:44.710
Then show me What I want to know Why don't we

00:39:44.710 --> 00:39:52.929
steal away Why don't we steal away Into the night

00:39:52.929 --> 00:40:03.480
I know it ain't right What you're hearing now

00:40:03.480 --> 00:40:06.519
is a clip of Yacht Rock Review's cover of Steal

00:40:06.519 --> 00:40:09.480
Away, which is from their upcoming Escape Artist

00:40:09.480 --> 00:40:12.119
album, which we'll be talking about more in just

00:40:12.119 --> 00:40:15.039
a few minutes. But this cover is fantastic. I

00:40:15.039 --> 00:40:18.599
love the stripped down ukulele approach, as well

00:40:18.599 --> 00:40:21.820
as Courtney Jackson bringing a powerful female

00:40:21.820 --> 00:40:24.920
vocal rendition to the track. Nick, can you talk

00:40:24.920 --> 00:40:27.059
about this arrangement and what you were looking

00:40:27.059 --> 00:40:29.820
to achieve in the band's version of the song?

00:40:30.400 --> 00:40:33.280
Yeah. I mean, as I said, it's like the most special

00:40:33.280 --> 00:40:35.920
Yacht Rock song to me. And this Escape Artist

00:40:35.920 --> 00:40:40.219
album is one that's a lot of songs by guys in

00:40:40.219 --> 00:40:42.320
the band who aren't trying to be one thing or

00:40:42.320 --> 00:40:44.840
the other, just trying to be like who they really

00:40:44.840 --> 00:40:47.679
are in these songs. And I felt like if we're

00:40:47.679 --> 00:40:49.539
going to do a cover, it needed to have that same

00:40:49.539 --> 00:40:52.860
spirit. And I don't know where it came from.

00:40:52.880 --> 00:40:55.380
Maybe it was in a dream almost. I just had this

00:40:55.380 --> 00:40:58.420
idea like, what if we did Steal Away? Instead

00:40:58.420 --> 00:41:01.619
of doing our usual version, which is very much

00:41:01.619 --> 00:41:04.679
exactly to Robbie's original, what's the most

00:41:04.679 --> 00:41:07.440
opposite thing we could do? And I thought, well,

00:41:07.539 --> 00:41:10.500
if it was just a ukulele, and I started singing

00:41:10.500 --> 00:41:12.480
it myself, and I thought, oh, but what if Courtney

00:41:12.480 --> 00:41:18.000
sang it? Such a pure, sweet voice. I just thought

00:41:18.000 --> 00:41:20.480
it would be a completely different take. And

00:41:20.480 --> 00:41:24.199
I wanted to honor Robbie. Instead of imitating

00:41:24.199 --> 00:41:26.769
him, I wanted to... bring something different

00:41:26.769 --> 00:41:29.070
to the song. And that's where we tried to go

00:41:29.070 --> 00:41:32.630
with this one. That it certainly did. And that

00:41:32.630 --> 00:41:35.730
mixtapers conclude side A of the ultimate yacht

00:41:35.730 --> 00:41:38.789
rock mixtape, which consists of George Benson's

00:41:38.789 --> 00:41:41.550
Turn Your Love Around, Christopher Cross's Ride

00:41:41.550 --> 00:41:44.449
Like the Wind, Crosby, Stills and Nash's Southern

00:41:44.449 --> 00:41:48.329
Cross, Pablo Cruz's Love Will Find a Way, Michael

00:41:48.329 --> 00:41:52.110
McDonald's Sweet Freedom, Jackson Brown's Somebody's

00:41:52.110 --> 00:41:55.909
Baby, Kenny Loggins' I Gotta Try. Toto's Africa,

00:41:56.230 --> 00:41:58.829
Redbone's Come and Get Your Love, and Robbie

00:41:58.829 --> 00:42:02.590
Dupree's Steal Away. Head over to myweeklymixtape

00:42:02.590 --> 00:42:04.929
.com to hear all the songs we've discussed in

00:42:04.929 --> 00:42:07.969
this mix through the playlist embedded on the

00:42:07.969 --> 00:42:11.190
episode page. Now, just a minute ago, I mentioned

00:42:11.190 --> 00:42:13.909
the band's upcoming album, Escape Artist, which

00:42:13.909 --> 00:42:16.909
you're releasing in two parts. Sides one and

00:42:16.909 --> 00:42:20.690
two drop on October 4th, and sides three and

00:42:20.690 --> 00:42:25.320
four drop on November 25th. And I have to say,

00:42:25.340 --> 00:42:28.039
as a show called My Weekly Mixtape, I love the

00:42:28.039 --> 00:42:30.659
fact that you're releasing it in sides. But besides

00:42:30.659 --> 00:42:34.239
that point, what was the thought behind the staggered

00:42:34.239 --> 00:42:36.860
release schedule for the album? I mean, honestly,

00:42:37.099 --> 00:42:40.280
it's so ridiculous to release anything but a

00:42:40.280 --> 00:42:44.119
single in 2024, right? Like it's all about singles

00:42:44.119 --> 00:42:47.699
and singles are what go on mixtapes, right? Like,

00:42:47.699 --> 00:42:50.900
I mean, it makes sense. But we went into studio

00:42:50.900 --> 00:42:53.460
and had so much material that we ended up recording.

00:42:54.010 --> 00:42:57.909
a double album and it felt like if we released

00:42:57.909 --> 00:43:01.250
all 21 songs from the double album at the same

00:43:01.250 --> 00:43:04.530
time they would just be off in the wind and maybe

00:43:04.530 --> 00:43:09.070
one song would get heard by people so our strategy

00:43:09.070 --> 00:43:11.869
is to try to spread it out release a few singles

00:43:11.869 --> 00:43:16.510
release it in sides and let people consume it

00:43:16.510 --> 00:43:18.829
digitally the way that they're used to consuming

00:43:18.829 --> 00:43:23.360
music these days but then In November, when Sides

00:43:23.360 --> 00:43:26.400
3 and 4 come out, we decided to release, in its

00:43:26.400 --> 00:43:30.679
full glory, the double album, two vinyl escape

00:43:30.679 --> 00:43:34.639
artists, full edition, that is out of step with

00:43:34.639 --> 00:43:37.260
the times, perhaps, but totally on point for

00:43:37.260 --> 00:43:39.619
a band that does music from the 70s and early

00:43:39.619 --> 00:43:42.260
80s. Well, we just heard a clip of your cover

00:43:42.260 --> 00:43:44.559
version of Steal Away, but now I want to preview

00:43:44.559 --> 00:45:14.059
an original track called Passengers. Now, when

00:45:14.059 --> 00:45:16.480
you guys are on the road all year long playing

00:45:16.480 --> 00:45:20.400
songs from across the yacht rock scene, how does

00:45:20.400 --> 00:45:24.500
that color or factor into the direction of the

00:45:24.500 --> 00:45:28.000
band's original material? That's been kind of

00:45:28.000 --> 00:45:30.340
the challenge that we've been the nut we've been

00:45:30.340 --> 00:45:32.800
trying to crack, really. Right. Like you want

00:45:32.800 --> 00:45:36.460
to make music that's authentic to you and to

00:45:36.460 --> 00:45:39.900
your experience as an artist. And our experience

00:45:39.900 --> 00:45:42.340
is playing a lot of yacht rock songs on the road,

00:45:42.420 --> 00:45:43.940
right? So of course, that's going to be a big

00:45:43.940 --> 00:45:46.599
part of it. But I feel like if you try to just

00:45:46.599 --> 00:45:49.980
hew so closely to that, it becomes almost pastiche

00:45:49.980 --> 00:45:54.440
or satire. And that's not what we're trying to

00:45:54.440 --> 00:45:58.039
do. So I would like to think that on this new

00:45:58.039 --> 00:46:01.119
album, we kind of struck the middle lane between

00:46:01.119 --> 00:46:04.820
all this yacht rock influence. our own experience

00:46:04.820 --> 00:46:07.179
and finding a way to do it that feels authentic

00:46:07.179 --> 00:46:11.119
to both Yacht Rock and to ourselves. And the

00:46:11.119 --> 00:46:12.900
next track from the album I want to share is

00:46:12.900 --> 00:46:38.929
a song called Lost in the Meantime. Everything

00:46:38.929 --> 00:47:13.000
slips away. Now, Peter, you guys are going to

00:47:13.000 --> 00:47:15.800
be on tour this summer, opening up for Train

00:47:15.800 --> 00:47:18.860
and REO Speedwagon. And like you mentioned, you've

00:47:18.860 --> 00:47:21.659
already done tours with Kenny Loggins and other

00:47:21.659 --> 00:47:24.579
bands as well. You've made a name for yourself

00:47:24.579 --> 00:47:27.980
performing covers, but you have this original

00:47:27.980 --> 00:47:31.460
catalog of songs. How do you approach a tour

00:47:31.460 --> 00:47:35.579
of this magnitude in terms of cover songs to

00:47:35.579 --> 00:47:38.800
original songs ratios? Well, we're only going

00:47:38.800 --> 00:47:41.539
to have a... Well, not only. We're going to have

00:47:41.539 --> 00:47:45.820
a smaller snippet of time to deliver our show

00:47:45.820 --> 00:47:48.159
than we're used to compared to playing the headline

00:47:48.159 --> 00:47:52.340
shows. So there's certainly a craft to making

00:47:52.340 --> 00:47:55.320
a set list, which is similar to a mixtape, right?

00:47:55.559 --> 00:47:57.860
You want it to start a certain way, you want

00:47:57.860 --> 00:47:59.739
it to end a certain way, and you've got to deliver

00:47:59.739 --> 00:48:02.579
in the middle. And we need to keep these. Not

00:48:02.579 --> 00:48:04.159
only are we trying to keep the crowd's attention,

00:48:04.380 --> 00:48:07.039
but we're going to be in front of a lot of fresh

00:48:07.039 --> 00:48:11.070
faces, a lot of new. new eyes and ears and so

00:48:11.070 --> 00:48:14.329
i think i think we'll kind of we'll play to our

00:48:14.329 --> 00:48:16.750
strengths just like any band would and i think

00:48:16.750 --> 00:48:19.269
that whatever it is about our cover band that

00:48:19.269 --> 00:48:23.510
has kind of garnered an image somewhat of original

00:48:23.510 --> 00:48:27.469
band even without the original music is the personalities

00:48:27.469 --> 00:48:29.969
and the styles of each individual that we interject

00:48:29.969 --> 00:48:34.050
into the team so i think we'll we'll stick to

00:48:34.050 --> 00:48:35.769
our guns and we'll do that and we're going to

00:48:35.769 --> 00:48:38.210
try and preview as many tunes from the record

00:48:38.210 --> 00:48:41.849
as we can along the way in small doses and hopefully

00:48:41.849 --> 00:48:45.730
it goes down slow all right well now we are flipping

00:48:45.730 --> 00:48:48.750
our proverbial mixtape over to side b and nick

00:48:48.750 --> 00:48:52.929
you get to kick things off with track one track

00:48:52.929 --> 00:48:56.929
one on side two i love the the slow burn intro

00:48:56.929 --> 00:49:02.289
to this by daryl hall and john oats this track

00:49:02.289 --> 00:49:04.789
i think the inspiration of this track came from

00:49:04.789 --> 00:49:08.409
john on new year's eve he was trying to go on

00:49:08.409 --> 00:49:10.929
a date with this girl on new year's eve she stood

00:49:10.929 --> 00:49:15.670
him up and he uh was sitting there by himself

00:49:15.670 --> 00:49:19.090
realizing that she was not going to come through

00:49:19.090 --> 00:49:21.590
on the day and he's like well she's gone and

00:49:21.590 --> 00:49:23.130
he's like it's basically the best thing that

00:49:23.130 --> 00:49:26.309
ever happened to me it's it's funny to hear how

00:49:26.309 --> 00:49:29.969
a life moment like that can become a song that

00:49:29.969 --> 00:49:32.849
is just so much bigger than that moment this

00:49:32.849 --> 00:49:37.369
song has such a wonderful rise and fall and climax.

00:49:37.789 --> 00:49:40.510
And if somebody said, all right, you have five

00:49:40.510 --> 00:49:44.150
minutes to prove to someone how great your band

00:49:44.150 --> 00:49:47.469
is, I would probably choose for us to play this

00:49:47.469 --> 00:49:50.809
song. Like this is the song that really allows

00:49:50.809 --> 00:49:54.349
all of our band members to put on their best.

00:49:54.489 --> 00:49:57.329
And it's just a ton of fun to play. One of the

00:49:57.329 --> 00:50:00.429
most fun moments, another career highlight as

00:50:00.429 --> 00:50:03.099
Peter was talking about was, On another music

00:50:03.099 --> 00:50:05.639
cruise, we got to actually perform this song

00:50:05.639 --> 00:50:11.599
with Jon Oates. That was awesome. Yeah, I think

00:50:11.599 --> 00:50:14.159
there's a little bit of question sometimes when

00:50:14.159 --> 00:50:17.260
the Yacht Rock is coming out of Philadelphia.

00:50:17.780 --> 00:50:22.000
But this song, I think, makes a strong case for

00:50:22.000 --> 00:50:25.539
sitting firmly in the Yacht Rock genre. And also

00:50:25.539 --> 00:50:30.539
maybe the only true duet as far as a charting

00:50:30.539 --> 00:50:34.389
single. between you know for the most successful

00:50:34.389 --> 00:50:37.289
duo of all time this is the the true collaboration

00:50:37.289 --> 00:50:40.949
between john and daryl like nate was saying it's

00:50:40.949 --> 00:50:43.170
just the the rise and fall this song just kind

00:50:43.170 --> 00:50:46.829
of takes you it's it's a long tune and it's a

00:50:46.829 --> 00:50:50.110
lot of different feelings along the way it mellows

00:50:50.110 --> 00:50:53.269
way out and it gets really intense and and it's

00:50:53.269 --> 00:50:55.409
really it's just a ton of fun to play on stage

00:50:56.039 --> 00:50:59.760
It was originally released in 1973, but it only

00:50:59.760 --> 00:51:02.320
reached number 60 on the U .S. Billboard Hot

00:51:02.320 --> 00:51:05.500
100 and it charted in the U .K. and Canada. However,

00:51:05.699 --> 00:51:09.139
after Hall & Oates moved to RCA Records from

00:51:09.139 --> 00:51:13.019
Atlantic and Sarah Smile became a hit, Atlantic

00:51:13.019 --> 00:51:17.559
shrewdly enough re -released the song. and capitalized

00:51:17.559 --> 00:51:20.400
on their success. And that's when it hit number

00:51:20.400 --> 00:51:23.199
seven. And this is one of those instances where

00:51:23.199 --> 00:51:25.659
the single version, meaning the version that

00:51:25.659 --> 00:51:27.980
you hear on most greatest hits compilations.

00:51:28.780 --> 00:51:31.400
is butchered. It's two minutes shorter than the

00:51:31.400 --> 00:51:34.440
original, and I feel like it sucks the life out

00:51:34.440 --> 00:51:38.000
of the song. It neuters the saxophone solo. So

00:51:38.000 --> 00:51:41.260
if you're looking to listen to this song, make

00:51:41.260 --> 00:51:43.340
sure to listen to the version from Abandoned

00:51:43.340 --> 00:51:45.440
Luncheonette, because that's the version you

00:51:45.440 --> 00:51:49.559
need to hear. And I guess true to form, in 1998,

00:51:50.119 --> 00:51:53.820
Matthew Marston recorded a version of the song

00:51:53.820 --> 00:51:57.719
which features Destiny's Child. on backing vocals.

00:51:57.940 --> 00:52:01.480
So that's right. Beyonce sang backing vocals

00:52:01.480 --> 00:52:05.440
on a cover of She's Gone. That charted in the

00:52:05.440 --> 00:52:08.760
UK, but did not make a splash in the US. Once

00:52:08.760 --> 00:52:12.239
again, Europe all over the Euro dance, even on

00:52:12.239 --> 00:52:17.599
Hall & Oates. So moving on to track two, it was

00:52:17.599 --> 00:52:20.019
said at the beginning of tonight's episode that

00:52:20.019 --> 00:52:23.179
not all songs can be about pina coladas and getting

00:52:23.179 --> 00:52:26.230
caught in the rain. But I think you got to have

00:52:26.230 --> 00:52:29.650
at least one. So from 1979's Partners in Crime,

00:52:29.829 --> 00:52:31.969
let's bring in Rupert Holmes' Escape, the Pina

00:52:31.969 --> 00:52:34.889
Colada song, reached number one on the U .S.

00:52:34.889 --> 00:52:38.050
Billboard Hot 100, and as a fun fact, was the

00:52:38.050 --> 00:52:41.090
last song of the decade to hold that position.

00:52:41.630 --> 00:52:44.510
It was also a number one hit in Canada, as well

00:52:44.510 --> 00:52:48.619
as top 10 in Australia, Belgium. Ireland, and

00:52:48.619 --> 00:52:51.500
New Zealand. And along with Red Bones' Come and

00:52:51.500 --> 00:52:54.320
Get Your Love, it was also featured on the Guardians

00:52:54.320 --> 00:52:57.260
of the Galaxy soundtrack. However, my go -to

00:52:57.260 --> 00:53:00.059
movie memory of this song is when Chris Farley

00:53:00.059 --> 00:53:03.639
accidentally presses G7 on the jukebox instead

00:53:03.639 --> 00:53:07.039
of G8 during a bar fight. And instead of the

00:53:07.039 --> 00:53:09.840
Rolling Stones' Street Fighting Man, you get

00:53:09.840 --> 00:53:14.239
Escape, the Pina Colada song. Regardless, if

00:53:14.239 --> 00:53:16.400
we're talking Yacht Rock, there's got to be at

00:53:16.400 --> 00:53:19.019
least one pina colada. So I figured I'll be the

00:53:19.019 --> 00:53:21.380
sacrificial lamb and throw it into the set list.

00:53:21.800 --> 00:53:26.340
Yeah, it's a pina colada escape, sorry, escape,

00:53:26.619 --> 00:53:29.679
parentheses, the pina colada song. I mean, it's

00:53:29.679 --> 00:53:33.719
really essential to most of our sets. And it

00:53:33.719 --> 00:53:35.980
hits every time. It's kind of like the drunk

00:53:35.980 --> 00:53:39.119
uncle of set list. I mean, it's like everyone's

00:53:39.119 --> 00:53:42.849
happy when it comes around. it's on the set we're

00:53:42.849 --> 00:53:46.150
looking down it's lurking there you know but

00:53:46.150 --> 00:53:48.849
then once it hits it's like oh yeah there's there's

00:53:48.849 --> 00:53:53.329
a reason that everyone loves this track and it's

00:53:53.329 --> 00:53:55.630
just a lot of fun it's really all there is to

00:53:55.630 --> 00:54:00.170
it rupert holmes went on to be a successful librettist

00:54:00.170 --> 00:54:04.030
he has done librettos for several musicals and

00:54:04.030 --> 00:54:07.739
has been in like the musical theater world I've

00:54:07.739 --> 00:54:09.380
always wanted to meet Rupert Holmes because in

00:54:09.380 --> 00:54:11.440
our early days, I would make a lot of fun of

00:54:11.440 --> 00:54:14.340
this song because I thought I was too cool to

00:54:14.340 --> 00:54:16.539
sing this song. And then I realized, actually,

00:54:16.719 --> 00:54:20.159
this song is too cool for me. I think I've probably

00:54:20.159 --> 00:54:23.099
forgotten the second verse to this song more

00:54:23.099 --> 00:54:28.000
often than any other lyric in our entire set

00:54:28.000 --> 00:54:30.380
list. The number of times that I've turned to

00:54:30.380 --> 00:54:33.079
Peter and said, what is the second verse of this

00:54:33.079 --> 00:54:35.699
song? I mean, it's got to be at least a dozen

00:54:35.699 --> 00:54:38.699
times. And I feel like half the time, Peter will

00:54:38.699 --> 00:54:40.800
tell me the correct lyric and I'll be like, no,

00:54:40.900 --> 00:54:46.000
that's not it. I'm like, oh yeah, that is it.

00:54:47.559 --> 00:54:51.679
So yeah, the Pina Colada song. Love it. Well,

00:54:51.739 --> 00:54:54.280
Peter, now we're back to you for track three.

00:54:55.039 --> 00:54:58.500
All right. So getting back to tracks that I got

00:54:58.500 --> 00:55:02.760
to uncover as we were. adding songs to the set

00:55:02.760 --> 00:55:07.139
in this band. Sanford Townsend Band's Smoke from

00:55:07.139 --> 00:55:10.179
a Distant Fire was not a tune that was on my

00:55:10.179 --> 00:55:13.300
radar. I'm sure that I had heard it, but it wasn't

00:55:13.300 --> 00:55:16.239
a song that really registered with me before.

00:55:16.460 --> 00:55:19.880
But similarly to the way that Nick was talking

00:55:19.880 --> 00:55:23.179
about She's Gone, this is another song that I

00:55:23.179 --> 00:55:26.360
think plays to the strengths of our band or demonstrates

00:55:26.360 --> 00:55:30.920
what we do well. and the play between the sax

00:55:30.920 --> 00:55:34.920
and the guitar is a lot of fun and works so well

00:55:34.920 --> 00:55:38.340
for our band and and the vocals on this one it's

00:55:38.340 --> 00:55:41.480
just another like blue -eyed soul ripper that

00:55:41.480 --> 00:55:46.239
just it's unbelievable we'll take another couple

00:55:46.239 --> 00:55:47.800
of guys that we had the pleasure of playing with

00:55:47.800 --> 00:55:52.699
so yeah it's just a great song yep when they

00:55:52.699 --> 00:55:55.280
came to play with us in atlanta i don't think

00:55:55.280 --> 00:55:58.710
i realized before that that sandford had co -written

00:55:58.710 --> 00:56:02.849
i keep forgetting with michael mcdonald and it

00:56:02.849 --> 00:56:06.610
was actually his story he had gotten broken up

00:56:06.610 --> 00:56:09.289
with by a girl went over to michael mcdonald's

00:56:09.289 --> 00:56:12.210
house and was just like man i just keep forgetting

00:56:12.210 --> 00:56:14.429
she's not here anymore and that was the song

00:56:14.429 --> 00:56:17.550
right and you would never connect the keyboard

00:56:17.550 --> 00:56:19.389
player from smoke with the distant fire to i

00:56:19.389 --> 00:56:22.250
keep forgetting but that's the beauty of yacht

00:56:22.250 --> 00:56:25.610
rock like all of these you know interconnections

00:56:25.610 --> 00:56:29.190
between writers and players and singers coming

00:56:29.190 --> 00:56:32.969
together to make this music from their 1977 self

00:56:32.969 --> 00:56:35.230
-titled album reached number nine on the billboard

00:56:35.230 --> 00:56:39.110
us hot 100 and also charted in australia but

00:56:39.110 --> 00:56:43.300
sadly it was their only chart success making

00:56:43.300 --> 00:56:46.659
them pop up on the list of 70s one -hit wonders.

00:56:46.840 --> 00:56:49.599
But musically, I think beyond this song, there's

00:56:49.599 --> 00:56:51.800
a lot more in their catalog that if you're into

00:56:51.800 --> 00:56:55.380
Smoke from a Distant Fire, you will enjoy. Yeah.

00:56:55.719 --> 00:56:58.219
All right. With that, Nick, we're back to you

00:56:58.219 --> 00:57:01.320
for track four. If you're creating an infomercial

00:57:01.320 --> 00:57:03.739
for Yacht Rock, you're going to have an announcer

00:57:03.739 --> 00:57:06.599
come on and introduce the genre. It's probably

00:57:06.599 --> 00:57:10.280
going to be over the intro to this track, Baker

00:57:10.280 --> 00:57:13.219
Street. by Jerry Rafferty. And then when he says,

00:57:13.380 --> 00:57:18.440
yacht rock, you're going to hear the iconic saxophone

00:57:18.440 --> 00:57:21.480
riff. One of the greatest riffs of all time.

00:57:21.539 --> 00:57:25.159
I would put it up there with any Led Zeppelin

00:57:25.159 --> 00:57:30.360
riff, any ACDC riff as one of the most memorable

00:57:30.360 --> 00:57:33.699
riffs in rock and roll. Every person knows the

00:57:33.699 --> 00:57:36.860
sax riff from Baker Street. Instantly recognizable,

00:57:37.280 --> 00:57:42.389
iconic, classic. And it's also a highlight of

00:57:42.389 --> 00:57:45.369
our show for our lighting director, James, because

00:57:45.369 --> 00:57:47.829
he gets to show off Dave. He's always finding

00:57:47.829 --> 00:57:51.769
a new way to light Dave, our sax player, that

00:57:51.769 --> 00:57:55.630
is even more epic than the last time he lit up

00:57:55.630 --> 00:57:57.949
Dave, our sax player, because that's what this

00:57:57.949 --> 00:58:01.730
song deserves. Another artist that I don't think

00:58:01.730 --> 00:58:04.690
was setting out to make the kind of music that

00:58:04.690 --> 00:58:07.869
fits with all of this other kind of music, but...

00:58:08.159 --> 00:58:10.400
Jerry Rafferty, he did it twice, really, with

00:58:10.400 --> 00:58:13.460
Baker Street and Right Down the Line. Just a

00:58:13.460 --> 00:58:17.619
solid, mellow voice. It's far from all of the

00:58:17.619 --> 00:58:20.679
power tenors that are popular in the genre, but

00:58:20.679 --> 00:58:24.239
it all comes back to the sax riff. Just undeniable,

00:58:24.420 --> 00:58:27.780
unforgettable, completely recognizable. Jerry

00:58:27.780 --> 00:58:29.940
Rafferty turned down collaborating with Paul

00:58:29.940 --> 00:58:33.099
McCartney at the height of his career. Little

00:58:33.099 --> 00:58:35.889
known fact. Smart move, I'd say, considering

00:58:35.889 --> 00:58:38.469
the success of Baker Street. Maybe, I guess.

00:58:39.190 --> 00:58:42.849
Maybe. Well, it reached number two on the U .S.

00:58:42.849 --> 00:58:45.369
Billboard Hot 100 and cracked the top 10 in a

00:58:45.369 --> 00:58:49.389
dozen other countries. Hugh Burns, who recorded

00:58:49.389 --> 00:58:53.690
that iconic sax solo, is the same saxophone player

00:58:53.690 --> 00:58:58.409
in Wham's Careless Whisper. So two iconic sax

00:58:58.409 --> 00:59:01.769
moments from Hugh Burns. And Slash has cited.

00:59:02.599 --> 00:59:06.199
that his influence in the guitar solo in Sweet

00:59:06.199 --> 00:59:09.519
Child O' Mine comes from the solo in Baker Street.

00:59:10.019 --> 00:59:13.199
Once again, a Yacht Rock song gets a 90s dance

00:59:13.199 --> 00:59:18.500
version as Undercover scored a hit in 1992, which

00:59:18.500 --> 00:59:22.900
cracked the top 10 in 13 countries, but not the

00:59:22.900 --> 00:59:26.860
US. So US really does not like dance versions

00:59:26.860 --> 00:59:28.780
of Yacht Rock, but the rest of the world seems

00:59:28.780 --> 00:59:31.949
to love it. However, you could also get a country

00:59:31.949 --> 00:59:34.530
fix on this song as Waylon Jennings covered the

00:59:34.530 --> 00:59:38.690
track on his 1987 album, Hangin' Tough. And that's

00:59:38.690 --> 00:59:40.730
Waylon Jennings, Hangin' Tough, not New Kids

00:59:40.730 --> 00:59:43.269
on the Block. And if you're a Foo Fighters fan,

00:59:43.550 --> 00:59:47.329
they did a cover of Baker Street for the My Hero

00:59:47.329 --> 00:59:50.409
single, which you can now find streaming on the

00:59:50.409 --> 00:59:53.650
Color and the Shape reissued version. Once again,

00:59:53.730 --> 00:59:56.090
shout out to Patreon mixtape Seeker who chimed

00:59:56.090 --> 00:59:58.500
in with this one as well. And I think for the

00:59:58.500 --> 01:00:00.880
next track that I get to follow up with, I'm

01:00:00.880 --> 01:00:03.539
going to lean into that saxophone in Baker Street.

01:00:04.559 --> 01:00:09.079
And I'm going to keep things saxy and, I don't

01:00:09.079 --> 01:00:12.719
know, make it even saxier on two different levels.

01:00:13.039 --> 01:00:16.059
And I'm going to go off of 1984's Diamond Life.

01:00:16.730 --> 01:00:18.929
And I'm going to go with Sade's Smooth Operator,

01:00:19.030 --> 01:00:21.610
which reached number five on the U .S. Billboard

01:00:21.610 --> 01:00:25.309
Hot 100, as well as in Canada. And it also cracked

01:00:25.309 --> 01:00:27.789
the top 10 in Europe, France and South Africa.

01:00:28.150 --> 01:00:32.429
I just feel like Yacht Rock is by nature a lot

01:00:32.429 --> 01:00:34.829
of male vocalists, but there are certain female

01:00:34.829 --> 01:00:38.449
vocals that have kind of been put into the genre.

01:00:38.889 --> 01:00:43.130
And this song to me is. So silky. I mean, it's

01:00:43.130 --> 01:00:46.369
smooth. They named it correctly. It's a very

01:00:46.369 --> 01:00:49.449
smooth song. The saxophone is gorgeous. And I

01:00:49.449 --> 01:00:52.849
think coming out of Baker Street, it's a kind

01:00:52.849 --> 01:00:57.170
of a fun transition. Yeah, I think smooth is

01:00:57.170 --> 01:01:01.849
the exact underlying thread that makes this song

01:01:01.849 --> 01:01:03.769
work with the rest of the Yacht Rock songs. But

01:01:03.769 --> 01:01:08.489
if you took this playlist. I got in a time machine

01:01:08.489 --> 01:01:11.269
and went back to 1984 and showed this to somebody

01:01:11.269 --> 01:01:14.590
and said, hey, in the future, this is a genre.

01:01:14.730 --> 01:01:17.389
I think that this would be the biggest outlier.

01:01:17.469 --> 01:01:20.949
Nobody in 1984 was thinking, oh, that would be

01:01:20.949 --> 01:01:22.630
really interesting to see what somebody thought

01:01:22.630 --> 01:01:24.409
about this. Like, oh, this is all going to be

01:01:24.409 --> 01:01:27.829
a genre in the future when these songs from eight

01:01:27.829 --> 01:01:31.030
years ago have anything to do with all this new

01:01:31.030 --> 01:01:34.889
music we're making today. But I think from the

01:01:34.889 --> 01:01:37.500
first... yacht rock mixtape that was ever made

01:01:37.500 --> 01:01:41.579
whenever all of this started, you know, in the

01:01:41.579 --> 01:01:45.179
2000 teens or whatever. Smooth Operator has been

01:01:45.179 --> 01:01:47.219
a part of every playlist. There's just something

01:01:47.219 --> 01:01:49.860
about it that fits right in. And it's a song

01:01:49.860 --> 01:01:51.820
that feels so good. And it feels so good when

01:01:51.820 --> 01:01:54.880
we play it. And Courtney just crushes it every

01:01:54.880 --> 01:01:58.159
time. And of course, Dave and the Sultry sax,

01:01:58.539 --> 01:02:02.039
he wears it well. And I feel like Smooth Operator

01:02:02.039 --> 01:02:04.699
makes all those Yacht Rock mixes because of the

01:02:04.699 --> 01:02:07.500
vibe of the song. Because I consider this an

01:02:07.500 --> 01:02:11.260
R &B track first and foremost, but the vibe and

01:02:11.260 --> 01:02:15.960
nature and feel of the instruments does slide,

01:02:16.139 --> 01:02:20.500
dare I say smoothly, right into the other songs

01:02:20.500 --> 01:02:23.420
that we've been discussing tonight. Yeah, this

01:02:23.420 --> 01:02:28.739
song is just pure atmosphere to me. It strikes

01:02:28.739 --> 01:02:32.699
a vibe. from the very first moment. Great reverb

01:02:32.699 --> 01:02:36.059
on this track. Wonderful playing. A nice opportunity

01:02:36.059 --> 01:02:40.099
for a bass solo. And one that we just started

01:02:40.099 --> 01:02:42.639
playing it last year. And it's surprising to

01:02:42.639 --> 01:02:45.420
me that we made it as far as we did in Yacht

01:02:45.420 --> 01:02:47.500
Rock without ever playing Smooth Operator until

01:02:47.500 --> 01:02:49.840
last year. And it's not going anywhere anytime

01:02:49.840 --> 01:02:52.099
soon. It's permanently a part of the set list.

01:02:52.639 --> 01:02:54.840
All right. Well, now, Peter, we're throwing it

01:02:54.840 --> 01:02:59.829
back to you for track six. All right. For track

01:02:59.829 --> 01:03:04.269
six, we have what I think is quintessentially

01:03:04.269 --> 01:03:11.110
referred to as baby -making music. This is 1978's

01:03:11.110 --> 01:03:16.010
Baby Come Back by Player, written by Peter Beckett,

01:03:16.110 --> 01:03:19.170
sung by Peter Beckett. This was interesting.

01:03:19.289 --> 01:03:22.789
So we played with Peter and Ron Moss from Player.

01:03:23.789 --> 01:03:25.969
They tell the story. It's kind of like a super

01:03:25.969 --> 01:03:28.289
group that was thrown together. Peter is from

01:03:28.289 --> 01:03:31.429
Liverpool, so you don't have a ton of British

01:03:31.429 --> 01:03:33.769
artists in this list that we've thrown together

01:03:33.769 --> 01:03:37.130
here. But a group of guys that were put together

01:03:37.130 --> 01:03:40.530
in a band, and Peter wrote this song with the

01:03:40.530 --> 01:03:43.789
keyboard player. There was just something about

01:03:43.789 --> 01:03:46.230
the groove that they put together in the studio

01:03:46.230 --> 01:03:50.250
that is exactly what the Scott Rock music is.

01:03:52.409 --> 01:03:54.349
We've been playing this one, I think, from the

01:03:54.349 --> 01:03:56.349
beginning too. I think this song was in the original

01:03:56.349 --> 01:03:59.489
set list. And every time, everyone loves Baby

01:03:59.489 --> 01:04:02.809
Come Back. Yeah, Peter and Ron, very different

01:04:02.809 --> 01:04:05.949
guys, but both lovely guys. Ron Moss went on

01:04:05.949 --> 01:04:08.849
to star in The Bold and Beautiful as Dr. Ridge

01:04:08.849 --> 01:04:12.050
Forrester. So he had like a giant soap opera

01:04:12.050 --> 01:04:15.210
career after being the bass player in Player.

01:04:15.869 --> 01:04:19.429
And to me, this track, the thing that always

01:04:19.429 --> 01:04:22.440
stands out when I listen to it still is... the

01:04:22.440 --> 01:04:26.880
reverb like the way they used reverb on this

01:04:26.880 --> 01:04:30.679
song to create distance and create atmosphere

01:04:30.679 --> 01:04:34.019
like i've tried to imitate it and can't figure

01:04:34.019 --> 01:04:38.159
out quite how they did it like it's really kind

01:04:38.159 --> 01:04:42.199
of a magical four minutes of music and a swiffer

01:04:42.199 --> 01:04:44.809
commercial And sticking with the pop culture,

01:04:45.010 --> 01:04:48.309
Transformers fans remember Bumblebee using it

01:04:48.309 --> 01:04:51.429
in the Transformers movie to communicate. Reached

01:04:51.429 --> 01:04:53.829
number one on the U .S. Billboard Hot 100, as

01:04:53.829 --> 01:04:57.010
well as Canada, and was a top 10 hit in New Zealand

01:04:57.010 --> 01:05:01.250
and South Africa. And while not a cover, Vanessa

01:05:01.250 --> 01:05:05.969
Hudgens sampled the song in her 2008 pop hit,

01:05:06.110 --> 01:05:10.230
Come Back to Me. So the song, again, lives in

01:05:10.230 --> 01:05:14.139
dance music once again. Will you please make

01:05:14.139 --> 01:05:18.059
a playlist and send it to us of just the 90s

01:05:18.059 --> 01:05:20.639
dance versions of these songs? I need to have

01:05:20.639 --> 01:05:24.000
this. I will do that and embed it on the episode

01:05:24.000 --> 01:05:27.179
page at myweeklymixtape .com so everybody who's

01:05:27.179 --> 01:05:30.280
listening can hear these as well. And with that,

01:05:30.400 --> 01:05:32.739
Nick, I'm going to throw it back to you for track

01:05:32.739 --> 01:05:39.039
seven. Track seven. This song, to me, I'll always

01:05:39.039 --> 01:05:42.030
think about our tour. on which we played this

01:05:42.030 --> 01:05:45.050
song we had gone through so many changes after

01:05:45.050 --> 01:05:49.409
the pandemic and you know changes in our band

01:05:49.409 --> 01:05:52.510
and there's a video clip you can see it on youtube

01:05:52.510 --> 01:05:54.889
of us performing this song in new york city on

01:05:54.889 --> 01:05:59.849
pier 17 like just epic it's hazy it's golden

01:05:59.849 --> 01:06:03.570
hour it's it's dusk and the video just pans out

01:06:03.570 --> 01:06:06.409
across this happy crowd and we're singing cool

01:06:06.409 --> 01:06:09.630
change by little rubber band and it just felt

01:06:09.630 --> 01:06:15.690
like so cathartic and so powerful you know you

01:06:15.690 --> 01:06:19.210
hit the chorus and it's got these giant backing

01:06:19.210 --> 01:06:23.070
vocals i'll always think of that moment in our

01:06:23.070 --> 01:06:26.929
band it was like we made it here we are we did

01:06:26.929 --> 01:06:29.349
it and that's that's how this song makes me feel

01:06:29.349 --> 01:06:32.130
and i think that sense of relief and catharsis

01:06:32.130 --> 01:06:35.289
is really powerful in this track The Little River

01:06:35.289 --> 01:06:38.809
Band is kind of like you were saying earlier,

01:06:38.889 --> 01:06:41.650
how you were a lot more familiar with Kenny Loggins'

01:06:41.789 --> 01:06:44.849
catalog growing up. And then eventually you got

01:06:44.849 --> 01:06:46.610
into the Doobie Brothers and you start digging

01:06:46.610 --> 01:06:49.230
into Michael McDonald. The same thing kind of

01:06:49.230 --> 01:06:50.969
happened with me with Little River Band. It's

01:06:50.969 --> 01:06:54.750
that it had such a long career of hit making

01:06:54.750 --> 01:06:58.630
and also personnel changes. You know, the lineup

01:06:58.630 --> 01:07:00.730
changed over the course of those years and they

01:07:00.730 --> 01:07:04.079
still managed to put out. This music that you

01:07:04.079 --> 01:07:07.679
would call yacht rock over the entire course

01:07:07.679 --> 01:07:11.579
of that time. And there's just so many good songs

01:07:11.579 --> 01:07:14.719
by the Little River Band. So for your listeners,

01:07:14.780 --> 01:07:16.920
if anyone's looking for it, you're not familiar

01:07:16.920 --> 01:07:19.340
with Little River Band. You're looking for a

01:07:19.340 --> 01:07:22.059
rabbit hole to go down. I think there's a lot

01:07:22.059 --> 01:07:25.750
of rewards down the Little River Band path. I

01:07:25.750 --> 01:07:27.869
couldn't agree more. While Cool Change is from

01:07:27.869 --> 01:07:31.849
1979's First Under the Wire, my personal favorite

01:07:31.849 --> 01:07:34.929
song from the Little River Band, I'm not 100

01:07:34.929 --> 01:07:38.949
% sure would get classified under Yacht Rock

01:07:38.949 --> 01:07:41.050
because there's a little bit more electric guitar

01:07:41.050 --> 01:07:44.170
going on, and that would be the Night Owls. Is

01:07:44.170 --> 01:07:47.730
that one that you guys have ever done? Yes. So

01:07:47.730 --> 01:07:51.550
Peter Beckett from Player spent 10 years as a

01:07:51.550 --> 01:07:54.829
member of the Little River Band. Okay. So in

01:07:54.829 --> 01:07:57.010
a handful of the shows that we've done with Peter,

01:07:57.090 --> 01:08:00.610
we've done a night owls with him. Awesome. Yeah.

01:08:00.690 --> 01:08:02.989
The harmonies in that song just blow my mind.

01:08:03.010 --> 01:08:06.070
That was one that my father had the 45 to. And

01:08:06.070 --> 01:08:07.989
then when I first heard the full album version,

01:08:08.050 --> 01:08:10.710
I'm like, Oh my God, this song is longer, even

01:08:10.710 --> 01:08:13.349
more awesomeness. Like, cause that was always

01:08:13.349 --> 01:08:15.750
my go -to little river band, but then you've

01:08:15.750 --> 01:08:18.850
got reminiscing and cool change. In fact, with

01:08:18.850 --> 01:08:23.390
cool change, triple M in Australia. They had

01:08:23.390 --> 01:08:27.010
the Aussiest 100, which was the most Australian

01:08:27.010 --> 01:08:31.090
songs of all time. And Cool Change ranks number

01:08:31.090 --> 01:08:34.630
89. So a little fun fact there about that one.

01:08:34.890 --> 01:08:38.189
And coming out of the Little River Band, this

01:08:38.189 --> 01:08:40.609
is my last song pick of the evening for track

01:08:40.609 --> 01:08:46.069
eight. And I'm going to go with just a big. Yacht

01:08:46.069 --> 01:08:48.930
Rock staple. The album has already been mentioned

01:08:48.930 --> 01:08:51.369
in our discussion tonight. So I'm going to go

01:08:51.369 --> 01:08:56.250
Captain Obvious here from 1976's Silk Degrees.

01:08:56.489 --> 01:08:59.229
Let's get some Boz Skaggs low down in the mix.

01:08:59.510 --> 01:09:01.970
Reach number three on the U .S. Billboard Hot

01:09:01.970 --> 01:09:05.289
100 and number two in Canada, co -written by

01:09:05.289 --> 01:09:08.689
Toto's David Peitch with bassist David Hungate

01:09:08.689 --> 01:09:12.529
and drummer Jeff Piccaro of Toto also playing

01:09:12.529 --> 01:09:15.930
on the track. I feel like Toto. Basically, in

01:09:15.930 --> 01:09:17.890
some way, shape or form, have their finger on

01:09:17.890 --> 01:09:21.369
every Yacht Rock song ever. But apparently there

01:09:21.369 --> 01:09:24.710
was a scene of Saturday Night Fever that was

01:09:24.710 --> 01:09:29.810
recorded with this song in the movie. But Boss

01:09:29.810 --> 01:09:32.989
Gags refused to let them use it. So they went

01:09:32.989 --> 01:09:35.550
with a more generic track that was overdubbed

01:09:35.550 --> 01:09:38.409
instead. And I kind of think that's a shame because

01:09:38.409 --> 01:09:41.670
when you think about some of the songs on Saturday

01:09:41.670 --> 01:09:45.760
Night Fever. Lowdown would work so well. It really

01:09:45.760 --> 01:09:48.260
would. We do several songs from Saturday Night

01:09:48.260 --> 01:09:51.220
Fever in our set, so I can tell you that they

01:09:51.220 --> 01:09:54.279
work perfectly with Lowdown. The Silk Degrees

01:09:54.279 --> 01:09:57.600
album is incredible. Boz Skaggs is a singer and

01:09:57.600 --> 01:10:00.100
player, totally incredible. Unfortunately, he's

01:10:00.100 --> 01:10:03.579
one that isn't crazy about the term yacht rock.

01:10:03.720 --> 01:10:07.560
He doesn't like being associated with that term

01:10:07.560 --> 01:10:11.079
or with the other. music that is associated with

01:10:11.079 --> 01:10:13.460
that term i suppose and maybe there is a hint

01:10:13.460 --> 01:10:16.659
of that and it is refusal to be on the saturday

01:10:16.659 --> 01:10:20.479
night fever soundtrack yeah so this lowdown's

01:10:20.479 --> 01:10:23.279
been in our set that from the early days and

01:10:23.279 --> 01:10:26.100
for anyone that's familiar with our show we're

01:10:26.100 --> 01:10:29.000
constantly stepping through the whole thing it's

01:10:29.000 --> 01:10:31.600
just uh you know it's a dance that everyone can

01:10:31.600 --> 01:10:34.560
get into it's a step left and a step right and

01:10:34.560 --> 01:10:38.239
uh lowdown is like the perfect example of a sidestepper

01:10:38.770 --> 01:10:41.890
It's just got that percaro groove. And, you know,

01:10:41.909 --> 01:10:44.710
with Toto all over this thing, it's undeniable

01:10:44.710 --> 01:10:48.149
yacht rocking. The flute, it's just, it's such

01:10:48.149 --> 01:10:50.750
a pleasing tune. And the female vocals, like

01:10:50.750 --> 01:10:54.369
it's, yeah, it's a lot of fun to play. And Voskaj

01:10:54.369 --> 01:10:57.470
is just, he's incredible. Well, Peter, we are

01:10:57.470 --> 01:10:59.689
back to you now for your last pick of the evening

01:10:59.689 --> 01:11:02.869
in track nine. All right. So I think we've made

01:11:02.869 --> 01:11:08.000
it this entire time. Track nine. side B of the

01:11:08.000 --> 01:11:11.359
mixtape and we've yet to include any Steely Dan

01:11:11.359 --> 01:11:16.880
and so official I've got My Old School which

01:11:16.880 --> 01:11:20.460
you probably don't isn't the first Yachty track

01:11:20.460 --> 01:11:23.600
from Steely Dan that you think of but this is

01:11:23.600 --> 01:11:27.260
the first tune I feel like that hit me with our

01:11:27.260 --> 01:11:30.100
band is that in a song that plays to or truly

01:11:30.100 --> 01:11:32.500
plays to our strengths and it's just one when

01:11:32.500 --> 01:11:35.100
we started playing it just fit really well you

01:11:35.100 --> 01:11:36.840
know it's like pretty putting on the perfect

01:11:36.840 --> 01:11:40.739
outfit and i love this track it's upbeat the

01:11:40.739 --> 01:11:44.460
core lines are incredible and it's been my favorites

01:11:44.460 --> 01:11:47.399
that all these years we get questions so often

01:11:47.399 --> 01:11:49.720
what's your favorite song that you guys do and

01:11:49.720 --> 01:11:52.319
for a longer period it always changes but for

01:11:52.319 --> 01:11:54.260
a longer period than that my old school held

01:11:54.260 --> 01:11:58.140
that position more than any other song. I love

01:11:58.140 --> 01:11:59.800
playing this song when we have a horn section.

01:11:59.899 --> 01:12:01.439
We don't do a lot of shows with horn sections,

01:12:01.779 --> 01:12:05.399
but this is always number one on the list whenever

01:12:05.399 --> 01:12:08.399
we get some horns in there because the horn arrangement's

01:12:08.399 --> 01:12:11.560
great. As with every Steely Dan song, every aspect

01:12:11.560 --> 01:12:14.979
of the arrangement, every detail is spot on.

01:12:16.340 --> 01:12:20.659
It's fun to recreate that attention to detail

01:12:20.659 --> 01:12:24.979
and to see the nerds in the audience appreciate

01:12:25.500 --> 01:12:28.539
our recreation of that attention to detail. From

01:12:28.539 --> 01:12:32.319
1973's Countdown to Ecstasy, surprisingly, this

01:12:32.319 --> 01:12:35.180
one only reached number 63 on the US Billboard

01:12:35.180 --> 01:12:38.119
Hot 100. I was surprised to hear that it didn't

01:12:38.119 --> 01:12:40.880
crack the top 40. For me, the thing that I always

01:12:40.880 --> 01:12:43.920
took away from this song is Jeff Skunk Baxter's

01:12:43.920 --> 01:12:47.960
guitar solo in it. Like, it's just, that is Skunk

01:12:47.960 --> 01:12:52.100
at his finest. And I mean, if you did an episode

01:12:52.100 --> 01:12:55.420
of... yacht rock music and we didn't talk Steely

01:12:55.420 --> 01:12:58.539
Dan, I think people would like yacht rock us

01:12:58.539 --> 01:13:01.079
right off the player. We would lose all credibility

01:13:01.079 --> 01:13:03.880
without Steely Dan in this discussion. Completely.

01:13:04.100 --> 01:13:07.539
Well, Nick, you got to start off side B and you

01:13:07.539 --> 01:13:09.920
get to take us home by closing out the entire

01:13:09.920 --> 01:13:12.920
evening of music with the last song choice of

01:13:12.920 --> 01:13:15.960
the night. I was selfish with this song choice.

01:13:16.460 --> 01:13:20.319
It's a song co -written with Elliott Lurie. who

01:13:20.319 --> 01:13:23.659
wrote the song Brandy, You're a Fine Girl by

01:13:23.659 --> 01:13:26.380
Looking Glass. He was the lead singer and primary

01:13:26.380 --> 01:13:30.340
songwriter in Looking Glass. And he and I were

01:13:30.340 --> 01:13:34.199
in Jamaica on a gig together. We were all, Yacht

01:13:34.199 --> 01:13:36.560
Rock was all there. And he said, hey, I think

01:13:36.560 --> 01:13:38.539
we should do a song together. And I of course

01:13:38.539 --> 01:13:41.180
said, yes, we should definitely do a song together.

01:13:41.279 --> 01:13:43.779
Let's do it. And this is the result. It's called

01:13:43.779 --> 01:13:46.399
Tropical Illusion. It's the first single from

01:13:46.399 --> 01:13:50.109
our new album, Escape Artist. And I couldn't

01:13:50.109 --> 01:13:52.609
be more proud that it was a collaboration with

01:13:52.609 --> 01:13:55.250
Elliot, who's been a friend for a long time.

01:13:55.689 --> 01:13:59.930
It's got the yacht rock history that he brings

01:13:59.930 --> 01:14:02.970
to the table. It's got the fresh yacht rock energy

01:14:02.970 --> 01:14:06.350
that we bring to the table. And I think of all

01:14:06.350 --> 01:14:09.050
the songs that we've written and recorded, this

01:14:09.050 --> 01:14:13.630
one probably sounds the yachtiest. This is true

01:14:13.630 --> 01:14:17.810
yacht rock. We've achieved... the goal on this

01:14:17.810 --> 01:14:20.869
one. And I'm excited for people to hear it. Yeah.

01:14:21.010 --> 01:14:24.649
This one just fits just right. And like Nick

01:14:24.649 --> 01:14:27.949
said, I think without being a pastiche, it's

01:14:27.949 --> 01:14:31.569
just, and it checks the boxes, but it's not just

01:14:31.569 --> 01:14:34.289
yacht rock, but it's yacht rock. And it just

01:14:34.289 --> 01:14:36.829
so happens that we have a clip of the song to

01:14:36.829 --> 01:14:53.539
share right now. Tropical illusion This picture

01:14:53.539 --> 01:14:59.500
perfect view And when you hear those waves come

01:14:59.500 --> 01:15:04.220
tumbling in You're floating like a seabird in

01:15:04.220 --> 01:15:12.439
the wind And time stands still Oh, what a thrill

01:15:12.439 --> 01:15:19.140
Every day I dream of you my dream comes true.

01:15:23.260 --> 01:15:27.399
Every day I dream of you. Every night my dream

01:15:27.399 --> 01:15:35.319
comes true. And that, mixtapers, concludes side

01:15:35.319 --> 01:15:38.300
B of our ultimate Yacht Rock mixtape, which consists

01:15:38.300 --> 01:15:42.359
of Hall & Oates' She's Gone. Rupert Holmes' Escape

01:15:42.359 --> 01:15:45.800
the Piña Colada Song, Sanford Townsend Band's

01:15:45.800 --> 01:15:48.800
Smoke from a Distant Fire, Jerry Rafferty's Baker

01:15:48.800 --> 01:15:52.420
Street, Sade's Smooth Operator, Players' Baby

01:15:52.420 --> 01:15:56.020
Come Back, Little River Band's Cool Change, Boz

01:15:56.020 --> 01:15:59.279
Skagg's Lowdown, Steely Dan's My Old School,

01:15:59.579 --> 01:16:03.079
and Yacht Rock Review's Tropical Illusion. Head

01:16:03.079 --> 01:16:05.600
over to myweeklymixtape .com to hear all the

01:16:05.600 --> 01:16:08.359
songs we've discussed in this mix. through the

01:16:08.359 --> 01:16:12.159
playlist embedded on the episode page. Yacht

01:16:12.159 --> 01:16:14.720
Rock Review will be smooth sailing across the

01:16:14.720 --> 01:16:18.000
country this summer with Train and REO Speedwagon.

01:16:18.060 --> 01:16:20.239
So be sure to catch them on the road and their

01:16:20.239 --> 01:16:23.560
new album, Escape Artist, drops anchor with sides

01:16:23.560 --> 01:16:27.000
one and two on October 4th and sides three and

01:16:27.000 --> 01:16:30.140
four on November 25th. Gentlemen, thank you so

01:16:30.140 --> 01:16:32.619
much for joining me on my weekly mixtape tonight.

01:16:33.000 --> 01:16:35.119
Pleasure. Thanks for having us. It's fun mixing

01:16:35.119 --> 01:16:37.470
it up with you. And remember, you can find My

01:16:37.470 --> 01:16:39.569
Weekly Mixtape on almost all the social media

01:16:39.569 --> 01:16:42.750
haunts at My Weekly Mixtape. You can also head

01:16:42.750 --> 01:16:45.149
to MyWeeklyMixtape .com to check out the full

01:16:45.149 --> 01:16:48.310
catalog of My Weekly Mixtape episodes. And if

01:16:48.310 --> 01:16:49.729
you like what you're hearing on the show, you

01:16:49.729 --> 01:16:52.090
can help me out by either telling a friend, leaving

01:16:52.090 --> 01:16:53.989
the show a five -star review wherever you're

01:16:53.989 --> 01:16:57.050
tuning in, or becoming a Patreon mixtaper at

01:16:57.050 --> 01:17:00.729
Patreon .com forward slash My Weekly Mixtape.

01:17:01.229 --> 01:17:03.210
That's all for this week. Thanks again for listening.

01:17:03.289 --> 01:17:05.470
And until next time, enjoy the tunes.