Young Gun Silver Fox's 'Pleasure' - Album Review

A type of music which has become a real favourite of mine over recent years, particularly as a respite from all the heavier music I tend to consume, is all that falls under the rather nebulous umbrella of yacht rock. I had often, wrongly, thought that yacht rock was just another term for AOR and melodic rock due to Toto often getting tagged as such - but following watching an excellent two-part documentary on the yacht rock sound I learnt that I was wrong, and watching the programmes made me finally play those handful of Doobie Brothers LPs I had previously acquired cheaply. Funnily enough the Doobie Brothers LPs I had were some of the early ones, from before their yacht rock period, but they nevertheless led me to the band's late 1970s smoother era - alongside the works of acts like Daryl Hall & John Oates, Christopher Cross, and Boz Scaggs. It also made me realise that bands I already liked, such as Toto and Steely Dan, often flirted with such a sound - and the smooth sounds of the 1970s American West Coast has become just as much a part of my listening habits as harder rock and metal. It is very much a sound which characterises a time and a place, though, so it is not generally being made today. There are newer yacht rock acts, obviously, but they tend to operate on the fringes - often as uncool as many of the big yacht rockers were even when they were selling millions of records. Back in 2022, though, I was introduced, via Facebook, to the UK/US duo Young Gun Silver Fox - and after a couple of listens to their 2020 release Canyons I was sure that I had found the best modern yacht rock act around. Three years and two more albums on, I still feel the same. Admittedly I have not delved into the modern yacht rock scene, if such a thing even exists, but compared to anything else which I have heard in recent times that even attempts to be yachty Young Gun Silver Fox truly rises above. They are easily one of my most listened-to acts over the past couple of years - and after I saw them live for the first time at the beginning of 2023 I actually had to force myself to stop listening to them for a while so that I would not burn myself out on their albums. I listen to them more in moderation now, but I still love them - and I have seen them live three times in total, with the most recent time coming just last month in Bristol. The reason for that latest UK tour, their most extensive as a headliner, was the release of their fifth studio album Pleasure - which also dropped at the beginning of May. The duo's first since 2022's Ticket to Shangri-La (which I reviewed here), Pleasure sees multi-instrumentalists and songwriters Andy Platts and Shawn Lee in truly fine form. All of the duo's albums have been great, but the vibe throughout this latest record is joyous - and there is perhaps more of an upbeat pop vibe throughout the 10 songs here than on previous albums. There are still plenty of smooth grooves and the occasional slower number, but Pleasure is a great, feel-good record - with occasional 1970s disco vibes thrown in alongside a typical yachty approach. As usual, Platts and Lee are essentially responsible for everything here - although a horn section of Nichol Thomson, Tom Walsh, and Graeme Blevins flesh out some of the tracks as has often been the case in the past.

Whilst I have my favourites here, there are really no weak numbers on Pleasure. The album is a digestible length, too, which makes it perfect for any occasion - and the variety in the songwriting, despite the duo's core sound, keeps things interesting. The album's lead single, Stevie & Sly kicks things off - and the track feels poignant given the very recent passing of Sly Stone. It is not a plaintive track, though, with an upbeat groove showcasing that slight disco edge hinted at - whilst strong Motown and Steely Dan influences ensure that a core smoothness is retained. The prominence of the opening bassline, courtesy of Lee, sets a groove which never lets up throughout - whilst spiky drumming, metronomic guitar lines, and dreamy Fender Rhodes melodies create a warm bed for Platts' voice. Despite the great songwriting and production of the duo, it is Platts' vocal melodies which really make Young Gun Silver Fox. He generally sings in quite a sultry, Scaggs-esque register - but his falsetto is excellent, too, and the song's pre-chorus really benefits from this approach whilst synths swirl around. He also utilises some higher-pitched vocals during the infectious chorus, which may be one of the duo's best choruses yet, which sees an even more enhanced bassline create yet more grooves - whilst Platts' layers of harmony vocals ensure that the classy yacht rock 'produced' sound is very much present. The opening song is a future classic for the duo - and it is sure to become a staple in their live sets over the years. Upping the overall pace somewhat, though, Born to Dream is much more overtly pop in approach - and it may be the most unashamed slice of up-tempo pop rock in the duo's canon yet. Based around a tight Rhodes melody, the song moves along at a faster click than is average for yacht rock's groovy approach - but there remains a smoothness thanks to the pulse of the Rhodes and the bass, whilst Lee's guitar playing is subtle and melodic. The musical arrangements are perhaps less intricate here than the duo's often are, but all of the classic touchstones are still there - with Platts' once again knocking it out of the park vocally. Lots more falsetto vocals are utilised here, with the chorus in particular containing shades of Queen's more whimsical moments, but some deeper backing vocals from Lee add a playful edge. Lee also throws in a short guitar solo, too, which is effects-heavy and slow-burning - but it is melodic and suits the song's overall melodic approach nicely. This is a track which is all about hooks and its overall vibe - and it achieves this without sacrificing too much of the duo's usual layered approach. If Born to Dream looked to strip things down somewhat, then Late Night Last Train returns to the duo's true sound - with the smooth semi-ballad showcasing every yacht rock trick in the book. This is a song which could have easily been sung by Michael McDonald, so it is fitting that it is based around a Rhodes and synth bed - with arpeggiated guitar melodies, big acoustic guitar chords, and another pulsing bassline. I call the song a semi-ballad as many yacht rock songs could be seen as ballads due to their pace, but in reality the song is just a classic of the genre - and recalls the duo's own Mojo Rising somewhat for pace and vibe. Lee cuts loose a little here, too, with a lengthier guitar solo, adding Eagles-esque aching melodies to the piece, whilst the slow-burning chorus is another which Platts owns thanks to a more laid back delivery and plenty of soul.

Burning Daylight is somewhat more upbeat - introducing a strong dose of funk thanks to the prominence of Lee's bass playing and the introduction of the horn section for the first time here in a big way. Despite feeling more upbeat than the previous song, the track is still a mid-paced piece overall - with the bass playing giving the song a kinetic feeling, whilst bigger guitar chords and Rhodes flourishes add some drama. The track is less laid back than some of the duo's efforts, and there are some bigger musical flourishes throughout in general - with the horn section adding colour and the Rhodes taking the lead at times to accent certain parts of the track. Blevins throws in a pretty lengthy saxophone solo, too, and the this jazzy excursion only enhances the song's funky overtones in a positive way - with the call-and-response chorus vocals also having a similar impact. Holding Back the Fire reminds me of West Side Jet from the previous album - in the fact that the smooth groove feels especially Scaggs-esque, with sparse bass playing creating a slightly off-beat feel whilst acoustic guitar chords tend to dominate. This especially applies to the verses, which feel somewhat restrained and plaintive - with the Rhodes melodies feeling more mournful behind Platts' slightly quieter vocal delivery. The chorus is a bit more upbeat, though, with strong gospel influences in the approach to vocal harmonies and the presence of the horn section which kicks in as the pace becomes a bit more intense during the chorus. Occasional Toto-esque synth stabs add to this upbeat feel during the chorus, with Platts later laying down a Rhodes solo in a change of pace to the usual guitar-based approach. Just for Pleasure somewhat builds on the approach of the previous song's chorus, as well as doubling down on some of the disco vibes heard elsewhere throughout the album. The bassline, particularly in tone, reminds me of Michael Jackson's Thriller album - and this track has a similar overall vibe to the more laid back songs on that all-time classic. Some of Platts' vocal harmonies are Jackson-esque during the chorus - and there are synthy moments which also recall the 1980s, too, building on those synth stabs during the previous song. The classic Young Gun Silver Fox sound is retained, though, with a smooth chorus still managing to exist in amongst the funkier vibes throughout. Everything manages to hang together despite this variance of influences, and it is fun to see the duo operating on a poppier plane during parts of this album. Put Up Your Dukes returns to something much more typical of the duo's core sound, though, with another excellent bassline generally driving everything - whilst Rhodes melodies and subtle guitar lines once again return to the fore. This is the sort of song which the duo have written since the beginning, but the formula has not run dry yet. The duo's core approach still sounds fresh five albums in - and it helps that Platts' ear for a massive vocal melody endures, with the song's chorus being another hooky one despite a smooth approach and slightly pared back harmonies.

The Greatest Loser is another which treads a slightly more typical pop-based path - albeit with the duo's core sound retained, particularly during another smooth chorus. Instead of the prominent Rhodes sounds used throughout the album, which do still surface throughout this track, The Greatest Loser feels more typically piano driven, especially early on, with the opening verse actually reminding me of early Elton John thanks to Platts' slightly different vocal approach and a more stripped back arrangement. There is certainly less groove here, with the song having more of a typical pop rock drive. The bass is less important here than is typical, with the piano chords the song's most prominent facet - even if the harmony vocals during the chorus and Platts' melodies are very typical of the duo's core sound. Platts' guitar solo is a bit more rock-orientated than is typical, too, and it really screams out of the speakers at one point - adding some strong additional melodies to a track which feels more strident despite it having ballad-esque qualities. Stealing Time returns to something much more yachty, though, with a prominent horn hook heralding the start of another smooth, grooving number which may be the album's biggest grower. This is not a piece which really grabbed me much at all early on, but repeated listens to the album have brought it to the fore - with the chorus' slightly off-kilter vocal melodies helping it stand out. It helps that the horn section really adds a powerful depth to this track - and there is an instrumental section part way through which really turns the clock back to classic Chicago. This horn-led moment showcases the duo's penchant for tight arrangements - and there is quite a lot going on beneath the core melodies from the trio of horn players. A big bassline drives everything as always - and the mix of this horn-led approach and another excellent chorus have really elevated the song for me. The album then comes to a close with the breezier One Horse Race. It returns to the poppier feel of Born to Dream somewhat - but with more of the duo's core yacht rock sound retained, which gives the song a snappy feel despite a smooth groove being present throughout. The bass playing is not as busy here as it often is, but the gaps between the notes add as much to the groove as the notes themselves - and the ever-present acoustic guitar helps to add a level of class and depth. A bit like Journey's Don't Stop Believin', the song's chorus is only really fully revealed towards the end - and the brightness overall increases during this eventual chorus, with huge vocal harmonies and a driving Rhodes chord sequence providing once last sing-a-long with Platts. Subtle horns and synths add depth, too, and the track closes out the album nicely with its breezy vibes. We are now five albums in and I am not sure that Young Gun Silver Fox know how to disappoint. The duo have crafted an excellent set of new songs here and the arrangements and layers throughout only help to enhance the base melodies and chord sequences within. These are songs that keep giving despite their pop hooks and easy-going melodies - which is what tends to make yacht rock special to begin with. This is pop music written by expert musicians who are masters of their craft - and the album is already one of the band's best for me.

The album was released on 5th May 2025 via Candelion. Below is the duo's promotional video for Stevie & Sly.