Christopher Cross Songs Ranked

Christopher Cross (born Christopher Charles Geppert; May 3, 1951) is an American singer, songwriter, musician, and composer from San Antonio, Texas. Cross won five Grammy Awards for his eponymous debut album released in 1979. The singles “Sailing” (1980), and “Arthur’s Theme (Best That You Can Do)” (from the 1981 film Arthur) peaked at number one on the U.S. Billboard Hot 100. “Sailing” earned three Grammys in 1981, while “Arthur’s Theme” won the Oscar for Best Original Song in 1981 (with co-composers Burt Bacharach, Carole Bayer Sager, and Peter Allen). Cross released his self-titled debut album, Christopher Cross, in 1979. The Billboard Hot 100 top 20 hits from this album included “Ride Like the Wind” (featuring backing vocals by Michael McDonald), “Sailing”, “Never Be the Same”, and “Say You’ll Be Mine” (featuring backing vocals by Nicolette Larson). “Ride Like the Wind” hit No. 2 on the U.S. Hot 100, while “Sailing” topped the chart. “Never Be The Same” went No. 1 on the Adult Contemporary chart. Owing to the almost immediate success and popularity gained by the album, Cross was nominated for several Grammy Awards, garnering five. Cross was the first artist in Grammy history to win all four general field awards in a single ceremony, bringing home Record of the Year (“Sailing”), Album of the Year (Christopher Cross), Song of the Year (“Sailing”), and Best New Artist at the 23rd Annual Grammy Awards in 1981; this was not replicated until Billie Eilish won all four awards at the 62nd Annual Grammy Awards in 2020. Here are all of Christopher Cross songs ranked.

Don’t miss out on the music of Christopher Cross below! Click to enjoy his original songs that are definitely modern classics!

13. All Right (Another Page, 1983)

“All Right” is as danceable as rock gets. The ultra-smooth vocals and keyboards make it go down so easy. “All Right” has been the hit in France and the whole album is in an 80’s musical environment. A little bit too digital, polished and cold either. The compositions are honest with sometimes some nice short guitar solos as if he was reminiscent of the 70’s.”

12. I Really Don’t Know Anymore (Christopher Cross, 1979)

“Track one gets this album off to a wobbly start, but I Really Don’t Know Anymore picks things up a bit with it’s driving beat and Michael McDonalds vocals kicking in and some cool guitar, This is actually pretty good.”

11. Best that you can do – Arthur’s theme (Arthur , 1981)

“You probably already know this, it was a monster hit. Big AOR ballad and the guy’s voice is so hypnotic. I’m not the biggest fan of wuss-rock, but this is an exception. Nice.”

10. Never Be The Same (Christopher Cross, 1979)

“Third hit for soft-rocker Christopher Cross although he was already so settled in his style that this could almost be called “Always Be The Same”. It’s a pleasant mid-tempo number with a lush Michael Omartian production featuring keyboards, cooing backing vocals and warm-toned guitar solo but is a bit more ordinary-sounding than its predecessors.”

See more: Christopher Cross Albums Ranked

9. Charm the Snake (Every Turn of the World, 1985)

“There are two fairly big issues with this song. One is that the melody is agreeable, but not very catchy. So while the song sounds pretty good while it’s playing, it doesn’t stick in the brain much once it’s over. The other problem? The lyrics. It’s not clear whether it’s sort of motivational-poster-ish, or slyly sexual – it probably depends on how you take that forgettable (and rather clunky) hook “You gotta charm that snake”. The lyrics aren’t embarrassing, but they don’t really seem to add up to much.”

8. Ride Like The Wind (Christopher Cross, 1979)

“This breakthrough hit for Christopher Cross canters along smoothly hardly encountering any major fences along the way. Michael McDonald is along for the ride with his distinctive answering vocal while the load is shared otherwise by strings, backing vocals, and a little rockist guitar all jockeying for position. Nearly comes a cropper with the Pearl and Dean-type vocal breakdown but recovers well to make the finishing line in fairly good shape.”

7. Think Of Laura (Another Page, 1983)

“I think of Laura only slightly less than I think of Christopher Cross. Given an unexpected boost from the General Hospital connection (geez, how many songs did that show save?), this tune muddled its way into the Top Ten…but became his last top forty single. Luckily for me, my “radio station” during this time was MTV, and Mr. Cross neglected to make a video.”

6. Say You’ll Be Mine (Christopher Cross, 1979)

“Say You’ll Be Mine” must have been a million and eight different couples’ wedding song in 1980, such an infectious melody being able to entertain those of all generations present (at least at the time, it probably could). “

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5. Drifting Away (The Café Carlyle Sessions, 2008)

“While the music is all nicely written and sounds appealing, it really feels like the whole thing just went by without ever really jumping out and giving me that “Hey! This is important!” kind of feeling..”

4. Deal ‘Em Again (Another Page, 1983)

“While his soft rock sound hadn’t progressed one iota, music has moved on with new wave, stadium rock, and MTV leaving his very sanitized brand of A.O.R in their wake. This song from it amply demonstrates the point, it’s smooth and very homogenized but with no trace of life or edge to it all.”

3. Talking in My Sleep (Another Page, 1983)

“Christopher Cross’s Phil Collins-lite music was successful for a few years in the late 70’s / early 80’s. This track from his second album, the title of which is from this song, is fairly typical of his output, Cross’s light vocal style framed with synths and guitars in an inoffensive manner.”

2. Minstrel Gigolo (Christopher Cross, 1979)

“Minstrel Gigolo” isn’t a very good song but it plays a good role. Consider it your warning on what the rest of the LP sounds like – yacht rock, but without the rock.”

1. Sailing (Christopher Cross, 1979)

“The title of this song must be symbiotic given how much it epitomises what came to be termed yacht rock. Smoother than newly spun silk, it’s buoyed by its shimmering guitar line, free of care lyric and Cross’s light, multi-tracked vocalising. The limpid piano notes are like rippling waves on the water.”