"Rain on the Roof" (sometimes titled "You and Me and Rain on the Roof") is song by American pop band the Lovin' Spoonful, written by John Sebastian. It was released as a single in October1966 and was included on the album Hums of the Lovin' Spoonful the following month. The song reached number ten on the Billboard Hot 100 chart, making it the Lovin' Spoonful's six consecutive single to reach the top ten in the United States. "Rain on the Roof" represented a return to the softer sound for which the Lovin' Spoonful had become known. Sebastian's push to release the song as the follow-up to the harder rock styled single "Summer in the City" led to consternation among his bandmates, who felt that their next single ought to have been similar in intensity. "Rain on the Roof" features an interplay between several guitars played by Sebastian and Zal Yanovsky, as well as a Irish harp. Composition and recording John Sebastian composed "Rain on the Roof" after a night spent listening to the rain with his wife Loretta "Lorey" Kaye in their Greenwich Village apartment. The song similarly describes two lovers listening to the rain. The composition ends on a major seventh chord, which musicologist Walter Everett writes means the song "never [achieves a] full-cadence closure", leaving it feeling unresolved. "Rain on the Roof" was produced and arranged by the Lovin' Spoonful's regular producer Erik Jacobsen. The recording features an interplay of guitars between Zal Yanovsky and Sebastian. In addition to both a pedal steel guitar and a Ditson acoustic twelve-string guitar, Sebastian played an Irish harp, a stringed instrument he acquired while in Dublin. Yanovsky played his hollow Guild Thunderbird electric guitar. To generate a French horn-like sound, Yanovksy turned the treble off on his guitar but turned up the amplifier's treble and gain, resulting in distortion and the beginning of feedback. Bassist Steve Boone later reflected being "mesmerized" by each of his bandmates' guitar work, characterizing it as "like music from heaven". Author Maury Dean considers the song soft rock due to its twelve-string guitar melody, while author Bernard Gendron considers the guitars reminiscent of harpsichords, leading him to place the song in the contemporary baroque rock trend. After recording the backing track, the band's earliest attempts at recording vocals featured a round sung by Sebastian, Yanovsky and drummer Joe Butler, similar in style to their 1965 song