Today’s smoldering selection comes from British blues band Savoy Brown.  Though the band did not achieve as much success in the U.S. as they did in the U.K., they did land a top 40 album in 1972 with Hellbound Train. This extended jam features devilishly haunting keys by Paul Raymond and the ominous howls of Kim Simmonds, the only member to remain in the band since it’s formation in 1967.  So strap in and turn it up, because a trip to hell has never sounded so good.

Recommended by: Steve Woolard

Ahhhh it’s Friday and time for a little butt-shakin’ and rump-waggin’ . Today’s tune-to-make-you-move is from Dallas soul shouter Bobby Patterson.  “Quiet! Do Not Disturb” is the song , but also the sign that Bobby puts out when he’s ready to get “busy” because he DOES NOT like to be distracted or interrupted.  It’s a funkalicious slice of early ‘70s R&B.  Bobby recorded for the Jetstar label in the ‘60s turning out a treasure trove of regional hits.  In the early ‘70s, he switched to Paula Records and while he didn’t have any chart success, his tracks continued to be of the same high quality.  I highly recommend digging deeper and finding the Jetstar material, as well as the rest of his Paula tracks.  They’re a great example of what was going on outside of the Memphis/Philly/Detroit R&B hubs of the time.  And if you’re in Dallas these days, he’s a DJ on Soul 730 AM from 9a-12p. Come on and move it with me.

Recommended by: Gregg Ogorzelec

With all the controversy heating up in Arizona over immigration, we thought it would be fitting to feature a song by Arizona’s own - Alice Cooper.  Practically every song from School’s Out is gold, including today’s track “Alma Mater,” a whimsical ballad in which Alice reminisces about his younger days at Camelback High School. Between Alice’s nostalgic vocals and Michael Bruce’s harp-like acoustic guitar, you can’t help but to get caught up in the moment.

Recommended by: Tony Fornaro

Sandy Denny left us 32 years ago last week. While she had accomplished so much in her almost 15 years of performing and recording, it pains to think what she might have done next or how would her amazing voice have sounded as it deepened with age and experience. For those who aren’t familiar with the British folk-rock icon, you may know her as the female voice in Led Zeppelin’s “Battle Of Evermore”, or the author of “Who Knows Where The Time Goes”, covered by Judy Collins and a host of others. Artistically, she is most adored as the female vocalist and songwriter for the groundbreaking British folk rock band Fairport Convention where she cemented her status as one of the premier vocalists in England at the time. Leaving Fairport after their landmark Liege & Leaf release, she embarked on a solo career that explored her songwriting, as opposed to the more traditional route that Fairport was pursuing. Sandy’s rich alto, impeccable phrasing and stellar songwriting are just part of the joy of exploring her catalog.

Recommended by: Gregg Ogorzelec

Tracy Nelson’s sweet, pure, utterly incandescent voice has proven to be one of the great hidden treasures of the rock era. Sexual and spiritual all in one breath, the unhurried elegance of Nelson’s music, both with the band Mother Earth and solo, created an island of calm transcendence amidst the often frantic and silly San Francisco hippie era. “Tennessee Blues” (written by Abbeville, Louisiana’s Bobby Charles, who also penned “See You Later, Alligator” for Bill Haley and the Comets) takes up where 1969’s magnificent Tracy Nelson Country LP left off, presenting an unapologetically earthy and passionate paean to the deep satisfactions of leading a simple life, living with the animals, making a joyful noise, and feeling the fertile soil beneath your bare feet. Nelson deserves to be mentioned in the same class as Janis Joplin, Linda Thompson and Sandy Denny. She’s an absolute gem, and overdue for rediscovery.

Recommended by: Keith Gorman

A music business executive who knew the latter better than the former once asked me “what is power pop?” Two words are sufficient to answer that question: Big Star. The Memphis band was largely overlooked during its original run in the early 1970s, a time when melodic songs that also kicked ass had largely fallen out of favor. But the decades since have been kind, with legions of musicians now championing Big Star’s blend of harmony, power chords, and driving rhythms. “When My Baby’s Beside Me,” the lead 45 from the group’s debut #1 Record, is a fine example of their craft. A heart-on-the-sleeve love song propelled by chiming guitars and handclaps, it was reportedly a favorite of the band’s Alex Chilton, who passed away this week.

Recommended by: John Hagelston

Despite their moniker’s obvious allure and an impressive battery of hits, by the early 1970s the original Temptations were slowly coming apart. David Ruffin had packed his bark and split in 1968, followed three years later by a partner who swung so sweetly for the stars: Eddie Kendricks, with tones on loan from Heaven. The feather-light “Eddie’s Love” floated down the otherwise heavy stream of Kendricks’ sophomore solo sojourn, People…Hold On (1972), which found the ex-Tempt fretting over Vietnam and social unrest, among other topical subjects. But once he warmed that falsetto over a pep-in-the-step groove and sang of the simplicity of he and she, all the world was sun and moon. When Eddie was on, Eddie was it.

Recommended by: Cory Frye

Recommended by: David Dorn

It seemed like after three double albums and a four-record live set, Chicago were taking it easy on their first single LP. Even the wood-etched logo on the cover almost spoke of more “rustic” fare inside. Nope. The opening track from the group’s first #1 album ripped through the speakers with Terry Kath’s guitar crunch and Robert Lamm doing his best Jon Lord. (Hey, did someone stick their copy of Deep Purple In Rock in my Chicago V sleeve?) Much like the work of the 20th-century composer whose name graces the title, the song reveled in Edgard Varèse’s concept of “organized sound.” Building and driving and swirling and relentless (how about that horn slide at :41?), “A Hit By Varèse” is indicative of what people forget about Chicago. They rock.

Recommended by: Lee Lodyga

More well known for the catchy tunes he penned for the Eagles and Linda Ronstadt (“Best Of My Love,” “New Kid In Town,” “Faithless Love”), John David Souther has also cranked out some brilliantly understated solo albums throughout his career. His self-titled debut is arguably his best, and one of its standout tracks is the autobiographical “Out To Sea.” This gospel-flavored treat boasts not only an unforgettable chorus but also a killer bridge that showcases Souther’s strong, soulful tenor. When it’s repeated a second time toward the end of the track, Souther and his backup band reach a vocal and instrumental crescendo that’s downright exhilarating.

Recommended by: Rick Petreycik