You may not know the name, but you probably know one of his songs.  Shuggie Otis, son of ‘50s R&B bandleader Johnny Otis, wrote “Strawberry Letter 23” which The Brothers Johnson turned into a HUGE hit in the late ‘70s. “Aht Uh Mi Hed” came from his 1974 album Inspiration Information.  Despite a host of strong songs and rhythms, the album surprisingly went nowhere upon release.  Shuggie is a fascinating character.  Playing with his father’s band at 12, recording with Al Kooper at 15 and Zappa at 16, he released his first record at 17.  Inspiration Information was released when he was the ripe old age of 21 and unfortunately would be his last proper album. He turned down offers to tour with the Stones at the time as well as to have Quincy Jones produce the follow up to this record, and we still haven’t heard much from him after 36 years. Do yourself a favor and check out the 2001 re-issue on Luaka Bop.

Recommended by: Gregg Ogorzelec

In the early ‘80s, Prefab Sprout was a jangly, often heady, melodic English band that drew comparisons to Aztec Camera, Steely Dan, and Elvis Costello. For their second album, they hired synth-pop wiz Thomas Dolby to helm it.  His presence brought a more polished production sheen, and the band showed up with a batch of tunes that would launch them into pop consciousness around the world except…in the U.S. “Faron” opens Two Wheels Good, retains some of their jangle, and starts off a brilliant alternative pop album. While Paddy McAloon’s words are often impenetrable, the melodies, arrangements, and production override any lack of lyrical understanding. Even though they weren’t able to conjure a strong follow-up on their subsequent releases, here Prefab Sprout really crafted an ‘80s pop gem that perfectly captures that moment in time.

Recommended by: Gregg Ogorzelec

Today’s song is recommended by Queensryche’s Geoff Tate, whose aggressive hard rock/heavy metal seems like a world away from Sade’s detached, jazzy R&B-pop. “Like A Tattoo” comes from Sade’s highly successful 1992 album, Love Deluxe, which spawned the hits “No Ordinary Love” and “Kiss Of Life.” The chilled-out vibe of the song is in contrast to the story the lyrics tell. Sade talks of a lover whose past is burdening and shaming him, and of the conflict and potential violence that haunt him. Geoff’s roles as lead singer and lyricist in Queensryche allow him to weave stories, like Sade does, within his songs. His progressive approach to metal sets the band apart from their contemporaries not only by the topics they tackle but by the ambitious concept albums they’ve produced.

Recommended by: Geoff Tate from Queensryche

The Yardbirds earned their spot in the Rock And Roll Hall Of Fame as much for their illustrious alumni (Eric Clapton, Jeff Beck, and Jimmy Page have all taken turns as the band’s lead guitarist) as for their British-Invasion-era hits    which, as dynamic and innovative as they were, sort of left the ’birds pigeonholed as a singles band. That’s not an unfair description since the group only managed to issue one proper studio album in their native England    but what an album it is! Nicknamed Roger The Engineer for the caricature that bassist Chris Dreja drew on the cover, the 1966 long-player is a heady mix of the band’s blues-wailin’ roots and the psychedelic excursions of the day, and features Beck at his absolute zenith. Among the highlights, “Turn Into Earth” puts the Gregorian chanting of the group’s old hit “Still I’m Sad” behind Keith Relf’s plaintive vocals as Beck’s slithering fuzz guitar weaves in and out of the mix.

Recommended by: John Hagelston

Despite Cheap Trick’s hooky songs, Rick Neilsen’s lyrics often involved darker and more ambiguous themes than those that usually found their way into late-’70s popular music. “On The Radio,” with its candy groove and sing-along choruses, reveals Cheap Trick’s ability to connect with their audience and pull back the curtain on what the culture was actually feeding them. The lyrics portray a man’s relationship with radio, laying bare the oasis of inspiration/consolation that the medium had been for many years. However, the song ends with typical rambling DJ patter. And for all the genuine feeling the listener invests in the songs and the man who spins them, this patter reveals itself to be nothing more than blatant hucksterism and half-baked attempts to sound “hip.” Everyone now knows that this is all radio’s really ever been, but Cheap Trick called “bullshit” pretty early in the game.

Recommended by: Mac Dunlop