Mixing standard pop and rock practices with experimental sprinklings, ‘Nazz Nazz’ should have sent Todd Rundgren’s band into the superstar stratosphere.

Hopscotching between the psychedelic garage rock of 1967 and the power pop of 1977, the Lemon Clocks remind us why those musical eras were so special.

Procol Harum’s ‘A Salty Dog’ was a lot to digest, yet there is no question the album remains a noble artistic statement.

Reactions were indeed mixed for ‘Pleasant Dreams,’ but, in the end, the Ramones’ sixth studio effort stands as their last truly great album.

The specter of Badfinger manifests throughout, but ‘The Pilgrim’ ends up reinforcing Joey Molland’s ability to stand on his own.

Emerging in an age when heavy rock was the happening thing, Unit 4 + 2’s self-titled 1969 album was unfairly deemed a dated anomaly.

‘The Remains’ documents the unstoppable exuberance of an exciting – and sadly short-lived – young band.

Although the Young Rascals were already tuned in and tight, ‘Groovin” showed off a new-found sense of maturity and sophistication.

Filled with funky, blues-battered dynamics, Ashton Gardner and Dyke’s “Resurrection Shuffle” seized the radio dial in the summer of 1971.

Mixing and matching experimental edges with bouts of moodiness, the Temptations stage more exceptional performances throughout ‘All Directions.’