Daevid Allen’s final recording is as he’s always sounded: like he’s still frolicking in 1970 trying to imagine what music might be like in 2020 if we had lost our minds along the way,

There’s nothing forced about 1970’s back-to-basics ‘Morrison Hotel,’ which found the Doors offering blues-battered hard rock with renewed vim and vigor.

The Westies’ terrific sophomore effort revisits many of the elements that made 2015’s ‘West Side Stories’ shine, even while hitting a few new heights.

ZZ Top’s underrated ‘Tejas’ is like a forgotten middle child, having had the back luck to follow not just one, but two classic albums.

With a touch of Southern-fried soul, Joe Mandica’s “My Heart Belongs” is like a marvelous mating of Bill Lloyd with Bill Deal and the Rhondels.

Jensen and Olin draw from a deep well of experience and the broad diversity of music styles to make a little magic with a big band.

Toto’s “If It’s the last Night” doesn’t hit the heights of “A Million Miles Away,” but it’s an effective ballad. Unfortunately, it’s not an effective album closer.

Groove Legacy are new torchbearers who have the wherewithal to resurrect the glorious past of 70s funk-jazz with all the intuition and understanding of those who were there.

Taking its title from the name of the street the Verve Pipe’s Donny Brown grew up on, ‘Hess Street EP’ was a striking debut recording.

“I Don’t Want to Spoil the Party” reveals the Beatles’ country and rockabilly roots, even as it foreshadows – like much of ‘Beatles for Sale’ – the musical changes to come.