Listening again, it becomes obvious the Bay City Rollers were one of the most underrated and misunderstood bands of the 1970s.

John Oates accidentally found a new sound that helped shape the lead single from Hall and Oates’ ‘Big Bam Boom,’ released on October 12, 1984.

‘Black Light’ shows the still-vital John McLaughlin with the help of his spirited band the 4th Dimension incrementally pushing his craft forward.

When ‘All’s Well That Ends Well’ arrived on Oct. 11, 2010, it looked as if Toto was over. Steve Lukather stepped forward to accept the mantle.

Perhaps the Zombies’ finest effort to date, the appropriately titled ‘Still Got That Hunger’ combines their initial vision with a fresh outlook.

Released on Oct. 11, 1972, Miles Davis’ ‘On the Corner’ remains fresh and funky. So, why isn’t it more widely accepted as a fusion masterpiece?

Salvador Santana’s “Till The Mornin’ Light” is one of the more accessible tracks on an album that boldly moves from funk to reggae to rap.

‘Time,’ released on Oct. 10, 1995, became Fleetwood Mac’s first-ever U.S. chart failure. Dave Mason joins us to explain what went wrong.

A badly needed reissue reminds us of Suburban Lawns’ focus on new wave excitement and subversion, bolstered by a sense of humor and of the odd.

Released on Oct. 10, 1969, King Crimson’s ‘In the Court of the Crimson King’ was like nothing that had come before – and little since.