The new favorite album in the Gray household is “Aurora.”

“Aurora” is the fictional mid-’70s album made by the equally fictional band Daisy Jones & the Six, which also is the title of the Amazon Prime Video series based on the Taylor Jenkins Reid best-selling novel.

The first eight episodes are available on the streaming service, with the final two arriving Friday. After watching the first two shortly after their release, we binged episodes 3 through 8 over a couple of days last week, and we’ll watch the final two at the first chance all four of us are home at the same time.

I can’t argue that “Daisy Jones & the Six” is great television. Essentially it’s a VH-1 “Behind the Music” episode come to life without the oppressive narrator.

However, it has plenty of talking heads as the series maintains parts of the oral history structure of the book, so viewers see future versions of the characters commenting on the scenes that unfold in the ’70s.

Riley Keough and Sam Claflin are the stars as Daisy Jones and Billy Dunne, the narcissistic and self-destructive heads of this musical hydra, but I think my favorite character is the grizzled road manager played by Timothy Olyphant (and I love how in the flash-forward scenes he looks like he’s doing Sam Elliott cosplay).

The plot is soapy and occasionally silly, and while it doesn’t borrow wholesale from the internal drama that fueled Fleetwood Mac’s music in the same time frame, the parallels are undeniable.

If it was set in the fashion world instead of the music business, I never would have started watching in the first place. But I’m a sucker for these kinds of stories, and “Daisy Jones” is trashy fun.

Most importantly, it gets the music right, which often is the downfall in these kinds of films.

The songs sound and feel as if they could have come from the ’70s. Even better, they sound like they could have been hits in the ’70s. As they alternate between singing harmony and lead and conveying the push-pull of I-love-you / I-hate-you in the way they sing together, Daisy and Billy channel that Stevie Nicks / Lindsay Buckingham dynamic on numbers like “Look at Us Now (Honeycomb)” and “More Fun to Miss.” They work as more than pale imitations of “Go Your Own Way” and “The Chain.”

The real star of the series may be Blake Mills, a singer, songwriter and producer whose collaborators include Fiona Apple, Dawes, Alabama Shakes, John Legend and others. He wrote or co-wrote the songs and produced the recordings. Some of Mills’ past studio partners also worked on the movie, such as Marcus Mumford, who is a co-writer on “Look at Us Now.”

The vintage songs chosen by music supervisor Frankie Pine also extend beyond the overplayed touchstones that seem to be on every soundtrack for a movie or television series set in this same time period.

The show includes some deep cuts, including “Jazel Jane” by area band Blue Ash and “Have Love, Will Travel,” which has been covered by The Sonics’, Girard native Stiv Bators and Akron’s The Black Keys. Both of those show up in the first episode.

In a later episode, there’s a singalong to Faces “Ooh La La” that is a goosebump moment similar to “Tiny Dancer” in the movie “Almost Famous.”

Getting the music right is why I love movies like “Almost Famous” and “That Thing You Do” and why I’m eagerly awaiting the final two installments of “Daisy Jones.”

Andy Gray is the entertainment editor of Ticket. Write to him at agray@tribtoday.com.