Other Lost Albums

Wilco's "The Late Greats" is a song about missed opportunities framed by the fictional song "Turpentine" by the fictional band "The Late Greats". Yes, the characters may be invented but many music fans identify with the refrain of "the best song will never get sung / the best laugh never leaves your lungs / so good you won't ever know / I never hear it on the radio" could have been sung about any of these albums. As Guns n Roses moves closer to releasing their long awaited Chinese Democracy, here are some more fascinating lost albums.

The Beach Boys – Smile (1966)

What it was supposed to be: The perfect encapsulation of a century of American pop music. The culmination of Brian Wilson's musical ambitions. An album so good it would "make Pet Sounds stink". Containing the witty lyricisms of collaborator Van Dyke Parks and the logical continuation of Brian's "Good Vibrations" experiments, bootlegs reveal it to be one of the most compulsively listenable and addictive artifacts of the psychedelic era.
What happened: The drugs and pressure got to Brian as the endless sessions only produced Smiley Smile, a bizarre little home recorded album that will forever live in the shadows of those classic demos and session excerpts.
Release status: A large chunk of the sessions would see release in the 1993 box set Good Vibrations, but Brian would finally complete the work as a total re-recording with his new band in 2004. The album would cement his status as a pop music icon with a stature equal to any songwriter in pop music history.

The Beatles – Get Back (1969)

What it was supposed to be: An album that continued The White Album's back to basics approach in a more communal group format and premiere of the material that would herald the group's return to live performance after a two year hiatus.
What happened: The rehearsals were fraught with arguing and countless takes of throwaway covers. Besides a few tracks like "Don't Let Me Down" and "Get Back", which were salvaged as a single, the songs were of a markedly lower quality than what the Beatles had been producing. After a final rooftop concert, the band abandoned the sessions. The band would reuse some promising scraps when they returned to the studio to cut Abbey Road, the last album recorded they would record as a group.
Release status: After several abortive mixes helmed by producer Glyn Johns, Phil Spector was brought on to make sense of the mess. He famously spoiled several songs with syrupy strings and choruses, most notably "The Long and Winding Road" and "I Me Mine". The album would be released shortly after the breakup of the band in spring of 1970.

Big Star – Third (1974)

What it was supposed to be: The last in a trilogy of releases that saw Big Star move from starry eyed power pop to drugged out vets who had been fucked by the record industry and wanted you to know about it.
What happened: Leader Alex Chilton famously sabotaged his own material as revenge for the failure of Ardent and Stax records to get his band's music heard. When the powers that be mooted "Downs" as the single, Chilton muted the vocals to barely audible and used a basketball as a snare drum. With the material uncommericial and Ardent records nearing the end of its existence, the band died and the material was shelved.
Release status: It would see release in 1978 as the band started achieving notoriety amongst the few who knew Big Star even existed. A more complete portrait of the sessions would be released on cd in 1992.

The Who – Lifehouse (1970)

What it was supposed to be: The next step in Pete Townshend's transition from mod kingpin to multimedia artist. Part movie, part album, part concert, it was meant to portray the power of music as a sort of all consuming event-a union of performer and audience-that could triumph over all.
What happened: Much like Brian Wilson had with Smile, Townshend simply lost focus as the scope of the material grew ever larger beyond that of an ordinary LP. Without producer Kit Lambert as an ally, as he had been with the rock opera Tommy, he had to convey his ideas to the skeptical band himself. Finally after a residency at the Young Vic did not create the desired "celestial cacophony", Townshend abandoned the project.
Release status: The material intended for Lifehouse would crop up in Who albums for a decade. Who's Next would be constructed almost entirely out of scraps from the project, as well as the "Join Together" single, and even parts of Who Are You. In late 1999, the whole of the narrative was finally completed for a BBC radio play, which was included in a box set along with 4 discs of music in the 2000 box set Lifehouse Chronicles.

Neil Young - Chrome Dreams (1977)

What it was supposed to be: Neil Young's best album of the 70's. Young had achieved a commercial breakthrough with the singer/songwriter oriented Harvest, but abandoned that trail with a trilogy of dark, drug-drenched albums that have since become critically acclaimed cult classics-Time Fades Away, Tonight's the Night, and On the Beach. Zuma had seen Young refine the Americana/garage hybrid he had created into slightly more clearheaded terrain. Chrome Dreams would be the culmination of this artistic thread.
What happened: Whether due to Young's mercurial nature, or as some have suggested his love of self-mythologizing, the album was never released.
Release status: The monumental "Like a Hurricane" would see release on that year's American Stars 'n Bars and most of the other tracks would be picked along the years whenever Young needs to beef up a mediocre album. Confusingly, Chrome Dreams II was released in 2007, but other than the title, bears no resemblance to the unreleased album of thirty years ago.

Ryan Adams - Suicide Handbook (2001)

What it was supposed to be: A more emotional and mournful sequel to Adams' debut album Heartbreaker.
What happened: Details are sparse, but apparently his label, Lost Highway, preferred the demos for the more upbeat Gold to the Suicide Handbook tracks.
Release status: Rumored to be contained in it's entirety on an upcoming Ryan Adams rarities box, some of the best tracks have already been released on other albums, such as "Wild Flower", "Dear Chicago", and "Off Broadway".

Weezer - Songs from a Black Hole (1995)

What it was supposed to be: Weezer meets Jesus Christ Superstar, but instead of being unsure of his role as savior, Rivers Cuomo is unsure about his role as rock star or astronaut or some combination thereof.
What happened: The band scrapped the rock opera somewhere around the demo stage and would go on to record Pinkerton, the raw and emotional album that would maintain their cult throughout their three year hiatus.
Release status: The seven minutes of the material made available on the Rivers Cuomo demo collection Alone, effectively ended any desire for this material to see official release from all but the most intense Weezer fans.

Bob Dylan/The Band - The Basement Tapes (1967)

What it was supposed to be: Zimmy's abandonment of the pop world that he had conquered with "Like a Rolling Stone" and return to folk music on his own terms. By recording with The Band far away from the media in Woodstock, New York, he ensured those terms would not be topical protest songs but rather a series of addictively cryptic songs like "Lo and Behold", "You Ain't Going Nowhere", "I Shall Be Released" and "I'm Not There". Along the way, he invented Americana as we now understand it.
What happened: It seems that Dylan had no desire to release these tracks. Instead they were given to The Band ("Tears of Rage", "I Shall Be Released"), Manfred Mann ("The Mighty Quinn"), and The Byrds ("You Ain't Going Nowhere"), amongst others.
Released status: Portions of these sessions were first released in what is believed to be the first bootleg ever, 1969's The Great White Wonder. Finally in 1975, a large chunk of the material was released in a two-record set, which failed to include some of the best material. The most infamous of these tracks, "I'm Not There" would be released on the soundtrack album of the Todd Haynes film which borrowed it's name from the track.

Dave Matthews Band – The Lilywhite Sessions (2000)

What it was supposed to be: A break from their three previous albums of loose jamming that had been embraced by millions of hippies and frat boys. With darker material written in reaction to the death of his stepfather, and alcohol prevalent in the writing sessions, the material was surprisingly focused and melodic, including some of Dave Matthew's best songs like "JTR" and "Grace is Gone".
What happened: The rest of the band were never quite on board, and their recording at a new home studio in the woods of Virginia complicated matters. According to many, several members of the band were more interested in riding ATV's around the nearby trails than completing tracks for such a personal and downbeat album. When producer Steve Lilywhite-who lends his name to a bootleg of the sessions-grew tired of the slow progress and quit. With pressure for a new album with commercial potential coming to a head, Dave Matthews would partner with producer Dave Ballard and create the more pop oriented Everyday album in ten days.
Release status: With the demo tapes of the abandoned material making rounds online, the band decided to re-record the material in 2002. Several newer songs were recorded in those sessions, displacing "JTR" and several others from the track list.

Dennis Wilson – Bambu (1978/1979)

What it was supposed to be: The album that consolidated the good reviews and decent sales of his first solo album Pacific Ocean Blue and provided the middle Wilson brother with a creative outlet independent from the stagnating Beach Boys. The sessions were filled with his gruff blue eyed soul with the symphonic pop trickery he learned from his older brother.
What happened: The Beach Boys constantly hijacked Dennis Wilson's best songs to add interest to subpar albums, the Beach Boys sold their home studio, and his drug problems worsened. A combination of these three factors caused Dennis to abandon recording altogether in the years before his drowning death in 1983.
Release status: This year's generous reissue of Pacific Ocean Blue contains nearly all the material from Bambu. Of the key tracks, only "Baby Blue" is left off, which can be found on the Beach Boys' L.A. (Light Album).

Dr. Dre – Detox (2004-Present)

What it was supposed to be: The third, and according to Dr. Dre, final album of cutting edge gangsta hip-pop. Supposedly containing guest appearances by Nas, Lil Wayne, 50 Cent, Busta Rhymes, Jay-Z and about every other major label rap artist who isn't named Kanye West, the album is according to Snoop Dogg "worth the wait".
What happened: Dr. Dre focused on producing tracks for others, and maintained a leisurely pace on his third solo record.
Release status: It is rumored to be released this year, but then again at least one rap periodical also called Detox one of the most anticipated releases of 2006.


Modern Lovers – Modern Lovers (1972)

What it was supposed to be: Proof that the reach of the Velvet Undergroun touched more than smack-addicted cosmopolitan minimalism fanatics. A stunning group of chugging songs written by Jonathon Richman and recorded by ex-Velvet John Cale, the songs included "Roadrunner", which built the bridge between punk and suburbia even before there was anyone to cross it.
What happened: Richman's erratic nature made things difficult for the band-as he refused to play these songs live even as Warner Brothers was attempting to gather support for the album. Eventually, the original Modern Lovers would implode without an album to support and Richman would move to more childlike pastures.
Release status: The sessions would be released in 1976 and gain an immediate audience with the nascent punk scenes in New York and London. "Roadrunner" would even become a charting hit in England in 1977.

The Velvet Underground – Second MGM Album (1969)

What it was supposed to be: A transitional work between their tranquil self titled LP and the good ole rock 'n' roll of Loaded. The album would've included some of Lou Reed's most timeless tracks, including "Lisa Says", "Ocean", the proto-twee pop of "I'm Sticking With You" and perhaps even "Stephanie Says", a gorgeous track first recorded directly before John Cale's 1968 departure
What happened: MGM records sought to purge their stable of overtly drug related bands, and The Velvet Underground was among the first to be dropped. Strangely, the label refused to relinquish the submitted tapes for the band's next album.
Release status: Lou Reed would fill the blank spots on his first couple solo records with songs from these sessions, but the Velvets versions would remain unissued until the mid-80's rarities compilations VU and Another View and the 1995 box set Peel Slowly and See.

John Lennon – Roots (1973)

What is was supposed to be: Lennon's saving grace from a large lawsuit. Sued by Roulette Records chief Morris Levy for having stolen a Chuck Berry line while writing "Come Together", Lennon agreed to record at least three songs published by Levy on his next album. While searching a list of possible tracks, Lennon was reminded of many of his favorite tracks from the 50's and resolved to record a covers album.
What happened: The sessions with Phil Spector were the booze soaked nadir of Lennon's Lost Weekend. In the ensuing legal confusion, Levy released his own version of the album, based on rough mixes.
Release status: Two of the most popular songs from Roots, "Be My Baby" and "Angel Baby" would not be included when the sessions were finally distilled into the official Rock 'n' Roll. Those tracks would eventually find release on Anthology and Menlove Avenue respectively.

Mahavishnu Orchestra – The Lost Trident Sessions (1973)

What it was supposed to be: The third album of John McGlaughlin's searing vision of fusion by the original lineup of his seminal Mahavishnu Orchestra. Retaining his love of distorted rock and the odd meters and scales of Indian classical music, the sessions also saw the democratization of the band with Jan Hammer, Rick Laird, and Jerry Goodman contributing a song each.
What happened: The band was given the choice of releasing a live album of overlapping material from that year's show at Central Park or releasing the expanded studio versions. The band chose the live album-Between Nothingness and Eternity- and shelved the studio sessions. That temporary shelving would be made permanent when the band broke up amid infighting and creative conflicts.
Release status: When searching for the master tapes of a previous album during a remastering effort, the tapes, previously thought lost, were discovered and released in 1999.