Gibson’sÂ guitarsÂ Lifestyle writer, Russell Hall wrote a great article about the albums that never made it out for us to hear due to them being shelved or abandoned. He had listed 10 albums from artist that have made some major impacts to the world of music. If you would like to read the full article please click here. The list is below with his history behind the albums for you to enjoy.
Bruce Springsteen â€“Â Electric Nebraska
Bruce Springsteenâ€™s bleak, darkly acousticÂ NebraskaÂ album was hailed as a monumental work upon its release in 1982. Fact is, however, The Bossâ€™s original intent was that the disc be a full-on rock and roll effort. To that end, Springsteen recordedÂ Nebraskaâ€™s songs with his E Street Band, replete with amped-up arrangements, before deciding his homemade demos would better serve the message he wanted to convey. Drummer Max Weinberg later described the electric versions of the songs as â€œhard-edgedâ€ and â€œkilling.â€
Neil Young â€“Â Homegrown
This mostly acoustic country-rock album â€“ recorded by Neil Young in 1974 â€“ was so close to being released, the cover art already had been designed. Young has described the album as â€œthe missing link betweenÂ Harvest,Â Comes a Time,Â Old WaysÂ andÂ Harvest Moon.â€ Many ofÂ Homegrownâ€™s songs centered on the deteriorating relationship between Young and his then-girlfriend, actress Carrie Snodgrass. In the end, Young deemed the songs too personal and opted to releaseÂ Tonightâ€™s the NightÂ instead.
Prince â€“Â Camille
In 1986, Prince began work on an album intended to showcase his strange (even for him) new obsession: speeding up his recorded vocals to make himself sound like a female. Dubbing his feminine alter-ego Camille, the Purple One is said to have recorded an eight-song LP that was even bawdier that the previous tracks that had drawn the ire of the Parents Music Resource Center. Prince shelved the disc, but several of the songs he had worked up, including â€œHousequakeâ€ and â€œIf I Was Your Girlfriend,â€ surfaced on subsequent albums.
The Kinks â€“Â Four More Respected Gentlemen
The songs for this never-released Kinks album, recorded in 1968, were originally intended for a U.S.-only LP to be released in tandem with a Europe-only version of the bandâ€™sÂ The Kinks are the Village Green Preservation Society. Instead, record label powers-that-be opted to shelve the former album, and instead released a longer version of the latter disc in both the U.K. and the U.S. Years later, with tongue planted firmly in cheek, Kinks leader Ray Davies saidÂ Four More Respected GentlemenÂ consisted of a song cycle about table manners.
Green Day â€“Â Cigarettes and Valentines
This intended follow-up to Green Dayâ€™s 2000 album,Â Warning, never saw the light of day for one simple reason: the master tapes were stolen from the studio. Frontman Billie Joe Armstrong later said the pilfered material was â€œgood stuff,â€ while bassist Mike Dirnt remarked that the songs constituted a return to Green Dayâ€™s â€œhard and fastâ€ punk roots. Nonetheless, instead of re-recording the album, the band decided to go a different route. The result was the acclaimed 2004 disc,Â American Idiot.
Pink Floyd â€“Â Household Objects
In 1974, in the wake ofÂ Dark Side of the Moonâ€™s monumental success, Pink Floyd was casting about for a worthwhile departure. The idea the band came up with was to create music using nothing but household objects. Rubber bands, cardboard boxes and water-filled crystal wine glasses were among the tools employed in the effort, but alas, the challenges proved insurmountable. â€œIt just got too difficult â€“ and pointless,â€ David Gilmour later told writer Jim DeRogatis.
The Beatles â€“Â Get Back
Paul McCartneyâ€™s idea for The Beatles in 1968 was that they should â€œget backâ€ to their roots, and make an album free of studio refinement and overdubs. He also wanted the band to get back to live performances, which in fact The Beatles half-heartedly did for their famous â€œrooftopâ€ performance. In the end, however, tensions prevailed and theÂ Get BackÂ sessions grinded to a halt. Producer Phil Spector eventually pieced together theÂ Let It BeÂ album from theÂ Get BackÂ tapes, but that string-laden LP was a far different animal from what McCartney intended.
David Bowie â€“Â Toy
Prepped for release in 2002, this album featured new versions of some of Bowieâ€™s earliest work. Recording with hisÂ Hoursâ€¦Â touring band and longtime producer Tony Visconti, Bowie re-cut such obscure tracks as 1968â€™s â€œIn the Heat of the Morning,â€ 1971â€™s â€œShadow Manâ€ and 1964â€™s rousing â€œLiza Jane,â€ which had been released originally in Bowieâ€™s early incarnation as David Jones and the King Bees. For reasons unclear, Virgin Records shelved the disc, although several tracks surfaced later on other albums and as B-sides. A full version ofÂ ToyÂ was leaked onto the Internet in early 2011.
The Who â€“Â Lifehouse
Simply put,Â LifehouseÂ was a project toppled by the weight of Pete Townshendâ€™s grand ambitions. Conceptually, in the wake ofÂ Tommy, Townshend wanted to construct a multimedia extravaganza that would incorporate music that reflected the personalities and states of mind of The Whoâ€™s audience. The complications involved in the undertaking precipitated a nervous breakdown in Townshend, but not before he penned some of his finest songs. Fortunately, althoughÂ LifehouseÂ was abandoned, much of the material found its way ontoÂ Whoâ€™s Next, one of The Whoâ€™s most triumphant albums.
The Beach Boys â€“Â Smile
This album â€“ contemporary musicâ€™s most famous â€œlostâ€ disc â€“ was intended to be an ambitious follow-up to The Beach Boysâ€™ 1966 pop masterpiece,Â Pet Sounds. Building on the epic sweep of â€œGood Vibrations,â€ Brian Wilsonâ€™s â€œpocket symphony,â€ Wilson and lyricist Van Dyke Parks envisioned an intricate tapestry of sound. Wilson wasnâ€™t able to pull together his original vision forÂ Smile, although years later, in 2004, he recorded a version on his own. The recently releasedÂ Smile Sessions Box Set, which gathers material from the original sessions, offers a tantalizing aural portrait of what might have been.