NME.COM

20 Lost Albums Ripe For Rediscovery

  • Leatherface, 'Mush'. Fucked Up's Pink Eyes said: "To me this is the starting point for a lot of bands like Against Me as well as Hot Water Music. Even a band like The Gaslight Anthem have a little bit of Leatherface in them."

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  • Late Of The Pier, 'Fantasy Black'. Tribes' Johnny Lloyd said: "We play this album on the tourbus constantly. There are some great guitar lines on there, but at the same time he's great the synths. We were really disappointed when we found out the band were splitting."

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  • Hang On The Box, 'For Every Punk Bitch & Arsehole. NME's Editor Krissi Murison said: "[The album] wasn't big, it wasn't clever and it wasn't particularly original. What it was though was rock music at its most rebellious - young, dumb and contraband in a country where censorship is king."

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  • Happy Refugees, 'Last Chance Saloon'. Cloud Nothings' Dylan Baldo said: "The music shifts constantly, never settling into a groove for too long. 'Last Chance Saloon' os unsettling, creative and unfortunately overlooked."

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  • Jeff Buckley, 'Sketches For My Sweetheart The Drunk'. The Maccabees' Sam Doyle said: "Maybe it's not really a lost album - but it's Jeff Buckley's sketches of demos and rough recordings for what would have been his second album... They serve as a haunting reminder of what a great record it could have been."

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  • Three, 'Dark Days Coming'. No Age's Dean Spunt said: "That sound, it soaks my ears, blankets my sould and wraps me up tightly. It sounds like I was there, I feel like I was there... It's good, and very few people know it, but if they do kbow, they know it's deep."

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  • Sam Gopal, 'Escalator'. The Horrors' Rhys Webb said: "Searing fuzz guitar supplied by a pre-Hawkwind Lemmy weaves its wicked way through tabla-driven grooves to hypnotic effect. Acid folk meets heavy psychedelic rock."

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  • Lazy Smoke, 'Corridor Of Faces'. The Horrors' Rhys Webb said: "Dreamy melodies float over fine psychedelic guitar work, a breezy journey into the sights and sound of a generation in love. Blissed out, euphoric and optimistic, another lost group with so much to offer. Enjoy."

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  • The Angels Of Light, 'Everything Is Good Here/Please Come Home'. Wild Beasts' Tom Fleming said: "It's an extremely bleak listen - not all his albums are that bleak - but this one in particular is a wonderful record. He's an acoustic songwriter, but the production on it is just incredible. The unusual sounds and his lyrics... it's just a wonderful album."

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  • Cornelius, 'Fantasma'. Justice's Gaspard Augé said: "It was really fun to listen to with headphones because he invented a new way of recording called 3D stereo or something. His other records are really good as well but a bit more abstract, getting more and more experimental."

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  • Various Artists, 'Chicago Trax Volume 1'. Little Boots said: "By the very nature of early Chicago house, it's trickey to pin down a 'lost album'... Musically, the machine beats set against soaring diva melodies and squelching bass tick all of my boxes."

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  • Bonnie 'Prince' Billy, 'I See A Darkness'. Carl Barat said: "This record made me realise you could write an album just for the beauty of it; music for expression, not dancing girls and bells and whistles... It's a personal record, one that lets you voice your feelings and emotions through the scaffolding of someone else's intimacy.|

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  • Damon, 'Song Of A Gypsy'. The Horrors' Rhys Webb said: "Damon's debut long player definitely ticks all boxes as far as our 'lost psychedelic classic' theme goes. Released on a small indie label and housed in a leather-bound gatefold sleeve, it is regarded as one of the most sought-after US artefacts."

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  • Kit Hain, 'Looking For You'. Metronomy's Joe Mount said: "I keep coming back to this album because of the bass parts - Kit is a bass player. I'm not sure if she played bass on the record, but you can hear how integral it is... [This album] is nothing like a lost classic, but it deserves to be heard by more people."

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  • Kevin Rowland, 'My Beauty'. Kasabian's Tom Meighan said: "I thought it was great - it's a load of covers and I thought it was fantastic. I can't get it anywhere now. It sold about 20 copies, it flopped to fuck. He's on the cover cross-dressing, it's massive. You weren't expecting thatm were you?"

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  • John Cale, 'Fear'. Sharon Van Etten said: "It's a really beautiful record. Every song sounds different and the production is really amazing. Cale really likes experimenting a lot while still writing insane pop songs... It's a pretty perfect record."

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  • Leonard Cohen, 'Death Of A Ladies' Man'. The Maccabees' Hugo White said: "This is a collaboration between Phil Spector and Leonard Cohen... Leonard Cohen later described the result as a 'catastrophe' and disowned it... At times it's not an easy record to listen to. The drawn-out wall of sound production is both intense and dull at the same time (in a good wat, if that makes any sense)."

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  • Frank Zappa & The Mothers Of Invention, 'Over-Nite Sensation'. Beth Jeans Houghton said: "This is the record that turned me on to Frank Zappa. I was 12 years old... His records embody such anarchic fun that it continues to shock me that he and his band did not cause an epidemic of jazz-funk-commentary to course through the veins of America."

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  • Stevie Nicks & Lindsey Buckingham, 'Buckingham Nicks' NME's Luke Lewis said: "They were a struggling duo who recorded one album in 1973. It has never been out on CD, and is only available illegally online. Which is a puzzle, because while it contains nothing as direct as Fleetwood Mac's 'Rhiannon', say, tracks such as 'Frozen Love' showcase the pair's blossoming songwriting skills."

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  • Momus, 'The Poison Boyfriend'. Suede's Brett Anderson said: "There's a beautiful hazy melancholy to much of this record, his second release, which I think he lost as the songs became more twisted and intellectualised on later albums." Pick up a copy of this week's NME to read more lost album suggestions.

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