Music history is littered with projects planned, anticipated, even completed — and then scrapped

NEW YORK -- The idea that Bruce Springsteen wrote, recorded and ultimately shelved entire albums of music may seem odd to the casual listener. Why put yourself through all that work for nothing?

Yet “lost albums” are embedded in music industry lore. Some were literally lost. Some remained unfinished or unreleased because of tragedy, shortsighted executives or creators who were perfectionist — or had short attention spans.

Often, the music is eventually made public, like Springsteen is doing now, although out of context from the times in which it was originally made.

So in honor of Springsteen's 83-song “Tracks II: The Lost Albums” box set being released Friday, The Associated Press has collected 10 examples of albums that were meant to be but weren't.

Back in the news with the death of Brian Wilson, this album “invented the category of the lost masterpiece in popular music,” says Anthony DeCurtis, contributing editor at Rolling Stone. Some of the material that surfaced suggested Wilson, the Beach Boys' chief writer, was well on his way: the majestic single “Good Vibrations,” the centerpiece “Heroes and Villains” and the reflective “Surf's Up.” Wilson succumbed to internal competitive pressure worsened by mental illness and drug abuse while making it in 1966 and 1967, eventually aborting the project. He later finished it as a solo album backed by the Wondermints in 2004. The better-known songs were joined with some psychedelic-era curios that displayed Wilson's melodic sense and matchless ability as a vocal arranger, along with lyrics that some fellow Beach Boys worried were too “out there.”

The mercurial Prince pulled back this disc, set for release in December 1987, at the last minute. Some promo copies had already slipped out, and it was so widely bootlegged that when Warner Bros. officially put it out in limited release in 1994, the company billed it as “The Legendary Black Album.” Encased in an all-black sleeve, the project was said to be Prince's nod to Black fans who may have felt they had lost him to a pop audience. It's almost nonstop funk, including a lascivious Cindy Crawford tribute and the workout “Superfunkycalifragisexy.” The maestro's instincts were well-placed, though. Coming after “Sign O' the Times” — arguably his peak — this would have felt like a minor project.

Written and recorded in 2003, Green Day's “Cigarettes and Valentines” was actually lost; someone apparently stole the master tapes. Feeling on a creative roll, the rock trio decided against recreating what they'd done and pressed on with new material. Smart move. The result was “American Idiot,” the band's best work. Perhaps the robbery was “just a sign that we made a crappy record and we should make a better one,” songwriter Billie Joe Armstrong told MTV. The title cut later surfaced on a 2010 live album. The rest was lost to time.

To say anticipation was high for Dr. Dre’s third album when he started recording in 2002 puts it mildly. The theme disc about a hitman, which Dre described as a “hip-hop musical,” had an all-star squad of contributors including Eminem, 50 Cent, Mary J. Blige, Busta Rhymes and Kendrick Lamar. “I’d describe it as the most advanced rap album musically and lyrically we’ll probably ever have a chance to listen to,” co-producer Scott Storch told MTV. But we never have. When he announced a different third album in 2015, Dre explained on his radio show what happened to “Detox”: “I didn’t like it. It wasn’t good. ... I worked my ass off on it, and I don’t think I did a good enough job.”

A series of unfinished demos, “Black Gold” was a taste of where guitar god Jimi Hendrix might have gone creatively if he hadn't died at 27 in 1970. He was composing a song suite about an animated Black superhero, says Tom Maxwell, whose podcast “Shelved” unearths stories behind lost music. Hendrix sent a tape of his work to longtime drummer Mitch Mitchell for advice on fleshing it out. That music was set aside at Mitchell's home and forgotten for two decades after Hendrix died. To date, Hendrix's estate has made only one of these recordings public, a song called “Suddenly November Morning.” Hendrix, after clearing his throat, slips in and out of falsetto while accompanying himself on an acoustic guitar.

Written while Yoko Ono was separated from John Lennon during his infamous “lost weekend” in 1973-74, “A Story” had the potential of changing the musical narrative around her. It was a strong album — without the avant-garde stylings that made Ono a challenge for mainstream listeners — recorded with musicians who worked on Lennon's “Walls & Bridges.” Maxwell calls it “an emancipation manifesto” that was set aside when Ono reconciled with Lennon. She's never publicly explained why, Maxwell says, although one song seems clearly about an affair she had while Lennon was away. Some of the material from “A Story” was included as part of the “Onobox” project that came out in 1992, and the album was released separately in 1997. Ono also re-recorded some of its songs in 1980, and Lennon was holding a tape of her composition “It Happened” when he was shot and killed. In it, she sings about an unspecified, seemingly traumatic event: “It happened at a time of my life when I least expected.” That wasn't even the most chilling premonition. Her song “O'Oh” ended with firecrackers that sound like gunshots. It was left off the 1997 release.

Guns N' Roses was at the top of the hard rock world when they began recording a new album in 1994. It didn't go well. Inconclusive sessions slogged on for years, and all but singer Axl Rose left the group. Recording costs exceeded a staggering $13 million, by some accounts the most expensive rock album ever. One witness told The New York Times in 2005: “What Axl wanted to do was to make the best record that had ever been made. It's an impossible task. You could go on indefinitely, which is what they've done.” When “Chinese Democracy” was finally released in 2008, the world yawned.

Not even a decade after the triumph of “What's Going On,” Marvin Gaye was floundering. His “Here, My Dear” divorce album flopped, he struggled with drugs and searched for relevance in the disco era. The single “Ego Tripping Out,” meant to herald a new album, laid bare the problems: Over a melody cribbed from Donna Summer's “Hot Stuff,” the famously cool “Love Man” boasted like an insecure rapper. He scrapped the album, repurposing some its material for the 1981 disc “In Our Lifetime,” a process so fraught he bitterly left his longtime label Motown. Gaye went to CBS, made a huge comeback with “Sexual Healing,” then was shot dead by his father in 1984.

Neil Young rivals Prince in the volume of material left in his vault, and he's been systematically releasing much of it. The mostly acoustic “Homegrown” was recorded as 1974 bled into 1975, during Young's breakup with actor Carrie Snodgress. Instead of releasing it in 1975, he put out another heartbreak album, the well-regarded “Tonight's the Night,” about losing friends to drug abuse. When Young finally dropped “Homegrown” in 2020, he wrote in his blog, “Sometimes life hurts. This is the one that got away.”

Of the discs included in Springsteen's “Tracks II” set, this was reportedly the closest to being released, in the spring of 1995. After the success of the Oscar-winning song “Streets of Philadelphia,” Springsteen recorded an album in the same vein, with a synthesizer and West Coast rap-inspired drum loops setting the musical motif. Strikingly contemporary for its time, Springsteen ultimately felt it was too similar to previous releases dominated by dark stories about relationships. “I always put them away,” he said of his lost albums. “But I don't throw them away.”

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David Bauder writes about the intersection of media and entertainment for the AP. Follow him at http://x.com/dbauder and https://bsky.app/profile/dbauder.bsky.social.