The Beatles, \u2018Carnival of Light\u2019<\/h2>\n\n\t\t\t![\"The](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-beatles.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Mark and Colleen Hayward\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tOn Jan. 5, 1967, shortly after work began on Sgt. Pepper\u2019s Lonely Hearts Club Band<\/em>, the Beatles recorded a nearly 14-minute song entitled \u201cCarnival of Light\u201d that almost nobody has ever heard. This may sound incredibly exciting, like learning there\u2019s an undisputed lost Leonardo Da Vinci painting in a hidden storage locker, but there are some important caveats here. \u201cCarnival of Light\u201d is an impromptu, lyric-free, avant-garde experiment that the band created at Paul McCartney\u2019s behest for the Million Volt Light and Sound Rave<\/a> at the Roundhouse in London. \u201cI said, \u201cAll I want you to do is just wander around all the stuff, bang it, shout, play it, it doesn\u2019t need to make any sense,\u201d McCartney recalled years later. \u201c\u2018Hit a drum, then wander onto the piano, hit a few notes and just wander around.’\u201d In other words, this thing makes \u201cRevolution 9\u201d seem structured by comparison. That\u2019s why Ringo Starr and George Harrison vetted McCartney\u2019s attempt to include it on Anthology 2<\/em>. Still, it\u2019s a legit recording by all four Beatles at the height of their powers. It needs to come out.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nThe Beach Boys, \u2018Adult\/Child\u2019<\/h2>\n\n\t\t\t![\"Brian](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
![\"Brian](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-brian-wilson.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Mark Sullivan\/Contour\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tAccording to rock lore, Brian Wilson completely lost his songwriting powers in the Seventies, and spent the decade battling severe addiction and mental health issues, rarely leaving his bed. And while it\u2019s true this was a very tumultuous decade for Wilson, he did manage to write stunning songs like \u201c\u2018Til I Die\u201d and \u201cThe Night Was So Young\u201d that were on par with his best work in the days of Pet Sounds<\/em> and Smile.<\/em> The latter song appeared on 1977\u2019s The Beach Boys Love<\/em> You<\/em>, which was spearheaded almost entirely by Wilson. He followed it up with an equally oddball album, Adult\/Child,<\/em> that the band shelved when Love You <\/em>stiffed commercially. Re-recorded renditions of \u201cHey Little Tomboy\u201d and \u201cShortenin\u2019 Bread\u201d were included on latter Beach Boys albums, and four Adult\/Child<\/em> songs appeared on the 1993 Good Vibrations<\/em> box set, but most of it has never been released. It\u2019s supposedly coming out in the near future on a box set with Love You <\/em>and M.I.U.<\/em>, but they\u2019ve yet to announce this officially.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBob Dylan, \u2018The Never Ending Tour\u2019<\/h2>\n\n\t\t\t![\"LOS](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-bob-dylan.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jim Steinfeldt\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tOn June 7, 1988, Bob Dylan started a tour that\u2019s still going. He hit the 3,000 concert mark within the past year, and there\u2019s no evidence he plans on stopping any time soon, even though he\u2019s 84. And though we\u2019re about to get the 18th volume of Dylan\u2019s Bootleg Series<\/em>,<\/a> he\u2019s yet to devote one to the project that\u2019s consumed his life for the four decades. \u201cFirst of all, the Never Ending Tour, as Bob said, isn\u2019t the name of it,\u201d a source close to the Dylan Camp told Rolling Stone <\/em>in 2021.<\/a> \u201cSecondly, Bob continues to tour. Maybe we\u2019ll understand it towards the end of it. We\u2019ll look at it that way.\u201d<\/p>\n\n\tWhen the time eventually comes around, they\u2019ll face the rather frustrating issue that shows in the 1990s and early 2000s weren\u2019t captured very well by Dylan\u2019s team. \u201cSome of them are recorded on DAT or other formats of the moment,\u201d a source told Rolling Ston<\/em>e in 2017. <\/a>\u201cWho knew they wouldn\u2019t last? For a lot of years during the 1990s, there were these two fans and they would go and each would wear recording equipment in their hats and they\u2019d sit in different sections so that the stuff would be stereo. Those tapes sound better than our board tapes.\u201d<\/p>\n\n\tThat\u2019s why they actually used audience tapes on the Time Out of Mind<\/em> box set in 2023. And there\u2019s more than enough pristine tapes out there to cobble together an incredibly impressive box set one day. We recommend they start with the Supper Club 1993,<\/a> El Rey Theatre 1997,<\/a> and basically anything from the Europe 2000 run.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nThe Rolling Stones, \u2018Cocksucker Blues\u2019<\/h2>\n\n\t\t\t![\"HAMBURG,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-rolling-stones.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Gijsbert Hanekroot\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tWhen the Rolling Stones hit the road in 1972 to promote Exile on Main Street,<\/em> they allowed directors Robert Frank and Daniel Seymour to tag along and film anything they wanted. This was the very height of the Stones\u2019 wild years, and their cameras captured Mick Jagger snorting cocaine, a groupie shooting up heroin, and all sorts of sexual shenanigans. Frank and Seymour named the movie after a notorious song the Stones delivered to Decca in 1970 in order to fulfill their contact, knowing it was way too filthy for the label to even consider releasing. For understandable reasons, the Stones balked when they saw the finished movie and instead released the concert film Ladies and Gentlemen: The Rolling Stones.<\/em> An unusual deal was struck where Frank could present the movie a few times a year if he was physically present at the screenings. That means the movie has indeed been seen several times over the decade, and it\u2019s easy to find online, but an official release remains elusive. We don\u2019t imagine it\u2019s happening any time soon. (There are, however, rumors of a Black and Blue<\/em> box set in the near future.)<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBob Seger, His Early Albums<\/h2>\n\n\t\t\t![\"American](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-bob-seger.jpg?w=300\")
\n\t\t\t\t\tImage Credit: PoPsie Randolph\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tFor reasons that remain very difficult to understand, the vast majority of the music that Bob Seger made in the first decade of his career \u2014 practically an album per year \u2014 has been out of print for several decades. It wasn\u2019t issued on cassette or CD and certainly isn\u2019t available digitally. The only way to access it through legal channels is to buy out-of-print vinyl records, often at a huge markup.<\/p>\n
\n\tWe\u2019ve asked Seger many times, practically in pleading terms, to reissue them. \u201cJack White is always asking me about that,\u201d Seger told Rolling Stone<\/em> in 2018.<\/a> \u201cHe wants to remix them all, and said he\u2019d do it for free. But I\u2019m always on to the next thing \u2014 the next album, the next tour. Maybe when I retire I\u2019ll get serious about it.\u201d<\/p>\n\n\tBob, you\u2019ve now been retired for six years. You just turned 80. For the love of God, let Jack White or someone equally talented loose on your catalog. Don\u2019t let your legacy wither. While you\u2019re at it, let a filmmaker create a documentary about your life and career. We\u2019d also love to read a memoir. You\u2019re one of the greats, and a truer peer of Bruce Springsteen. He\u2019s done an excellent job curating his own history. He learned a lot from you. On this, learn from him.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nNeil Young, \u2018Tonight\u2019s The Night (The David Briggs Edit)\u2019<\/h2>\n\n\t\t\t![\"Canadian](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-neil-young.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Michael Putland\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tIn 1973, while mourning the loss of roadie Bruce Berry and Crazy Horse guitarist Danny Whitten, Neil Young recorded arguably the greatest album of his long career, Tonight\u2019s the Night.<\/em> It\u2019s a raw, emotional work, created very quickly under a variety of heavy substances, that honors the dead and takes stock of life in the bitter aftermath. Initially, Young felt it was too intense to release, but relented about 18 months later. In the interim, he tinkered around with the mix, changed the track order, added a few songs, and removed the spoken-word interludes.<\/p>\n\n\t\u201cMost people think Tonight\u2019s the Night<\/em> is the real deal,\u201d Tonight\u2019s the Night<\/em> producer David Briggs told Young biographer Jimmy McDonough. \u201cBut I know better \u2013 it\u2019s the watered down version. [The original] never lets up. There was no attempt to make it nicer\u2026to tell you the truth, I can\u2019t listen to Tonight\u2019s the Night.<\/em> I did the record, I thought it was fucking great, and Young and Elliot [Roberts] and the record company backpedaled. They ruined the real Tonight\u2019s the Night,<\/em> hid it on a shelf in a closet, like a monster thing.\u201d It\u2019s unclear if the original Briggs edit of Tonight\u2019s the Night<\/em> still even exists. If it doesn\u2019t, there needs to be an attempt to recreate it. Fans have been dying to hear this for a very long time.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPink Floyd, \u2018Household Objects\u2019<\/h2>\n\n\t\t\t![\"CIRCA](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-pink-floyd.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tDark Side of the Moon<\/em> transformed Pink Floyd into one of the biggest acts on the planet. But they were still an art-rock band somewhere in their hearts, and they didn\u2019t quite know what to do with success. Their first idea was to make a radically uncommercial, experimental album utilizing nothing but simple household objects like rubber bands, aerosol spray cans, beer bottles, and wine glasses. They actually spent several days recording songs like this at Abbey Road until they realized this would be an act of career suicide, and began putting together Wish You Were Here<\/em> instead.<\/p>\n\n\tBut the Household Items<\/em> tapes remained in the vault, and elements were used on the opening of \u201cShine On You Crazy Diamond.\u201d And in 2011, two Household Items<\/em> tracks were released on the Dark Side of the Moon<\/em> and Wish You Were Here<\/em> Immersion box sets. But the full album has never been heard. Sony recently bought the Floyd catalog and are plotting yet another ambitious reissue campaign, so don\u2019t be surprised if they find a way to get it out there in the near future.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJimi Hendrix, \u2018Black Gold\u2019<\/h2>\n\n\t\t\t![\"American](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-jimi-hendrix.jpg?w=300\")
\n\t\t\t\t\tImage Credit: David Redfern\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tMonths before his death in 1970, Jimi Hendrix recorded 16 new songs with an acoustic guitar he planned to release on an album tentatively titled Black Gold<\/em>. The tape passed through many hands throughout the decades, ultimately winding up with stepsister Janie. But somehow or another, despite the countless posthumous live albums, outtakes collections, and compilations, the Black Gold<\/em> tape remains in the vault. It\u2019s tough to separate myth from fact with Black Gold,<\/em> but the songs are supposedly autobiographical in nature and trace the entire saga of his life. Hendrix fans have feverishly waited for an official release for years, but the day never seems to come. Maybe on the 60th anniversary of his death in 2030 we\u2019ll finally be allowed to hear Black Gold<\/em>?<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBruce Springsteen,\u2019The Tunnel of Love Sessions\u2019<\/h2>\n\n\t\t\t![\"Bruce](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-bruce-springsteen.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Rob Verhorst\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThanks to bootlegs and a flood of archival releases over the years, Bruce Springsteen fans have access to an incredible breadth of material from Springsteen\u2019s 1973 to 1987 golden age studio output. The one exception is Tunnel of Love, <\/em>since bootleggers never got their hands on the tapes, and it has yet to be the subject of a box set. That\u2019s a shame since the demos, outtakes, and alternate takes would be fascinating to hear. Songs like \u201cBeneath the Floodline,\u201d \u201cDon\u2019t Go Givin\u2019 Up,\u201d \u201cPretty Baby, Will You Be Mine,\u201d \u201cThings Ain\u2019t That Way,\u201d and \u201cRain (In the Pourin\u2019)\u201d have never been heard anywhere. We only know they exist from session logs. Maybe in 2027 we\u2019ll get Walk Like a Man \u2013 The Tunnel<\/em> of Love<\/em> sessions for the 40th anniversary. Until then, it\u2019s the least explored era of Springsteen\u2019s career.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPrince, The Book of Prince<\/h2>\n\n\t\t\t![\"LOS](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/rock-vault-prince.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tEzra Edelman\u2019s 2016 film O.J.: Made in America<\/em> is an astonishing work that can easily be called one of the greatest documentaries in history. And when news hit that he was following it up with a multi-part documentary about Prince, fully sanctioned by the estate, expectations were very high. Edelman spent five years on the film, interviewing nearly everyone who knew Prince well, and diving deep into the Paisley Park film and audio vault. He emerged with a nine-hour film that\u2019s been called a \u201cmasterpiece.\u201d<\/p>\n\n\tTragically, power in the Prince estate changed hands during the long production of the movie, and the new leadership found the movie so objectionable that they canned it. Simply put, they worried the details about the way he treated women would damage the Prince brand. They also didn\u2019t like the assertion of Wendy Melvoin that he said he\u2019d get the old band back together only if she renounced homosexuality. This has caused Edelman no small degree of anguish, but there\u2019s not much he can do about it.<\/a><\/p>\n\n\tWe\u2019re addressing this paragraph to the Prince estate: We know Prince wasn\u2019t a saint. We know he mistreated women. We know he was a conspiracy theorist who developed some very questionable views later in life. We know he died of a drug overdose. We know he was a tortured person who left a lot of pain in his wake. But please, let us see this documentary. A genius-level filmmaker spent five years of his life making this thing. It\u2019s a crime against art to keep it locked up.<\/p>\n
\n\tWe\u2019re addressing this paragraph to anyone with access to The Book of Prince: Leak the damn thing. You\u2019ll be doing the world a huge favor.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\n
\t<\/p>\n
\n\tOn Jan. 5, 1967, shortly after work began on Sgt. Pepper\u2019s Lonely Hearts Club Band<\/em>, the Beatles recorded a nearly 14-minute song entitled \u201cCarnival of Light\u201d that almost nobody has ever heard. This may sound incredibly exciting, like learning there\u2019s an undisputed lost Leonardo Da Vinci painting in a hidden storage locker, but there are some important caveats here. \u201cCarnival of Light\u201d is an impromptu, lyric-free, avant-garde experiment that the band created at Paul McCartney\u2019s behest for the Million Volt Light and Sound Rave<\/a> at the Roundhouse in London. \u201cI said, \u201cAll I want you to do is just wander around all the stuff, bang it, shout, play it, it doesn\u2019t need to make any sense,\u201d McCartney recalled years later. \u201c\u2018Hit a drum, then wander onto the piano, hit a few notes and just wander around.’\u201d In other words, this thing makes \u201cRevolution 9\u201d seem structured by comparison. That\u2019s why Ringo Starr and George Harrison vetted McCartney\u2019s attempt to include it on Anthology 2<\/em>. Still, it\u2019s a legit recording by all four Beatles at the height of their powers. It needs to come out.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tAccording to rock lore, Brian Wilson completely lost his songwriting powers in the Seventies, and spent the decade battling severe addiction and mental health issues, rarely leaving his bed. And while it\u2019s true this was a very tumultuous decade for Wilson, he did manage to write stunning songs like \u201c\u2018Til I Die\u201d and \u201cThe Night Was So Young\u201d that were on par with his best work in the days of Pet Sounds<\/em> and Smile.<\/em> The latter song appeared on 1977\u2019s The Beach Boys Love<\/em> You<\/em>, which was spearheaded almost entirely by Wilson. He followed it up with an equally oddball album, Adult\/Child,<\/em> that the band shelved when Love You <\/em>stiffed commercially. Re-recorded renditions of \u201cHey Little Tomboy\u201d and \u201cShortenin\u2019 Bread\u201d were included on latter Beach Boys albums, and four Adult\/Child<\/em> songs appeared on the 1993 Good Vibrations<\/em> box set, but most of it has never been released. It\u2019s supposedly coming out in the near future on a box set with Love You <\/em>and M.I.U.<\/em>, but they\u2019ve yet to announce this officially.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tOn June 7, 1988, Bob Dylan started a tour that\u2019s still going. He hit the 3,000 concert mark within the past year, and there\u2019s no evidence he plans on stopping any time soon, even though he\u2019s 84. And though we\u2019re about to get the 18th volume of Dylan\u2019s Bootleg Series<\/em>,<\/a> he\u2019s yet to devote one to the project that\u2019s consumed his life for the four decades. \u201cFirst of all, the Never Ending Tour, as Bob said, isn\u2019t the name of it,\u201d a source close to the Dylan Camp told Rolling Stone <\/em>in 2021.<\/a> \u201cSecondly, Bob continues to tour. Maybe we\u2019ll understand it towards the end of it. We\u2019ll look at it that way.\u201d<\/p>\n \n\tWhen the time eventually comes around, they\u2019ll face the rather frustrating issue that shows in the 1990s and early 2000s weren\u2019t captured very well by Dylan\u2019s team. \u201cSome of them are recorded on DAT or other formats of the moment,\u201d a source told Rolling Ston<\/em>e in 2017. <\/a>\u201cWho knew they wouldn\u2019t last? For a lot of years during the 1990s, there were these two fans and they would go and each would wear recording equipment in their hats and they\u2019d sit in different sections so that the stuff would be stereo. Those tapes sound better than our board tapes.\u201d<\/p>\n \n\tThat\u2019s why they actually used audience tapes on the Time Out of Mind<\/em> box set in 2023. And there\u2019s more than enough pristine tapes out there to cobble together an incredibly impressive box set one day. We recommend they start with the Supper Club 1993,<\/a> El Rey Theatre 1997,<\/a> and basically anything from the Europe 2000 run.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhen the Rolling Stones hit the road in 1972 to promote Exile on Main Street,<\/em> they allowed directors Robert Frank and Daniel Seymour to tag along and film anything they wanted. This was the very height of the Stones\u2019 wild years, and their cameras captured Mick Jagger snorting cocaine, a groupie shooting up heroin, and all sorts of sexual shenanigans. Frank and Seymour named the movie after a notorious song the Stones delivered to Decca in 1970 in order to fulfill their contact, knowing it was way too filthy for the label to even consider releasing. For understandable reasons, the Stones balked when they saw the finished movie and instead released the concert film Ladies and Gentlemen: The Rolling Stones.<\/em> An unusual deal was struck where Frank could present the movie a few times a year if he was physically present at the screenings. That means the movie has indeed been seen several times over the decade, and it\u2019s easy to find online, but an official release remains elusive. We don\u2019t imagine it\u2019s happening any time soon. (There are, however, rumors of a Black and Blue<\/em> box set in the near future.)<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tFor reasons that remain very difficult to understand, the vast majority of the music that Bob Seger made in the first decade of his career \u2014 practically an album per year \u2014 has been out of print for several decades. It wasn\u2019t issued on cassette or CD and certainly isn\u2019t available digitally. The only way to access it through legal channels is to buy out-of-print vinyl records, often at a huge markup.<\/p>\n \n\tWe\u2019ve asked Seger many times, practically in pleading terms, to reissue them. \u201cJack White is always asking me about that,\u201d Seger told Rolling Stone<\/em> in 2018.<\/a> \u201cHe wants to remix them all, and said he\u2019d do it for free. But I\u2019m always on to the next thing \u2014 the next album, the next tour. Maybe when I retire I\u2019ll get serious about it.\u201d<\/p>\n \n\tBob, you\u2019ve now been retired for six years. You just turned 80. For the love of God, let Jack White or someone equally talented loose on your catalog. Don\u2019t let your legacy wither. While you\u2019re at it, let a filmmaker create a documentary about your life and career. We\u2019d also love to read a memoir. You\u2019re one of the greats, and a truer peer of Bruce Springsteen. He\u2019s done an excellent job curating his own history. He learned a lot from you. On this, learn from him.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIn 1973, while mourning the loss of roadie Bruce Berry and Crazy Horse guitarist Danny Whitten, Neil Young recorded arguably the greatest album of his long career, Tonight\u2019s the Night.<\/em> It\u2019s a raw, emotional work, created very quickly under a variety of heavy substances, that honors the dead and takes stock of life in the bitter aftermath. Initially, Young felt it was too intense to release, but relented about 18 months later. In the interim, he tinkered around with the mix, changed the track order, added a few songs, and removed the spoken-word interludes.<\/p>\n \n\t\u201cMost people think Tonight\u2019s the Night<\/em> is the real deal,\u201d Tonight\u2019s the Night<\/em> producer David Briggs told Young biographer Jimmy McDonough. \u201cBut I know better \u2013 it\u2019s the watered down version. [The original] never lets up. There was no attempt to make it nicer\u2026to tell you the truth, I can\u2019t listen to Tonight\u2019s the Night.<\/em> I did the record, I thought it was fucking great, and Young and Elliot [Roberts] and the record company backpedaled. They ruined the real Tonight\u2019s the Night,<\/em> hid it on a shelf in a closet, like a monster thing.\u201d It\u2019s unclear if the original Briggs edit of Tonight\u2019s the Night<\/em> still even exists. If it doesn\u2019t, there needs to be an attempt to recreate it. Fans have been dying to hear this for a very long time.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tDark Side of the Moon<\/em> transformed Pink Floyd into one of the biggest acts on the planet. But they were still an art-rock band somewhere in their hearts, and they didn\u2019t quite know what to do with success. Their first idea was to make a radically uncommercial, experimental album utilizing nothing but simple household objects like rubber bands, aerosol spray cans, beer bottles, and wine glasses. They actually spent several days recording songs like this at Abbey Road until they realized this would be an act of career suicide, and began putting together Wish You Were Here<\/em> instead.<\/p>\n \n\tBut the Household Items<\/em> tapes remained in the vault, and elements were used on the opening of \u201cShine On You Crazy Diamond.\u201d And in 2011, two Household Items<\/em> tracks were released on the Dark Side of the Moon<\/em> and Wish You Were Here<\/em> Immersion box sets. But the full album has never been heard. Sony recently bought the Floyd catalog and are plotting yet another ambitious reissue campaign, so don\u2019t be surprised if they find a way to get it out there in the near future.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tMonths before his death in 1970, Jimi Hendrix recorded 16 new songs with an acoustic guitar he planned to release on an album tentatively titled Black Gold<\/em>. The tape passed through many hands throughout the decades, ultimately winding up with stepsister Janie. But somehow or another, despite the countless posthumous live albums, outtakes collections, and compilations, the Black Gold<\/em> tape remains in the vault. It\u2019s tough to separate myth from fact with Black Gold,<\/em> but the songs are supposedly autobiographical in nature and trace the entire saga of his life. Hendrix fans have feverishly waited for an official release for years, but the day never seems to come. Maybe on the 60th anniversary of his death in 2030 we\u2019ll finally be allowed to hear Black Gold<\/em>?<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThanks to bootlegs and a flood of archival releases over the years, Bruce Springsteen fans have access to an incredible breadth of material from Springsteen\u2019s 1973 to 1987 golden age studio output. The one exception is Tunnel of Love, <\/em>since bootleggers never got their hands on the tapes, and it has yet to be the subject of a box set. That\u2019s a shame since the demos, outtakes, and alternate takes would be fascinating to hear. Songs like \u201cBeneath the Floodline,\u201d \u201cDon\u2019t Go Givin\u2019 Up,\u201d \u201cPretty Baby, Will You Be Mine,\u201d \u201cThings Ain\u2019t That Way,\u201d and \u201cRain (In the Pourin\u2019)\u201d have never been heard anywhere. We only know they exist from session logs. Maybe in 2027 we\u2019ll get Walk Like a Man \u2013 The Tunnel<\/em> of Love<\/em> sessions for the 40th anniversary. Until then, it\u2019s the least explored era of Springsteen\u2019s career.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tEzra Edelman\u2019s 2016 film O.J.: Made in America<\/em> is an astonishing work that can easily be called one of the greatest documentaries in history. And when news hit that he was following it up with a multi-part documentary about Prince, fully sanctioned by the estate, expectations were very high. Edelman spent five years on the film, interviewing nearly everyone who knew Prince well, and diving deep into the Paisley Park film and audio vault. He emerged with a nine-hour film that\u2019s been called a \u201cmasterpiece.\u201d<\/p>\n \n\tTragically, power in the Prince estate changed hands during the long production of the movie, and the new leadership found the movie so objectionable that they canned it. Simply put, they worried the details about the way he treated women would damage the Prince brand. They also didn\u2019t like the assertion of Wendy Melvoin that he said he\u2019d get the old band back together only if she renounced homosexuality. This has caused Edelman no small degree of anguish, but there\u2019s not much he can do about it.<\/a><\/p>\n \n\tWe\u2019re addressing this paragraph to the Prince estate: We know Prince wasn\u2019t a saint. We know he mistreated women. We know he was a conspiracy theorist who developed some very questionable views later in life. We know he died of a drug overdose. We know he was a tortured person who left a lot of pain in his wake. But please, let us see this documentary. A genius-level filmmaker spent five years of his life making this thing. It\u2019s a crime against art to keep it locked up.<\/p>\n \n\tWe\u2019re addressing this paragraph to anyone with access to The Book of Prince: Leak the damn thing. You\u2019ll be doing the world a huge favor.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\nThe Beach Boys, \u2018Adult\/Child\u2019<\/h2>\n
Bob Dylan, \u2018The Never Ending Tour\u2019<\/h2>\n
The Rolling Stones, \u2018Cocksucker Blues\u2019<\/h2>\n
Bob Seger, His Early Albums<\/h2>\n
Neil Young, \u2018Tonight\u2019s The Night (The David Briggs Edit)\u2019<\/h2>\n
Pink Floyd, \u2018Household Objects\u2019<\/h2>\n
Jimi Hendrix, \u2018Black Gold\u2019<\/h2>\n
Bruce Springsteen,\u2019The Tunnel of Love Sessions\u2019<\/h2>\n
Prince, The Book of Prince<\/h2>\n