While the group was broken up, Robin Gibb – accurately known as “ the ugly one” – attempted to pick up as a solo artist where the band had left off, quickly recording two very good albums of baroque, classically-informed pop songs. Time has been certainly kind to the Brothers Gibb: not only have their chart-conquering disco smashes become an inextricable part of the pop lexicon, but a groundswell of appreciation for their pre-disco catalogue has been building among critics and cultural gatekeepers – particularly for Odessa, the sprawling double-LP 1969 magnum opus which led directly to the group’s first creative hiatus. Then again, maybe that’s for the best – after all, would “State Trooper” really be improved with a Clarence Clemons sax solo? Sadly, no tapes of any of these sessions – dubbed The Electric Nebraska by diehard Springsteen fans – have ever surfaced, and Springsteen’s camp is always quick to shoot down rumors of a release whenever the subject comes up in interviews. Along the way, however, Bruce came to appreciate the haunting, stripped-down sound of the demo tracks and convinced his label to release the demo as the finished product – but not before recording a full, allegedly-rockin’ version of Nebraska with the E Street Band.
Nebraska started life as simple home recording the plan was always to revisit the tracks at a later date and polish them up before offering them for sale. Of course, these releases represent a miniscule fraction of the total number of gems still in the vaults – today, we’ll examine seven notorious records which have yet to see the light of day.Ĭritics (correctly) hailed Bruce Springsteen’s bleak, pessimistic Nebraska as a masterpiece upon its release in 1982 – but it’s certainly not the record the Boss set out to make. Last decade, for instance, we saw the releases of Brian Wilson’s SMiLE, Guns ‘N Roses’ Chinese Democracy, and Raekwon’s Only Built 4 Cuban Linx II – each of which had been languishing on the shelf for over a decade by the time they finally made it to retail. One of the most pleasant aspects to the music industry’s self-immolation has been the willingness of labels and artists to reconsider putting out records fans had all but given up on ever being able to buy in a store.
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