THE 30 MOST UNDERRATED
ALBUMS OF THE LAST 30 YEARS!!!

We all have them. Those fantastic lost records that we love so much. The ones that we think everyone else in the entire universe should listen to. The ones that we think should have been Number One for weeks, nay months, on end. The ones that never get mentioned in the usual Greatest Albums Of All Time lists. You all know what I'm talking about. For some of you it may be an album that got you through those tough final years at school. For some, it may be an album that soundtracked a glorious trip abroad. And for some, it may even be the album that you played constantly through a difficult break-up. And where there's one, there's usually tons more. For this piece, I have decided to narrow my list down to a particular time-frame - otherwise I'd be here all week to be honest. This selection focuses on albums released during the bulk of my record-buying life - the last 30 years. The albums you will read about here have been with me through the major ups and downs of my life and are still hugely important to me today. And they all most definitely come under the banner of MASSIVELY UNDERRATED...........

30: VANESSA PARADIS 'VANESSA PARADIS'

After a reasonably successful acting and singing career as a teenager - including one massive hit in the UK with the ageless Joe Le Taxi - Mademoiselle Paradis suddenly threw us all a curveball in 1992 by hooking up with blinkers wearing rock-fixated show pony Lenny Kravitz (both musically and romantically) to deliver this glorious combination of late 60's psychedelia, blue-eyed soul and crunchy funk. An absolute blast from top to bottom, and oozing French class, the album contained one big hit single in Be My Baby, as well as a cover of The Velvet's Waiting For My Man. Fab. And this is still the best thing Kravitz has been involved with since his debut from 1989.
Key Track: THE FUTURE SONG

29: HOBOTALK 'BEAUTY IN MADNESS'

A quite wondrous album from Scottish band Hobotalk - which was basically one chap called Marc Pilley - who released this debut offering in 2000 to some pretty hefty critical acclaim, as well as a Mercury Music Prize nod. A quiet, gentle collection of heartfelt, acoustic-led Americana, this was an album that should have nudged the band ahead of the likes of Travis and Snow Patrol in the 'lighters in the air anthems' queue. Unfortunately, nobody really gave a fig and Hobotalk sputtered to a halt a few years later. A real shame.
Key Track: I WAIT FOR YOU

28: EG & ALICE '24 YEARS OF HUNGER'

Released in early 91, this was a collaboration between former Brother Beyond muppet Eg White and model/singer/dancer Alice Temple. Nestling somewhere between Steely Dan, Prefab Sprout and Prince, the duo's one and only album was full of gloriously sophisticated soulful pop music that swooned, swayed and sashayed in spectacularly splendid style. Despite this, the album died a death on release and promptly disappeared. White released a couple more solo albums later in the 90's before resurrecting himself as a songwriter for hire for artists such as Adele, Will Young, Pink and Florence Welch. Temple, who's astonishing voice pretty much made this album what it is, escaped to the USA and basically retired from music all together. 
Key Track: INDIAN

27: LUNA 'PENTHOUSE'

Dean Wareham was once the singer and guitarist in late 80's dream pop indie combo Galaxie 500. An extremely underrated band in their own right, they released three very special albums before Wareham acrimoniously left the group to form Luna in late 1991. After two decent albums of Velvets inspired indie, this delightful third appeared in 95. Chock full of chiming jangle and lush instrumentation, this was Luna's masterpiece. There were many albums since but nothing came close to this and it's monumental centrepiece, 23 Minutes In Brussels. They eventually split in 2005 before reuniting a couple of years ago for sporadic dates. It's great to have them back.
Key Track: 23 MINUTES IN BRUSSELS

26: DADA 'PUZZLE'

A three-piece power-pop trio from California, Dada released this debut album in 1992 and even though they looked the part - with their straggly hair and frayed plaid shirts - they never really fitted in to the whole grunge scene that was straddling the globe at the time. Peddling a more blue-collar rock sound, dripping with Beatles/Cheap Trick pop smarts, they were unsurprisingly more successful back home - although not by much. Dropped by their label after their second album, they've been scratching around off and on ever since. A travesty really as the songs on this cracking little album still stand up today.
Key Track: DIZZ KNEE LAND

25: UNBELIEVABLE TRUTH 'ALMOST HERE'

Debut album from an Oxford band led by Andy Yorke - brother of Radiohead's Thom. Released in 1998 - at the absolute apex of Radiohead's fame - there was much industry chatter over possible nepotism, but on hearing this album the general feeling was that there was some serious songwriting chops within all the Yorke genes. A quietly devastating collection of hushed, acoustic ballads, Almost Here now seems like a precursor to the kind of songs Coldplay broke through with a couple of years later. There's far more emotional heft here though. The band called it a day after their second album in 2000.
Key Track: BUILDING

24: STRESS 'STRESS'

Stress were a very short-lived psychedelia infused funk rock band from the early 90's who released one album and then promptly imploded. A trio of Hendrix and Lennon worshiping disciples dressed in flower power shirts and loon pants of contrasting widths, it was no surprise to see them lumped in with Lenny Kravitz and the like. Indeed, I saw them support The Kravmeister in 1991 and I most certainly remember exclaiming that they would be HUGE. I was wrong on about a million different levels of course but this corking record still gets played in my house.
Key Track: DAYTIME BELIEVER

23: GIN BLOSSOMS 'NEW MISERABLE EXPERIENCE'

A melodic, slightly grungy rock band from Arizona, the Gin Blossoms hit big in the wake of the success of fellow US College Rock faves Counting Crows. First released in 1992, New Miserable Experience took on a new lease of life a year or so later when the song Hey Jealousy got picked up by radio stations across the globe. A superb slice of janglesome driving rock, the single was just the tip of the iceberg. As a whole, this album was as good as anything R.E.M. released in the second half of the 90's. And coming from me, that's pretty much stratospheric praise. Their success was overshadowed somewhat though by the firing from the band and eventual suicide of principal songwriter Doug Hopkins. The rest of the group never really recovered.
Key Track: FOUND OUT ABOUT YOU

22: SOUTH 'FROM HERE ON IN'

Formed in the late 90's in North London, this mysterious trio found themselves being mentored by Ian Brown from The Stone Roses and signed to cult DJ James Lavelle's record label Mo Wax in quick succession. Multi-instrumentalists all, their sound was reminiscent of the late 80's baggy scene as well as finding room for the more trip-hoppy dance beats of the time. An extraordinarily groovesome listen, there were three more albums over the next decade, but none of them were anywhere nears as good as this one.
Key Track: PAINT THE SILENCE

21: MAD SEASON 'ABOVE'

A proper grunge supergroup, this. Featuring Layne Staley from Alice In Chains, Pearl Jam's Mike McCready, Barrett Martin from Screaming Trees and bassist John Baker Saunders. Borne out of various different meet-ups at various different rehab facilities - the 90's were a dark time, people - the resulting project was finally released in late 94, just as the grunge scene was listening out for it's death knell. It must be said however, that this was one of the finest examples of that particular genre. Dark and doomy of course, but wonderfully heavy and bursting with tunes. Plus, there's a cameo from gravel-voiced rock monolith Mark Lanegan. The tragic deaths of Staley and Saunders meant this stayed a complete one-off.
Key Track: RIVER OF DECEIT

20: JOSH ROUSE 'DRESSED UP LIKE NEBRASKA'

From the wonderfully named town of Oshkosh in Nebraska, folk/roots singer-songwriter Rouse appeared on the scene in 1998 with this tremendous raft of songs that struck a similar chord to peak-period Jayhawks or even the more acoustic side of Bruce Springsteen's canon. Brimming with chiming guitars and choruses to die for, this was the perfect soundtrack to speeding up the Pacific Coast Highway in a convertible. Rouse is still going too - there have been ten more albums since all covering a variety of different musical styles - but I still keep coming back to this one.
Key Track: LATE NIGHT CONVERSATION

19: MORPHINE 'CURE FOR PAIN'

Slinking out of Boston in the late 80's, Morphine were a real anomaly compared to the rest of the alternative Massachusetts scene - bands like Throwing Muses, Pixies and Dinosaur Jr for example. Fusing jazz and blues influences with a grungy, downbeat rock sound, their most interesting aspect was that there were no guitars. Fronting a rhythm section of drums and various saxophones, vocalist Mark Sandman thrashed away at his two-string bass, giving them a deep, throbbing feel. They basically came across as the kind of band Jack Kerouac would have been in if he was born in the 60's. Cure For Pain was their second album and contained all their best songs. There were three more records before they disbanded after Sandman's untimely passing whilst performing in Italy in 1999.
Key Track: BUENA 

18: FEVER RAY 'FEVER RAY'

Karin Dreijer Andersson is nominally one half - along with her brother - of bonkers Swedish dance duo The Knife. In 2009 however, with her day job on hiatus, she completely knocked my socks off with this astonishing collection of stark and glacial - she is Swedish after all - electronica. Veering away from The Knife's more uptempo floor-fillers, this was enigmatic, gothic and austere but with enough playfulness dotted throughout so as not too be too gloomy. Coming across like Kate Bush fronting Disintegration-era The Cure, it was far and away my favourite album of that particular year.
Key Track: DRY AND DUSTY

17: BLUMFELD 'ICH-MASCHINE'

German indie, anyone?
In 1992 I found myself in possession of a sleeveless cassette tape that had been left behind at some social gathering or other. Upon listening to it, I discovered it featured a whole bunch of artists I liked - Tom Waits, Tori Amos, Dinosaur Jr - but also four short, sharp tracks of snappy, snarling indie-rock very much in the vein of Pavement and the Pixies. As this was a time before the internet, it took me many years to discover the group behind these songs. Hailing from Hamburg and plying their trade for nigh on twenty years before their dissolution in 2007, Ich-Maschine was their debut offering and is still a thoroughly superb listening experience.
Key Track; GHETTOWELT

16: SIMPLE KID '2'

Simple Kid was the nom-de-plume of Irish singer-songwriter Ciaran McFeeley who released his first album in 2003 and this second effort a couple of years later. Recording all of his music at home on an 8-Track cassette player before feeding them into his computer whilst simultaneously looping a variety of guitars and banjos into the mix, the results led many to cast him as a Celtic version of Beck. The first album was a ramshackle but endearing affair, but the songs on the second were a quantum leap forward. Fusing country, folk and rock together with dance beats and sweeping electronica, the whole project boded well for McFeeley's future. Unfortunately for any listeners, he decided the music game wasn't for him and retired into obscurity shortly afterward.
Key Track: SEROTONIN

15: IRON & WINE 'OUR ENDLESS NUMBERED DAYS'

Iron & Wine is basically one man - South Carolina's Sam Beam. Fulsomely bearded and in possession of a beautifully delicate voice akin to Nick Drake or Elliott Smith, in 2004 he released this second full-length album which was a more expansive affair after his relatively lo-fi debut. A stunning set of songs covering all of life's big themes like love, death, ennui - you know, the major stuff - it was full of gossamer-thin melodies and lyrics that brought a lump to the throat and a tear to the eye. Beam has since expanded his sound further with his more recent releases encompassing more traditional Americana tropes. 

Key Track: NAKED AS WE CAME

14: LEWIS TAYLOR 'LEWIS TAYLOR'

Now this really was something very special indeed. London born multi-talented music and studio wizard Taylor released this astonishing debut through Island Records in 1996. Sounding for all the world like a young Brian Wilson hooking up with What's Going On era Marvin Gaye and driving round to Paisley Park for a session with Prince, this was a fantastically lush and stunningly realised cornucopia of modern soul. Awash with multi-tracked vocals and pristine instrumentation, the sky really was the limit for Taylor. As is so often the case though, he was unable to handle much of what came his way, and after a darker sophomore album and some offcuts here and there he drifted away. A real loss.
Key Track: LUCKY

13: SPARKLEHORSE 'VIVADIXIESUBMARINETRANSMISSIONPLOT'

Mark Linkous was born in Virginia in 1962 and after surviving a broken home and an itinerant adolescence, he threw himself into music full-time before bestowing himself the Sparklehorse moniker and releasing this incredible debut in 1995. A real mish-mash of styles, Vivadixie... embraced ramshackle indie, alt-country balladeering, crunchy rock and roll and esoteric sound-scapes, all hanging together nigh-on perfectly. Like a younger Tom Waits, Linkous had delivered the ideal late-night drinking opus. Whilst touring it though, he overdosed on a mix of heroin and anti-depressants in a London hotel room - collapsing with his legs pinned beneath him and laying undiscovered for fourteen hours. The resulting six-month paralysis and extensive recuperation led to much darker material across his next three albums, and then - tragically - to his suicide in 2010.
Key Track: COW

12: SPAIN 'SHE HAUNTS MY DREAMS'

Second album from California-based Josh Haden and crew. Spain were - and still are - a gorgeously chilled bunch of jazz-influenced musicians who - with this album in particular from 1999 - hit on that perfect sweet spot of hazy country and late-night blues jams that drifted along quite magically. Their previous album had contained the track Spiritual, which was later covered by The Man In Black himself, Johnny Cash. The songs on this album were even better though, and should be investigated forthwith. After a decade-long hiatus through most of the noughties, Haden reconvened Spain in 2012 and has continued producing glorious music ever since.

Key Track: NOBODY HAS TO KNOW

11: THE REAL PEOPLE 'THE REAL PEOPLE'

In the early 90's I found myself working in a branch of a much-missed chain of record stores. Unlike the dwindling number of music emporiums around today where staff and customers alike are forced to listen to the - and I use this term loosely - popular hits of the day, I was able to play pretty much whatever I liked. One day in early 91, this debut album from a ruddy-faced bunch of rascals from Liverpool appeared in the shop and I couldn't stop playing it. In fact, my working day didn't really start properly until I'd given it a spin each morning. Short, sharp and sweet, the twelve tracks within were drawn from the same well as the indie-dance big hitters of the time, The Stone Roses and The Happy Mondays, but with a summery, jangly backbone that brought to mind The La's with Johnny Marr on guitar. (As a side note, I still maintain that Noel Gallagher was listening very closely to this when writing Definitely Maybe.) There were sporadic releases here and there over the next few years, but really, this lot were all about this debut album. 
Key Track: WINDOW PANE 

10: G LOVE & SPECIAL SAUCE 'GL&SS'

Formed in Philadelphia in 1993, this lot were a spectacular melange of laid-back grooves, slapdash hip-hop and crackly, old-timey blues textures that on paper at least, sounded like a recipe for disaster. Upon hearing this magnificent debut album - and most certainly watching them live - it all made perfect sense. Led by G Love himself - Garrett Dutton to his mum - a long, lanky and languid frontman perched on a stall with his guitar and harmonica, with Jeff Clemons on drums and Jimmy 'Jam' Prescott on the double bass, the trio's sloppy and relaxed attitude belied the strength of their songs and musicianship. The perfect soundtrack for top-down driving, dusty outdoor basketball courts and skateboarding on the sidewalk - although it still sounds fantastic whilst travelling on the 363 through Peckham on a drizzly Wednesday morning.
Key Track: FATMAN

9: SUNHOUSE 'CRAZY ON THE WEEKEND'

In the mid-90's when film director Shane Meadows was making his first feature, he contacted an old work-mate of his from their time together at Alton Towers to provide the music. Gavin Clark had been trying to escape his dead-end humdrum West Midlands life by writing songs but had as of yet been unsuccessful. Meadows eventually used Clark's songs in his first full-length movie, Twenty Four Seven. Downbeat, bleak and drenched in sadness and poignancy, the tracks struck a chord. Clark was signed, formed a band, called themselves Sunhouse and waited for lift-off. Unfortunately, Clark's personal demons and troubled history caused fractures and friction almost immediately and by the time this stunning album was released, Sunhouse were no more. Sitting somewhere between early Tom Waits and Elliott Smith, this album is a tough listen certainly, but a hugely rewarding one. Clark never really recovered though. After trying again with another band called Clayhill, collaborations with UNKLE and then some solo work, he drifted back to the margins and sadly died two years ago. A compilation of his work, Evangelist, was released posthumously and is also excellent.
Key Track: HARD SUN 

8: THE BELOVED 'HAPPINESS'

You know when people say "If you remember the 60's, you weren't really there"? Well, I can pretty much say the same thing about the period between 1988 to 1991. An intense blur of memories and blank spaces, it's the music from that time that helps my ageing cerebellum put the pieces back together. This album in particular reminds me of late-night raving in darkened fields in the wilds of Surrey with nothing more than the odd pill-based refreshment and a bunch of like-minded souls for company. Formed by Jon Marsh and Steve Waddington in the mid-80's and originally a bog-standard indie band, the duo - like many of us at the time - embraced the whole Acid House scene and ran with it, combining both elements into this stonker of a debut. Released in 1990, the album was aural the equivalent of an acid trip, with full-blown uptempo bangers like Hello and Scarlet Beautiful, right through to the blissed-out comedown of The Sun Rising. The duo eventually went their separate ways and Marsh continued as The Beloved with his wife before moving into DJ-ing.
Key Track: HELLO

7: WORLD PARTY 'GOODBYE JUMBO'

In 1990, World Party won Album Of The Year at the inaugural Q Magazine awards and the stage seemed set fair for them to become one of the UK's biggest bands. That it never really turned out that way is testament not only to the vagaries of the music business in general, but also because most people don't see a good thing when they hear it. World Party were formed in 1987 after Karl Wallinger left his previous employers - raggle taggle folkies The Waterboys - frustrated with a lack of opportunities to write. Surrounding himself with a crack team of session musicians, and after a decent debut album, this second collection focused on the state of the planet and the ecological snafu the human race were responsible for, marrying those lyrical concerns with Beatles-esque pop, 70's soul, lush orchestration and on some tracks, out and out funk. It sounded - and still does - utterly glorious. Wallinger's next album, 93's Bang, aimed for the stars and fell slightly short, and there were a couple more albums before he was struck down by a massive brain aneurysm in 2001. Now thankfully fully recovered, Wallinger is back on the road touring.
Key Track: AIN'T GONNA COME TILL I'M READY

6: LOWGOLD 'JUST BACKWARDS FROM SQUARE'

Formed in the late 90's after meeting at the University of Hertfordshire, this great lost indie band suffered some of the worst luck in he world during their all-too brief career. Record labels collapsing days after they signed, wages being withheld, tours not paid for, drummers leaving left, right and centre, comeback singles promoted and then cancelled at the last minute, debts so stratospheric the three guys in the band had to take day jobs to buy guitars. It beggars belief that they were able to record three albums, with this debut from 2001 being the pick of the bunch by some distance. An absolute belter of a record, Just Backwards... covered similar ground to the debut albums from Elbow and Coldplay that were hitting big at the time, but the songs were just so much better. Full of spectral, chiming guitar fills, chugging riffs and choruses that wrapped their arms around you and wouldn't let go, this was tremendous fare. Unsurprisingly, considering all their trials, Lowgold split for good in 2009. 
Key Track: LESS I OFFER 

5: MARK KOZELEK & JIMMY LAVALLE 'PERILS FROM THE SEA'

To be fair, this entire list could have been made up of Mark Kozelek albums. With the exception of 2014's Benji - which he recorded under his Sun Kil Moon arm - hardly any of his projects have garnered any serious critical acclaim. It's possible that there are just too many of his records out there - he is ASTONISHINGLY prolific - but nobody ever said that about Prince during his peak years. Since 1992 Kozelek has released albums with his first band Red House Painters, his second group Sun Kil Moon, solo projects  and a number of collaborations - the best of which was this stunning collection, recorded with electronica enthusiast Lavalle from the band The Album Leaf. With a hushed and delicate musical backdrop from Lavalle, Kozelek's lyrical themes were - like the majority of his recent work - farmed from events and experiences from his day-to-day life. The trials of touring, difficulties with airlines, insomnia, and on the heartbreaking Gustavo, the dilemma of how to deal with the deportation of your illegal immigrant handyman. There were also two of the most beautiful songs Kozelek has ever written in He Always Felt Like Dancing and Sometimes The Wonder Of Life Prevails which should soften the hardest of hearts.
Key Track: HE ALWAYS FELT LIKE DANCING

4: MATTHEW SWEET 'GIRLFRIEND'

Born in Nebraska but spending the majority of his adult life in Georgia, 52 year old Sweet has been churning out sparkly power-pop records for close to thirty years now. Most of them are worth a listen, some more than once, but nothing he's done before or since comes close to the majesty of the work on his third album, released in 1991. Girlfriend was written in the wake of his divorce, and it's lyrics are understandably dark and scathing in places, but the music is an utter joy. Recorded with New York punk rock royalty in Television's Richard Lloyd as well as Robert Quine and Fred Maher from Lou Reed's backing band, Sweet married the left of the dial discordia of late period post-punk with sunny, Byrdsian jangle to splendid effect. The whole album is joyous, but the first six tracks in particular could be the greatest opening salvo of any album I've ever heard. Like the majority of artists on this list though, Sweet garnered some critical acclaim but slipped the net and even though he's still out there ploughing his furrow, his time has gone.
Key Track: EVANGELINE

3: BRAD 'SHAME'

In 1992, after the globe-straddling success of Ten, Pearl Jam's guitarist Stone Gossard found himself back home in Seattle with some downtime. Hooking up with local musicians Regan Hagar and Jeremy Toback, he also enlisted the help and assistance of Seattle's secret weapon - vocalist and songwriter Shawn Smith. Smith is someone I will wax lyrical about until the cows come home: possessed of a quite incredible voice that brings to mind Marvin Gaye and Sam Cooke at their peak, whilst also retaining a rock edge that fitted perfectly with the funky grunge musical palette that Gossard was working on. Originally calling themselves Shame but forced into a name-change after threatened legal action by a band of the same moniker fronted by a chap called Brad Wilson - hence the new name. This album was meant to be nothing more than a side-project, but due to the Pearl Jam connection, gained enough buzz to allow for further records. This is still their best collection of songs though - running the gamut from fists-in-the-air rockers, slinky funk and heart-in-the-mouth piano ballads. Smith's extraordinary talents can also be heard with his other bands Satchel and Pigeonhed as well as a raft of splendid solo albums.
Key Track: SCREEN

2: BUFFALO TOM 'LET ME COME OVER'

Coming together at the University of Massachusetts in the late 80's, singer/guitarist Bill Janovitz, bassist Chris Colbourn and drummer Tom Maginnis befriended local legend J Mascis of Dinosaur Jr and persuaded him to produce their first two albums. Unfairly nicknamed Dinosaur Jr Junior, there was most definitely a little too much influence from Mascis on those records. This third album however, produced by Kolderie and Slade and released in early 1992, was a quantum leap and an absolute tour de force. To this day, it's still my favourite album from that fertile and fecund period of alt-rock. Indeed, in an ideal world and with a prevailing wind, it could have been as big as Nevermind. Grungy guitars, pop smarts, anthemic choruses, and an incredibly moving song about a lost cat - truly, all life is here. The Tom released three more albums during the 90's before taking ten years off. There have been two more albums since their reformation. Cracking records all but this is their masterpiece - and it's 25 years old this year. Man alive.
Key Track: LARRY

1: JELLYFISH 'BELLYBUTTON'

Anyone who knows me well won't be surprised to learn that this is number one in the list of The 30 Most Underrated Albums Of The Last 30 Years. Not only is it most definitely that, it's also my favourite album of all-time, which by extension, makes it the greatest record ever made. You can keep your Revolvers, your Dark Side Of The Moons, your OK Computers - all splendid albums obviously, but none can hold a candle to this gigantically glorious power-pop confection. From the cover art to the sleeve notes - and all points inbetween - Bellybutton is just perfect. Rising from the ashes of short-lived - and yes, criminally underrated - SF glam rockers Beatnik Beatch, singer and stand-up drummer Andy Sturmer and keyboard wizard Roger Manning hooked up with teenage guitar virtuoso Jason Falkner in 1989 and set about work on their debut. Signing a major label deal and hooking up with Bee Gees producer Albhy Galuten gave the band a platform to basically throw everything into the songwriting process to see what would stick. The results were - and as I may have stated - still are utterly magisterial. Imagine a large mixing bowl full of The Beatles, ELO, XTC, Badfinger, The Beach Boys - as well as the late 80's psychedelia scene, 70's Motown, glam rock and the Laurel Canyon folk-rock vibe. Throw in some ice cream, jelly babies and sparkles and you're still only halfway there. Ten faultless songs that never fail to make me smile, the album was the soundtrack to a summer travelling around Europe in 1991, and upon my return I assumed the rest of the world would have fallen in love with it as well. Imagine my disdain and despair then when I realised this was not the case. Falkner left Jellyfish not long afterward to form the really rather special - and yes, criminally underrated - The Grays. Sturmer and Manning kept at it and went balls-to-the-wall with their second magnum opus, Spilt Milk. Again, the world wasn't listening and the pair went their separate ways in 1994. Sturmer drifted off to Japan where he has spent most of the last two decades writing music for television. A waste, quite frankly. Manning and Falkner have kept going, releasing various different projects over the years. Wonderfully, at last year's Glastonbury Festival, they both turned up as part of Beck's backing band. So, watching them at home on the telly performing on the Pyramid Stage to 100,000 people, I finally got to see what it might have been like if Jellyfish had made it. It was a beautiful thing.
Key Track: THE WHOLE FRICKIN' ALBUM, OBVIOUSLY........    

Have I missed anything? Do you have albums that you feel are criminally underrated? Albums you reckon should be sitting atop the above list? Feel free to let me know via the comments link below. Healthy debate awaits!