Underrated albums from legendary bands

Is this really Sgt. Peppers? Part II or Sgt. Peppers, lite? There are certainly Beatles critics and fans who believe that's the case. Yes, the musical and lyrical experimentation continued by the band, as songs like "I Am the Walrus" and "Blue Jay Way" prove. The title cut is one of the Beatles' most recognizable songs, while others like "Your Mother Should Know" and "The Fool on the Hill" are two of the band's best deep cuts. 

While some critics are still divided on whether 1969's The Soft Parade is the best or worst Doors album, it did spawn classic rock staples like "Touch Me," "Tell All the People," and the underrated title cut. On Morrison Hotel, the band ditched the strings from the previous record and returned to its blues-rock roots. That's obvious from the opening second of the album with "Roadhouse Blues." "Peace Frog" is one of the band's more under-appreciated moments.

Sandwiched between the legendary Exile on Main St. and the transitional It's Only Rock 'n Roll, the Stones' 13th studio album tends to draw the "solid" moniker but received subpar praise upon release. It's better than that. Back-to-back hits "Doo Doo Doo Doo Doo (Heartbreaker)" and "Angie" close out Side One, while closer "Star Star" is a fine way to end an album that went to No. 1 in the U.S. and United Kingdom. 

Considering Ozzy Osbourne and Co. were being sued by their former management, the results of Sabbath's sixth studio album are pretty impressive. To the casual classic rock fan, the songs might not be memorable. Yet, "Symptom of the Universe" had a huge influence on the thrash metal genre, while "Megalomania" is more than 9 1/2 minutes of an almost prog-rock trip with some of Tony Iommi's most unheralded guitar work. Listeners can feel the band's collective aggression from start to finish.

Zeppelin's eighth and final studio album doesn't always get the credit it deserves, especially compared to the group's early greatness. The rock climate was changing with punk, disco, and new wave becoming more mainstream. Still, this record proved that Led Zeppelin was good to the last drop. Beginning with the haunting "In the Evening," In Through the Out Door reached No. 1 on the Billboard chart. Other classics from the record include the good-time romp "Fool in the Rain" and ballad "All of My Love," complete with John Paul Jones' memorable synthesizer solo. 

Following up the ridiculously successful Rumours (1977) was a chore. But instead of playing it safe and following the same formula as that previous smash album, Fleetwood Mac opted to do some musical experimentation. Lindsey Buckingham offered a more post-punk approach. There's the title track that featured the USC marching band lending a collective hand. The complex "Sara" is Stevie Nicks' most notable contribution to the double album that peaked at No. 4 on the U.S. Billboard 200.

In a sense, this was a bridge album that connected Genesis' traditional progressive rock ("Duchess," "Duke's Travels") past with a future that would trend toward more pop and mainstream radio rock ("Misunderstanding," "Turn It On Again") that made the band international superstars down the road. Duke was actually the first Genesis album that reached No. 1 in the United Kingdom while topping out at No. 11 on the U.S. Billboard chart.

Trying to follow up the stellar 1-2 punch of Van Halen and Van Halen II is no easy task. Women and Children First was a top-10 album for the band but only spawned one single: "And The Cradle Will Rock..." However, "Everybody Wants Some" and "Romeo Delight" also help make up one of the better Side Ones within the Van Halen catalog. With the blistering Fair Warning and campy cover-fueled Diver Down albums before the group became one of the biggest bands in the world through 1984, that three-record stretch from 1980-82 tends to get forgotten in classic rock circles.

After Keith Moon's death in 1978, various factions of Who fans wondered if it was worth sticking with the band. That would have been wrong because the early '80s work of The Who has its place within the band's exceptional legacy. The better of the two '80s studio releases is Face Dances, a top-5 album in the U.S., Canada, and the U.K. "Better You Bet" and "Another Tricky Day" are the highlights of a record that's time well spent. 

R.E.M. was on the rise following the releases of Murmur and Reckoning, then it decided to experiment with this conceptual third studio album. It's an ode to the gothic South, with "Driver 8" as the undisputed highlight of the record. "Can't Get There from Here," "Wendell Gee," and "Maps and Legends" all make it feel like an authentic musical journey. 

Tunnel of Love won a Grammy for Best Rock Vocal Performance, Solo. Yet, as the studio follow-up to Born in the U.S.A. and before the questionable twofer of Human Touch and Lucky Town, this album is almost forgotten within the confines of The Boss' catalog. It's a shame because, even though Bruce sounds jaded and worn, it's some of his most compelling songwriting. "Brilliant Disguise" is a beautifully haunting track, and "Tougher Than the Rest" and "One Step Up" are two of Springsteen's strongest deep cuts.

Inspired by the novel the Seventh Son, this concept album was Maiden's last release of the 1980s. It was another No. 1 for the band, but some critics found the overall project a bit presumptuous. It can be brushed off when talking about the band's stellar five-record run from 1982-88. Some of Maiden's most complex and intricate lyrics can be found here. "Can I Play with Madness" has commercial appeal, while "The Evil That Men Do" and "The Clairvoyant" have grown to become live staples.

How can an album that was certified 8-times platinum be considered underrated? Because there is too much attention paid to "One," the track that made Metallica a mainstream commodity. There's no doubt that one of the band's most popular songs is worth the hype, but there's more to this record. Sure, it's long, and the bass was essentially non-existent. But the epic title track, relentless opener "Blackened," and heart-pounding live favorite "Harvester of Sorrow" can more than hold their own with just about any other Metallica hit.

The massive success of Nirvana's breakthrough second album Nevermind brought renewed attention to the band's critically acclaimed debut from the late 1980s. More raw and dirty than polished products like Nevermind and In Utero but undoubtedly grunge to the core. Songs like "Blew," "Love Buzz," "Negative Creep," and "About a Girl," which enjoyed some mainstream success via the band's MTV Unplugged appearance, should all be celebrated along with Nirvana's more well-known tunes.

For as many eventual classics Mother's Milk produced, "Higher Ground," "Knock Me Down," "Taste the Pain," "Subway to Venus," and "Stone Cold Bush," the album was initially panned for lack of overall substance. With the additions of John Frusciante on guitar and Chad Smith behind the drum kit, the band enjoyed its first true commercial success with this album. Critics didn't show it the same level of love as 1987's The Uplift Mȯfo Party Plan, which fused the Chili Peppers' signature funk rock with more reggae and some metal. But Mother's Milk opened the door for the massive international success the band soon achieved.

The Beasties Boys' maturation as musicians can be traced back to their third studio album. License to Ill was a smashing introduction. Paul's Boutique proved they had staying power. Check Your Head showed how versatile Adam Yauch, Adam Horovitz, and Mike Diamond were as entertainers. "Pass the Mic" and "So What'cha Want" are pure Beastie Boys of the time, while "Gratitude" features some killer bass work, and "Jimmy James" is a trippy experience with an old-school feel.

U2's six-year stretch of albums — Achtung Baby (1991), Zooropa (1993), and Pop (1997) — were all a departure from the 1980s new wave/alternative/straightforward rock that brought the band international stardom. Achtung Baby grew on enough fans to keep the U2 machine churning while Pop turned heads — and not necessarily in a good way. In between is Zooropa, a Grammy winner with no major hits, though "Numb" and "Lemon" are as unheralded as the album itself. It might be the band's best true alternative effort.

The fact that Vapor Trails was made and Rush still existed in the early 2000s was remarkable, considering late drummer and primary lyricist Neil Peart was dealing with the deaths of daughter Selena in 1997 and wife Jackie one year later. However, Peart pressed on, and Rush released its first studio album in six years. It was a top-10 album in the U.S. and did not include any keyboards or synthesizers. Highlights include the title track, "Out of the Cradle," "One Little Victory," and "Secret Touch."

Critics and fans of PE consider this record a rebirth of sorts. The legendary rap outfit put out four albums from 1994-2005, and none moved the meter like the group's first four releases. With this 2007 effort, Public Enemy seemed more determined to harken back to its early success without trying too much. "Harder Than You Think" was almost a tribute to its past, while "Back in Black" is a spirited rock number that also channels one's inner Run-DMC.

Pearl Jam's 10th studio release was another Billboard album for the band. When we dig deep into the overall catalog, this album houses tracks that have since become staples of the group's celebrated live shows despite not being praised individually. Still, the title track has become a high-energy live favorite, while "Pendulum" and "Mind Your Manners" grew on the ears quickly. The underrated gem of the record is the Pink Floyd-esque "Sirens."