13 Great Pop Albums That Were Overlooked & Underrated In Their Time: From Gina G To Little Boots

Gina G, Fresh! (1997)

With her flame-red hair and dance-pop sensibilities, Gina G was like the Kiesza of the ’90s. (Though, let’s see Kiesza top posing for an album cover clothed in nothing but chocolate icing!) The Australian singer rose to prominence in 1996 when she represented the UK (I know — confusing) in the Eurovision Song Contest with her Grammy-nominated classic “Ooh Aah… Just A Little Bit.” Yep, Gina was even doing elipses two years prior to Britney.

Her debut album Fresh! served up a few more hits, like “Gimme Some Love” and “I Belong To You” (both of which were produced by the Metro team, pre-Cher “Believe”), but the real gems on this overlooked LP are galloping Euro-dance tracks like “Higher Than Love” and “Follow The Light.” Album closer “It Doesn’t Mean Goodbye” even showed that, much like Robyn today, Gina was pretty adept at strobe light laments.

Fresh! reached #12 on the UK album chart, while failing to even make a dent in the States, despite the Billboard Hot 100 success of “Ooh Aah…” Eventually Gina G got into a legal battle with her main collaborator Steve Rodway (aka Motiv8), and things with her career were never quite so fresh again. — ROBBIE DAW

Santigold, Master of My Make-Believe (2012)

Ah, the terrifying sophomore slump: The one thing that might make or break a music career, and if anyone undeservingly felt its dreaded effects, it was Santigold. Coming off a successful self-titled debut, the Philadelphia-born singer’s second attempt was received…with little recognition. However, the album itself contains alternative-dance gems like the ever-menacing “Disparate Youth” as well as eerie electropop zinger “The Keepers.” And, please, let’s not forget the glorious Karen O collabo “Go,” which is possibly the most daring track on the LP and, as YouTube commenter lulu soreal said, “gets shit done.” — RACHEL SONIS

Rachel Stevens, Come And Get It (2005)

While everyone loves an amazing pop troupe like S Club 7 or the Spice Girls, the individual solo endeavors are responsible for yielding some of the most unjustly overlooked pop gems on the planet. Case in point? S Club 7 darling-turned-UK pop princess Rachel Stevens‘ utterly brilliant (but brief) solo career, which spawned two excellent records. She got it right with her first album (Funky Dory), but it’s her second album that truly sealed the deal as a modern pop masterpiece. The LP is full of crucial, single-worthy selections by powerhouse producers like Xenomania, Richard X and Fraser T Smith. From throbbing synth-pop cuts like “So Good” and “Crazy Boys” to massive kiss-off anthems “I Said Never Again (But Here We Are)” and swirling midtempos like “Nothing Good About This Goodbye,” there’s simply not a dud in the bunch. It’s too bad the world didn’t come and get it — but that doesn’t mean you shouldn’t. — BRADLEY STERN

Heidi Montag, Superficial (2010)

Heidi Montag’s one and only LP, 2010’s infamous Superficial is perhaps best remembered for being a commercial disaster. It peaked at #41 (on the Heatseakers chart) and sold an approximated 1000 copies in its first week of sale. And yet, it easily ranked as one of the best dance-pop albums to not hit the shelves — it was digital only — in a year that produced an unusually large batch of classic pop offerings, including Robyn’s Body Talk, Kesha’s Animal and Kylie Minogue’s Aphrodite.

So what makes Superficial such a (not at all) guilty pleasure? Obviously, a lot of the credit is due to the now eye-popping list of collaborators. Heidi benefited from the genius of songwriters Cathy Dennis (Britney’s “Toxic”), Stacy Barthe (Miley Cyrus’ “Adore You”) and The Runners (RiRi’s “California King Bed”) and the gun producers who expertly covered the forgotten princess of pop’s vocal shortcomings. Highlights include the brag-pop moment “Look How I’m Doing”, alcoholic anthem “One More Drink” and somewhat disturbing bedroom romp “I’ll Do It”. Oh and revisit quasi-ballad “Twisted” to experience the full force of Heidi’s…distinctive voice. — MIKE WASS