Lauryn Hill - 'Can't Take My Eyes Off Of You' (The Miseducation of Lauryn Hill): Tacked on the end of the album, Hill's soulful cover of the Frankie Valli classic was one of two hidden tracks - and stole the show, being announced on the cover sticker and even nominated for a Grammy. Not so hidden anymore.

Yeah Yeah Yeahs - 'Poor Song' (Fever To Tell): Beginning a minute and a half after track 'Modern Romance', slow-burning, seductive hidden track 'Poor Song' (also known as 'Hidden Song') has become a firm fan favourite, with Karen O and co often ending their live sets with it.

NERD - 'Find My Way' (Fly Or Die): Nestled in 1 minute 15 seconds after final track 'Chariot Of Fire', 'Find My Way' is a rock-tinged, sweeping ode to a woman Pharrell has done wrong. P does his croon-y, swoon-y voice thing and it's a rather nice ending to what was, overall, a disappointing follow up to the band's critically acclaimed debut In Search Of....

Kings of Leon - 'Talahina Sky' (Youth And Young Manhood): A few minutes after closer 'Holy Roller Novocaine' ends, the rousing, uplifting 'Talahina Sky' begins, and it's become one of the band's signature songs, encapsulating their early Southern blues-tinged sound.

Jarvis Cocker - 'C*nts Are Still Running The World' (Jarvis): Some popstars get upon their soapboxes get up on their soapboxes and wax lyrical when it comes to politics - but our Jarvis just shrugs it off, is his own inimitable stye of Northern honesty.

MIA - 'MIA' (Arular): The musician's genre-meshing debut is excellent, particularly last track 'Galang'. Even better, after a brief silence, hidden track 'MIA' appears - a twisting slice of electro that announced MIA was truly here to stay.

Queens of the Stone Age - 'Mosquito Song' (Songs For The Deaf): Played on a 12-string acoustic guitar, this track is all about melody and harmonisation. It's a fitting end to an album pumped full of a driving intensity. It also leads into Lullabies to Paralyze, the next album.

Kano - 'Grime MC' (London Town): A musing on the stereotypes of being a grime MC, it pokes fun at the genres stereotypes whilst also acting as a love letter to it. It points out what is true, sadly to this day, that MC's have an astonishing tendency to copy each other and rip each other off, which leads them and the scene nowhere. This makes the track and the album cyclical.

Justice - 'Presence' (Audio, Video, Disco.): The follow up to Justice's modern classic of a debut, Cross, didn't quite live up to expectations, but was still an exciting piece of work. Hidden track 'Presence' is no exception. Find it at the end of 'Audio, Video, Disco'.

Hurts - 'Verona' (Happiness): A Freddie Mercury-esque dose of melodrama and romance - turned up to Hurts levels of fist-clenching power.

Eminem - 'Untitled' (Recovery): Recovery saw a return to form for Eminem, who exploded back into public consciousness with the massive Rihanna-featuring smash 'Love The Way You Lie'. 'Untitled' is a breathless encore tacked on the end of the record after final track 'You're Never Over'.

Kanye West - 'Late' (Late Registration): A stunning strings section and a trademark Kanye high-pitched sample complete the rapper's lush second album nicely. It can be heard after bonus track 'Diamonds From Sierra Leone'.

Jay Z - 'Breathe Easy' (The Blueprint): The encore of Jay's sixth studio album sees the rapper brimming with bravado and swagger as he raps about how amazing he is after a dark, piano driven beat.

Manic Street Preachers - 'Bag Lady' (Journal For Plague Lovers): "I am not dead," scowls James Dean Bradfield citing the lost Richey Edwards' lyrics, in this fast and furious blast of blistering post-punk - acting as a highlight on the excellent Journal For Plague Lovers. Seems a shame to keep it hidden.

Muse - 'Hidden track' (Starlight DVD): Tucked away on 'title 4' of the DVD version of this Black Holes And Revelations single is this delightful ditt - a short blast of cowbell, searing guitar and Matt Bellamy screeching the words 'you fucking motherfucker'. Lovely stuff.

Blur - 'Me, White Noise' (Think Tank): By far Blur's most eclectic and challenging album, the bubbling weirdness of this hidden track definitely deserves far more attention.

Beach House - 'Wherever You Go': Hidden 13 minutes into the final track of Bloom, this woozy, poignant song is the perfect album comedown.

CocoRosie - 'Devil's Island': This disorienting lullaby placed over an intense house drum-beat is truly, beautifully bizarre. It's hidden at 13:38 of 'Poison' on the album Tales of a Grass Widow, and, as one YouTube commenter observed, "it sounds like I'm playing two different songs at the same time." In a good way.

Coldplay - 'Life Is For Living': This sounds sort of like an Oasis song that's been given the Chris Martin falsetto treatment. It's just 1 minute and 39 seconds, nestled at the very end of their debut album Parachutes.

Kelis - 'Fuck Them Bitches': A fierce, bitter, tongue-in-cheek indictment of "bitches who talk shit", it's basically impossible not to sing jubilantly along with, "Look, girl, look! Keep my name out your mouth, I'll keep my foot out your butt."

Slow Club - 'Boys On Their Birthdays': With the faint whisper of a guitar underpinning Rebecca Taylor's affecting, unshowy vocals, and with a melody with those same qualities, 'Boys On Their Birthdays' is stream-of-consciousness style ballad at the end of Slow Club's debut LP Yeah So.

Laura Marling - 'Alas I Cannot Swim': Though it's taken from the debut album of the same name that she's largely discarded during live shows these days, and displays a starkly different voice and musical style from that which she's come to embrace, 'Alas I Cannot Swim' is still a gravelly, forceful rejection of what we've come to know as FOMO: "There is gold across the river but I don't want none, I'd rather be dry than held up by a golden gun saying 'work more, earn more, live more, have more fun.'"

Amy Winehouse ft. Ghostface Killah - 'You Know I'm Not Good': 99% of the time, rap verses that are tacked onto existing songs feel lazy and reductive. Ghostface Killah's rap verses, which are hidden on the US release of Back to Black, while bitter and accusatory, are perfectly counter-balanced by Winehouse's unapologetic refrain.

Nirvana - 'Endless Nameless': A firestorm of screams, crashing drums and distorted guitar riffs, this track was accidentally left off the first version of Nevermind. When the band noticed this omission, they called mastering engineer Howie Weinberg and demanded the mistake be fixed.

The Beatles - 'Her Majesty' (Abbey Road): Hidden away at the end of the classic Abbey Road, 'Her Majesty' is the dictionary definition of 'short but sweet' - so very sweet, and so very Macca.

The Libertines - 'France' (The Libertines): One of Barat's most underrated moments, this is truly the soundtrack to the sullen times of The Libertines' later years.