Though it's easily the best hidden track of them all, this song wasn't really supposed to be hidden. The Clash originally intended for "Train in Vain" to be a promotional giveaway for NME, but when that fell through it was added to the fantastic London Calling after the album cover and sleeve were already printed. Nevertheless, it became The Clash's first big hit on this side of the pond and signaled that the band was more than just another British punk group.

To find this fantastic track, wait more than a full minute after the end of "Static," the wonderfully melancholy eleventh and, at least according to the track listing, final song on Beck's critically acclaimed masterpiece Mutations. "Diamond Bollocks" is an upbeat, off-the-wall track that might fit better on Beck's previous album Odelay than on the low-key Mutations. Still, this six-minute jam is one of our very favorite songs Beck has ever released.

Though the title track to Lauryn Hill's enormously successful debut appears as the final song on the album's track listing, there are actually two additional tracks on The Miseducation. One of those two songs is Hill's soulful cover of the Frankie Valli hit "Can't Take My Eyes off You," which though not physically released as a single, reached number 35 on the Billboard singles chart and was even nominated for a Grammy Award for Best Female Pop Vocal Performance.

The album that popularized grunge also gave us one of the very best hidden tracks. "Endless, Nameless" can be heard ten minutes after Nevermind's final track, "Something in the Way" ends. This nearly seven-minute track is full of searing distortion and sounds far more raw than the rest of Nirvana's breakthrough album. The band initially wanted it to immediately follow "Something in the Way," but it was accidentally left off initial pressings. After Cobain complained, the song was added, but only after the lengthy silence.

An oddity for a hidden track in that it was the first single released off its album, "Jigga My Nigga" also appears as a listed track on the Ruff Ryders label compilation Ryde or Die Vol. 1, which was released eight months before Vol. 3… Life and Times of S. Carter. One of two unlisted tracks embedded after a minute of silence at the end of album closer "Hova Song (Outro)," this classic Jay-Z track was actually the biggest hit on the album, topping the rap singles chart and reaching number 28 on the Billboard Hot 100.

After a mere 23 seconds of silence following the last listed track on Wilco's critically acclaimed but commercially underappreciated Summerteeth come two hidden songs. The first - "Candyfloss" - is perhaps the catchiest tune on an album full of sing-alongs (the other hidden track is an excellent alternate version of Wilco favorite "A Shot in the Arm"). "Candyfloss" is one of the album's shortest songs, but it's also one of our favorite upbeat tracks in Wilco's extensive catalog.

As the mysterious Fox hit The X-Files was full of surprises, it seems fitting that the show's soundtrack would include hidden tracks. But unlike the rest of the songs on this Top 13, which typically appear as unlisted tracks at the end of the album or are embedded in the last listed song, Nick Cave and the Dirty Three's eerie remake of the Dirty Three's "Better Go Home Now" is only accessible by manually rewinding the soundtrack's first song about twelve minutes. The six-minute track, featuring a nifty religion-themed spoken word performance by Cave and Warren Ellis' phenomenal work on the violin, is worth the effort.

Queens of the Stone Age actually included three hidden tracks on Songs for the Deaf, which is generally regarded as the finest of the stoner rockers' five studio albums. For our money, "Mosquito Song," which is actually listed as "secret song" on the album's track listing, is the best of the three. Featuring strings, horns, an accordion, several pianos, and flamenco guitar in addition to Queens' standard instrumentation, this is an epic, yet understated, orchestral tune.

Though this song first appeared on Cracker's 1992 EP Tucson, it wasn't released as a single until after it appeared as one of three hidden tracks on the band's platinum-selling sophomore full-length effort Kerosene Hat. "Euro-Trash Girl" is a jangly eight-minute country-rock epic that deservingly reached the top 25 on the U.S. Modern Rock charts. It appears as track number 69 on the album; the two other hidden songs are tracks 88 and 99, respectively.

Though certain early pressings of the Yeah Yeah Yeah's ferocious art rock debut Fever to Tell included only ten songs, later pressings added an eleventh listed track. On those pressings, "Modern Romance" is the album's new final listed song. But it's not the only addition; after a little more than a minute of silence, the unlisted "Poor Song" kicks in. Over the years, the Yeah Yeah Yeahs often have played this moody hidden track in concert as part of their encores.

A haunting, nearly seven and a half minute song, "Morning Hollow" follows the thirteenth and final listed track on the beautiful It's a Wonderful Life after approximately three minutes of silence. Featuring vocals from Sol Seppy and pianos by Tom Waits, this song is a stunning, melancholy finale on the first Sparklehorse album that Mark Linkous (who tragically committed suicide earlier this month) recorded with a full band.

Though this song doesn't appear on the track listing of Dr. Dre's g-funk classic The Chronic, "Bitches Ain't Shit" is actually among the album's better known songs. In large part, that's because of the many remakes and covers of the song, most notably Ben Folds' 2005 version, which actually reached number 71 on the Billboard Hot 100. Dre's version - which closes the album - features verses from Snoop Dogg, Daz, Kurupt, and Jewell, and includes some of his harshest words for former N.W.A. band-mate Eazy-E.

When it comes to hidden tracks, Pearl Jam is probably best known for "Master/Slave," which appears as an unlisted track on the band's mega-debut Ten. But we prefer "4/20/02," which was an outtake from Pearl Jam's sessions for Riot Act, the band's seventh studio album, and ultimately appeared about four minutes after the last track on the two-disc b-sides compilation Lost Dogs. Eddie Vedder's haunting ode to Alice in Chains frontman Layne Staley, this song was written the day Vedder heard about Staley's overdose and death.