500 Greatest Albums of All Time – Rolling Stone
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500 Greatest Albums of All Time

Rolling Stone’s definitive list of the 500 greatest albums of all time.

The RS 500 was assembled by the editors of Rolling Stone, based on the results of two extensive polls. In 2003, Rolling Stone asked a panel of 271 artists, producers, industry executives and journalists to pick the greatest albums of all time. In 2009, we asked a similar group of 100 experts to pick the best albums of the 2000s. From those results, Rolling Stone created this new list of the greatest albums of all time.


Bruce Springsteen, ‘Darkness on the Edge of Town’

Columbia, 1978

This was the sound of Springsteen's hard-won realism breaking through, chronicling working-class dreams and despair on cuts like "The Promised Land" and "Racing in the Street," his greatest-ever car song.


Santana, ‘Santana’

Columbia, 1969

This debut unveiled Carlos Santana's singular mix of Latin rhythms, rock guitar and lyrical blues. The 22-year-old's guitar work was fueled by psychedelics. "[Drugs] made me aware of splendor and rapture," he said. Santana did the same thing for fans.


Led Zeppelin, ‘Houses of the Holy’

Atlantic, 1973

On Album Five, Zeppelin got into a groove. "D'yer Mak'er" is their version of reggae, and "The Crunge" is a tribute to James Brown. The band also indulged its cosmic side with "The Rain Song" (featuring one of Robert Plant's most amazing vocals) and the Viking death chant "No Quarter." 


Crosby, Stills, Nash and Young, ‘Deja Vu’

Atlantic, 1970

Neil Young transformed the folk-rock CSN into a powerhouse – offering pop idealism (Graham Nash's "Teach Your Children"), militant blues (David Crosby's "Almost Cut My Hair") and vocal-choir gallop (Stephen Stills' "Carry On"). The achingly plaintive "Helpless" is prime early Young.


Jefferson Airplane, ‘Surrealistic Pillow’

RCA, 1967

The Airplane's heady debut is a hallucinatory distillation of folk-blues vocals, garage-­rock guitar and crisp pop songwriting. Grace Slick's vocal showcases, "White Rabbit" and "Somebody to Love," were Summer of Love smash hits, and Marty Balin's spectral "Today" is still the greatest ballad of San Francisco's glory days.


Steely Dan, ‘Aja’

ABC, 1977

Steely Dan's meticulously crafted sixth album was Walter Becker and Donald Fagen's stab at becoming mainstream jazz-pop superstars. And thanks to sweet, smart, slippery tracks like "Deacon Blues" and "Peg," they did just that – and won a Grammy for Best Engineered album too.


N.W.A., ‘Straight Outta Compton’

Ruthless, 1998

"Do I look like a motherfucking role model?" Ice Cube asks on "Gangsta Gangsta": You do not, sir! Cube's rage, Eazy-E's thug nasty and Dr. Dre's police-siren beats slammed America into a new hip-hop era.


Dr. John, ‘GRIS-Gris’

ATCO, 1968

In the Sixties, New Orleans piano player Mac Rebennack moved to L.A., encountered California psychedelia, rechristened himself Dr. John, the Night Tripper, and made this swamp-funk classic. GRIS-Gris blends New Orleans R&B, voodoo chants and chemical inspiration.


Phil Spector, ‘A Christmas Gift for You’

Philles, 1963

The best holiday album in pop-music history. Ronnie Spector melts "Frosty the Snowman" and takes the innocence out of "I Saw Mommy Kissing Santa Claus." And it all comes in a vortex of Spector's exhilarating Wall of Sound production.


B.B. King, ‘Live at the Regal’

ABC, 1965

Recorded in Chicago in 1964, as a new audience of white rock fans was discovering the blues, Live at the Regal is B.B. King's definitive live set. His guitar sound is precise and powerful, driving emotional versions of some of his most influential songs, including "Every Day I Have the Blues" and "How Blue Can You Get."


Blondie, ‘Parallel Lines’

Chrysalis, 1978

New Wave's big pop breakthrough, Parallel Lines is a perfect synthesis of raw punk edge, Sixties-pop smarts and downtown-New York glamour. Debbie Harry created a new kind of rock & roll sex appeal that brought New York demimonde style to the mainstream. Madonna was surely watching.


The Meters, ‘Rejuvenation’

Reprise, 1974

New Orleans producer Allen Toussaint built hit records with a taut Morse-code style of rhythm guitar rooted in the marching-band and party beats of the Crescent City. That funky discipline defines this LP; the Meters perfect a balance of funk, rock and Dixie R&B on gems such as "People Say" and "Hey Pocky A-Way."


Dr. Dre, ‘The Chronic’

Death Row, 1992

Dr. Dre had already taken gangsta rap mainstream with N.W.A. On The Chronic, he funked up the rhymes even further with samples of old George Clinton hits, a smooth bass-heavy production and the laid-back delivery of then-unknown rapper Snoop Doggy Dogg.


The Replacements, ‘Tim’

Sire, 1985

On the Mats' major-label debut, singer-guitarist Paul Westerberg segues brilliantly from heroic power-chord swagger ("Bastards of Young") to shabby contemplation ("Here Comes a Regular"). No pre­Nirvana band did it better.


Elton John, ‘Greatest Hits’

MCA, 1974

This single-disc collection – released during John's creative and commercial peak – includes nearly every Top 10 single he had during that era, from "Your Song" to "Don't Let the Sun Go Down on Me." It documents why the piano man was one of the biggest-selling pop stars of the Seventies.


Pavement, ‘Slanted and Enchanted’

Matador, 1992

The quintessential American indie-rock album. The playing is relaxed, the production primitive, the lyrics quirky, the melodies seductive. But the noise-streaked sound is intense, even as Stephen Malkmus displays his love of Seventies-AM pop.


The Notorious B.I.G., ‘Ready to Die’

Bad Boy, 1994

B.I.G. (a.k.a. Biggie Smalls) took the gritty life experience of his hard-knock Brooklyn youth and crammed it into Ready to Die, hip-hop's greatest debut. "Big Poppa" is the hit sex jam, "Juicy" made you laugh as you danced, and on "Things Done Changed" and "Everyday Struggle," he relates gangsta tales in a voice as thick as his waistline.


Bruce Springsteen, ‘The Wild, the Innocent & the E Street Shuffle’

Columbia, 1973

Springsteen's second album shook the "New Dylan" tag and applied his Jersey-bar-band skills to some of the loosest, jazziest, funniest songs he'd ever write – such as "Rosalita" and "Kitty's Back."


Original Soundtrack, ‘Saturday Night Fever’

RSO, 1977

Disco at its megaplatinum apex: The Bee Gees' silvery-helium harmonies melt into creamily syncopated grooves, and the Trammps' hot-funk assault "Disco Inferno" and Tavares' yearning "More Than a Woman" affirm disco's black-R&B roots.


Black Sabbath, ‘Paranoid’

Warner Bros., 1970

Sabbath ruled for bummed-out Seventies kids, and nearly every metal and extreme rock band of the past four decades owes a debt to Tony Iommi's granite-fuzz guitar, the Visigoth rhythm machine of Bill Ward and Geezer Butler, and Ozzy Osbourne's agonized bray in "Paranoid," "Iron Man" and "War Pigs."


Talking Heads, ‘Remain in Light’

Sire, 1980

On this New Wave watershed, the avant-punk avatars became polyrhythmic pop magicians. David Byrne and Co. combined the thrust of P-Funk, the kinky grooves of Afropop and the studied adventurousness of producer Brian Eno – and they still had a pop hit with "Once in a Lifetime."


Iggy and the Stooges, ‘Raw Power’

Columbia, 1973

Iggy Pop had dyed silver hair and a hard-drug habit when David Bowie helped get the rudderless Stooges a deal with Columbia. Pop and new guitarist James Williamson responded with hellbent ferocity on punk eruptions like "Search and Destroy" and "Gimme Danger."


The Byrds, ‘Younger Than Yesterday’

Columbia, 1967

Amid internal strife, the former Next Beatles made their first mature album, a blend of space-flight twang and electric hoedown infused with the glow of 1967 yet cut with realism.


Bob Marley and the Wailers, ‘Catch a Fire’

Island, 1973

Marley's major-label debut expanded his audience beyond Jamaica without diluting his bedrock reggae power. Producer and label boss Chris Blackwell remixed the original Jamaican sessions for international ears, but the Wailers' ghetto rage comes across uncut.


Janis Joplin, ‘Pearl’

Columbia, 1971

On Pearl, Joplin made a solo album worthy of her Texas blues-mama wail. Whether singing hippie gospel or country soul, she never sounded more intimate and assured. "Me and Bobby McGee" was a Number One single, but Joplin didn’t get to enjoy her triumph. She died of a drug overdose before the album was finished.


Moby Grape, ‘Moby Grape’

Columbia, 1967

San Francisco rock at its '67 peak, this is genuine hippie power pop. Moby Grape sang like demons and wrote crisp songs packed with lysergic country-blues excitement, while the band's three guitarists – Jerry Miller, Peter Lewis and Skip Spence – created a network of lightning.


Run-DMC, ‘Raising Hell’

Arista, 1986

Working with producer Rick Rubin, the Queens crew made an undeniable album that forced the mainstream to cross over to hip-hop. Run and DMC talked trash over Jam Master Jay's killer mixology, and they bum-rushed MTV with a vandalistic cover of Aerosmith's "Walk This Way," featuring Steven Tyler and Joe Perry.


Original Soundtrack, ‘The Harder They Come’

Mango, 1973

This album took reggae worldwide. The film's star, Jimmy Cliff, sings four songs, including the hymn "Many Rivers to Cross," and greats like Desmond Dekker, the Melodians, and Toots and the Maytals showed the richness of the new beat.