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.
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.
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.
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."
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'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.
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.
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.
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."
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."
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.
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.
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.
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.
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.
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."
Television were the guitar mystics on the CBGB scene, mixing the howl of the Velvet Underground, the epic song lengths of Yes and the double-helix guitar sculpture of Quicksilver Messenger Service. Their debut was as exhilarating in its lyrical ambitions as the Ramones' first album was in its brutal simplicity.
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."
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.
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.
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.
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.
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.
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.
Funk-rock-soul party politics at its most inclusive and exciting – Sly Stone rides the bonfire momentum of the civil rights movement in "Stand!" and "You Can Make It If You Try" without denying the intrinsic divisions that threatened civil war (see "Don't Call Me Nigger, Whitey").
1955's "Roll With Me, Henry" made this self-described "juvenile delinquent" a sexually precocious teenage star. Six years later, Etta James bloomed into a fiery interpreter on this spellbinding LP. Hitting the pop and R&B charts, she created a new vocal model: the crossover diva.
Roc-A-Fella/Def Jam, 2005
Here, Kanye really started showing off. Ranging from triumphal autobiography ("Touch the Sky") to witty club pop ("Gold Digger"), James Bond themes to Houston hip-hop, his second disc remade the musical landscape in his own oddball image
Here's where the Stones started to leave the R&B and blues covers behind. Their fourth album in America featured three defining Jagger–Richards originals, each a masterpiece of libidinal menace: "The Last Time," the gently vicious "Play With Fire" and "(I Can't Get No) Satisfaction," a song that is the very definition of riff.
The Who's first concept album was a tribute to the U.K.'s offshore pirate-radio stations – strung together with mock commercials ("Heinz Baked Beans") and genuine radio jingles. It's their funniest record, and the mini rock opera, "Rael," gave a hint of epic things to come.
Cream's sharpest, most linear album focused its instrumental explorations into colorful pop songs: "Strange Brew" (slinky funk), "Dance the Night Away" (trippy jangle), "Tales of Brave Ulysses" (a wah-wah freakout) and the hit "Sunshine of Your Love," driven by Ginger Baker's relentless Native American tribal beat.
Smooth and straight-ahead, Court and Spark is the biggest record of Mitchell's career. Working with saxophonist Tom Scott's fusion group, L.A. Express, Mitchell settles into a folk-pop-jazz groove that remains a landmark of breezy sophistication, particularly on the Top 10 single "Help Me."
The First Family of Cali-folk rode their gorgeous four-part harmonies to pop stardom – but Papa John Phillips' sunny melodies had a seductively dark undercurrent.
The first Stones album completely written by Jagger–Richards was full of bad-boy songs about Swinging London's overnight stars, groupies, hustlers and parasites. It's got tough riffs ("It's Not Easy"), girls seeking kicks ("Under My Thumb"), zooming psychedelia ("Paint It Black") and baroque-folk gallantry ("I Am Waiting").
Recorded when he was 24, Bowie's first great album was a visionary blend of gay camp, flashy rock guitar and saloon-piano balladry. Bowie marked the polar ends of his artistic ambitions with tribute songs to Bob Dylan and Andy Warhol while inventing – and perfecting – a new style of rock & roll glamour.
Cooke was a gospel star who crossed over to rock & roll, helping to invent soul music. This career-spanning collection peaks with the civil rights anthem "A Change Is Gonna Come," a posthumous hit after he was shot to death at an L.A. motel in 1964.
Warner Bros., 1970
Taylor went through a private hell on the way to recording his hugely successful second album – including two stays in a psychiatric institution (a fellow patient's suicide inspired "Fire and Rain"). But the confessional lyrics, spare melodicism and quiet strength in his voice made the album a model of Seventies folk-pop healing.
Coltrane made two giant steps in 1959: playing on Miles Davis' Kind of Blue and recording his first classic. He played flying clusters of notes that declared new possibilities for jazz improvisation and predicted the ferocious, harmonically open lyricism of his mid-Sixties albums.
Bassist Jack Bruce, drummer Ginger Baker and guitarist Eric Clapton – rock's first supergroup – put a psychedelic pop spin on the blues. Their debut is tight and concise, a blueprint for the band’s onstage jams, where they stretched these tunes into quarter-hour improvisations.
The first set of songs Sinatra recorded specifically for an LP sustains a midnight mood of loneliness and lost love – it’s a prototypical concept album. Listen close and you'll hear the soft intake of his breath.