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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.

395

LCD Soundsystem, ‘Sound of Silver’

DFA/Capitol, 2007

New York electro-punk kingpin James Murphy makes his masterpiece: Every track sounds like a different band's greatest hit, from the political punk goof "North American Scum" to the elegiac synth-pop breakup lament "Someone Great." 

394

Randy Newman, ‘Good Old Boys’

Reprise, 1974

Newman draws on his roots in the blues and New Orleans boogie to uncorck this blistering portrait of the American South. He shows that he was pop's most cutting satirist on "Rednecks" – a song that doesn't spare Northern or Southern racism; Newman once said he still gets nervous playing it in some cities.

393

M.I.A., ‘Kala’

Interscope, 2007

The London-via-Sri Lanka art-punk funkateer came on like she knew she was kind of a big deal, and backed up her bravado. M.I.A.'s second album restyled hip-hop as one big international block party, mixing up beatbox riddims, playground rhymes, left-field samples and gunshots. It's a dance-off in a combat zone.

392

The Beatles, ‘Let It Be’

Apple, 1970

The sound of the world's greatest pop group at war with itself. John Lennon is at his most acidic; George Harrison's "I Me Mine" is about the sin of pride, sung with plaintive exhaustion; Paul McCartney's title track is like a survival mantra. Phil Spector pieced it all into a sad swan song.

391

Jackson Browne, ‘The Pretender’

Asylum, 1976

Laid-back Southern California folk rock took on new weight with Browne's fourth album. His first wife committed suicide while he was writing these songs, and they became hard-bitten. "Say a prayer for the pretender," he sings, "who started out so young and strong, only to surrender."

390

The White Stripes, ‘Elephant’

V2, 2003

Jack and Meg White proved their minimalist garage rock had more depth and power than anyone expected. On tracks like the slow-burning "Seven Nation Army" and "The Hardest Button to Button," Jack's songwriting finally matches his blues-fanboy, art-school shtick.

389

Don Henley, ‘The End of the Innocence’

Geffen, 1989

Returning to the theme of "Desperado," the former Eagle hitched some of his finest melodies (especially on the gentle title track) to sharply focused lyrical studies of men in troubled transition – from youth to adulthood, innocence to responsibility.

388

Various Artists, ‘The Indestructible Beat of Soweto’

Shanachia, 1985

The best album ever tagged as "world music," this compilation of South African pop is still fresh – full of funky, loping beats and gruff vocals, with a sweet track by Ladysmith Black Mambazo, who soon appeared on Graceland.

387

Wu-Tang Clan, ‘Enter the Wu-Tang: 36 Chambers’

Loud/RCA, 1993

East Coast hip-hop came back in 1993, thanks to a nine-man troupe of Staten Island MCs with a fascination for Hong Kong martial-arts mythology and producer RZA's love of menacing atmospherics. Hip-hop had rarely been this dirty.

386

Steely Dan, ‘Pretzel Logic’

ABC, 1974

Donald Fagen and Walter Becker make their love of jazz explicit, covering Duke Ellington and copping the intro of "Rikki Don't Lose That Number" from hard-bop pianist Horace Silver. The guitars on their third LP are dialed back for a sound that's slick and airtight without being cold. The lyrics? As twisted as ever.

385

Bob Dylan, ‘Love and Theft’

Columbia, 2001

Blood, desperation and wicked gallows humor are in the air as Dylan and his road band provide a raucous tour of 20th-century musical America via jump blues, slow blues, rockabilly, Tin Pan Alley ballads and country swing. "Summer Days" sounds like the exact moment when R&B morphed into rock & roll.

384

The Who, ‘A Quick One (Happy Jack)’

MCA, 1966

The Who were in the middle of an experimental phase, and the results were fascinatingly quirky. "Boris the Spider" is a basso-profundo jape, and the miniopera title track foreshadows Pete Townshend's songwriting ambition.

383

Talking Heads, ‘More Songs About Buildings and Food’

Sire, 1978

The Heads' second album weaved funk and gospel (including a cover of Al Green's "Take Me to the River") into their twitchy, Spartan sound, announcing themselves as the newest of the New Wave bands.

382

Modern Lovers, ‘Modern Lovers’

Beserkly, 1976

Jonathan Richman moved from Boston to New York in the hopes of sleeping on Lou Reed's couch. That influence shows on the two-chord anthem "Roadrunner." Recorded in 1972 but not released until 1976, Lovers hot-wired the Velvets' tough sounds to odes of suburban romanticism.

381

The Beach Boys, ‘Smile (2011 Version)’

Capitol, 2011

The five-disc director's cut of the Greatest Pop Album Never Made is an unfinished symphony of exquisite ping-ponging harmonies and psychedelicized Cali-surf soul. The included demos and fragments show Brian Wilson painting his masterpiece. 

380

Toots and the Maytals, ‘Funky Kingston’

Island, 1975

Loose, funky, exuberant, Kingston is the quintessential document of Jamaica's greatest act after Bob Marley. Showcasing some of the Maytals' best songs ("Pressure Drop" and borrowing from soul, pop and gospel, the album introduced the world to the great Toots Hibbert.

379

TLC, ‘CrazySexyCool’

Things were not well with TLC during the making of CrazySexyCool: Lisa "Left Eye" Lopes was lighting literal fires, and the trio would soon be filing for bankruptcy. But they emerged with the most effervescent and soulful girl-group R&B anyone had seen since the Supremes.

378

Oasis, ‘(What’s the Story) Morning Glory?’

Epic, 1995

With their second album, the fighting Gallagher brothers embraced the Stones and Beatles comparisons and established themselves as a force in their own right, especially on the majestic "Wonderwall."

377

John Lee Hooker, ‘The Ultimate Collection 1948-1990’

Rhino, 1991

"Boogie Chillen" was Hooker's first hit and one of the last songs he ever played. In between that was a lifetime of pure mojo. Collection houses that historic song, plus "Boom Boom" and a voice Bonnie Raitt said could "tap into all the pain he'd ever felt."