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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.

326

The Cure, ‘Disintegration’

Elektra, 1989

According to the kids on South Park, this is the best album ever made. According to many depressive Eighties-minded kids, it's the only album ever made – gloppy eyeliner at its grandest. On "Fascination Street," Robert Smith's voice shakes like milk as he makes adolescent angst sound so wonderfully, wonderfully pretty.

325

Eric Clapton, ‘Slowhand’

RSO, 1977

"Slowhand" was the nickname given to Clapton by the Yardbirds' manager. On this quintessential album, he mixes candlelit love songs and guitar-hero riffs; "Cocaine" and "Wonderful Tonight" are the hits, but don't overlook "Next Time You See Her," a gentle melody loaded with a death threat to a lover's suitor.

324

David Bowie, ‘Station to Station’

RCA, 1976

The Kraut-disco title track is where Bowie proclaims himself the Thin White Duke. Thin he was: Station to Station was recorded in a blizzard of cocaine in Los Angeles. "TVC 15" is New Orleans R&B as robotic funk; "Golden Years" is James Brown from outer space, with Bowie's amazing falsetto.

323

The Police, ‘Ghost in the Machine’

A&M, 1981

Here, the previously punkish trio added synth strings and politics, and blew up even further. "Every Little Thing She Does Is Magic" is a pop smart bomb, and "Invisible Sun," about the violence in Northern Ireland, is genuinely moving.

322

Randy Newman, ‘Sail Away’

Reprise, 1972

Producer Lenny Waronker called him the King of the Suburban Blues Singers. This is Newman's quiet masterpiece, less rock than fuck-you cabaret. Even now, "Political Science" ("Let's drop the big one/And see what happens") is relevant; either Newman is brilliant or we haven't come a long way, baby.

321

Nick Drake, ‘Pink Moon’

Island, 1972

Drake recorded his last album in a couple of nights, delivered the tapes to Island Records and checked himself into a psychiatric ward. If the music were as dark as the lyrics, it might be unlistenable. But Drake's soothing vocals and unadorned acoustic picking make Moon unfold with supernatural tenderness.

320

Radiohead, ‘Amnesiac’

Capitol, 2001

The greatest sequel since The Godfather: Part II. The second half of the one-two punch Radiohead began with Kid A was smoother on the surface yet just as disorienting underneath, bringing more of the rock guitars that its predecessor held back, but in all kinds of mutated forms. 

319

The Wailers, ‘Burnin’ ‘

Island, 1973

Righteous and seriously in the pocket, this is the last Wailers album with Peter Tosh and Bunny Wailer. Bob Marley's soulful cry is rivaled by the sticky organ riffs and fat-bottom beats, and their original version of "I Shot the Sheriff" is far more desperate than Eric Clapton's hit cover.

318

The O’Jays, ‘Back Stabbers’

Philadelphia International, 1972

After Vietnam and Watergate, soul music slipped into darkness in the early Seventies. The title track of this Philly-soul album was the writing on the wall: funky and paranoid, much like the times.

317

Pixies, ‘Surfer Rosa’

4AD/Elektra, 1988

Smack in between hardcore punk and alternative, it was difficult to make sense of the Pixies' ferocious noise. Their secret weapon was leaping from sweet to screaming, pensive to pummeling: On "Gigantic," Kim Deal sings like Peppermint Patty as the band drives a spike into Eighties rock.

316

The Velvet Underground, ‘The Velvet Underground’

MGM, 1969

The album that turned folk music inside out. VU began as a black-booted antidote to flower power, so the quiet disillusion, exhaustion and ache here is as explosive as their first album's forbidding howl. 

315

Tom Petty and the Heartbreakers, ‘Damn the Torpedoes’

Backstreet, 1979

With hair like Mick Jagger's and a voice like Bob Dylan's in tune, Petty and his bar band de-frilled classic rock: In 1979, "Here Comes My Girl" seemed to keep the promises Jagger et al. forgot they'd made.

314

Lauryn Hill, ‘The Miseducation of Lauryn Hill’

Ruffhouse, 1998

Hill took Seventies soul and made it boom and signify to the hip-hop generation on her solo debut. The production was subtle and glorious on heartbreakers such as "Ex-Factor" and the swinging sermon "Doo Wop (That Thing)."

313

Nirvana, ‘Unplugged’

Geffen, 1994

Nirvana shine brightly on this striking live set because the volume is turned down just low enough to let Kurt Cobain's tortured vulnerability glow. The powerful, reverent covers of Lead Belly, David Bowie and (three) Meat Puppets songs sum up Nirvana as a haunted, theatrical and, ultimately, truly raw band.

312

Jane’s Addiction, ‘Nothing’s Shocking’

Warner Bros., 1988

They thought Led Zeppelin were a funk band, and when they learned this was not true, they carried on anyway. On tracks like "Mountain Song," Jane's major-label debut rewrites pre-Nirvana rock history, reconciling punk and metal with shredding riffs on oceanic songs. And they even had a hit ballad with "Jane Says."

311

Various Artists, ‘The Sun Records Collection’

Rhino/RCA, 1994

Blues without polish, country without corn, and rockabilly played with brainless abandon from Elvis Presley, Jerry Lee Lewis and Johnny Cash – as well as obscure gems like Bill Justis' aptly named "Raunchy."

310

Red Hot Chili Peppers, ‘Blood Sugar Sex Magik’

Warner Bros., 1991

The Peppers' high point – with John Frusciante's energizing, soulful guitar riffs, a huge assist from producer Rick Rubin and the surprise hit ballad "Under the Bridge."

309

Creedence Clearwater Revival, ‘Willy and the Poor Boys’

Fantasy, 1969

The best of the six albums CCR released between 1968 and 1970; John Fogerty is your chooglin' buddy, even when he's raining down fire and doom on "Effigy."

308

Frank Sinatra, ‘Songs for Swingin’ Lovers!’

Capitol, 1956

An album that meant to deny the rock & roll that was then changing America – and succeeded. The songs were standards, most 10 or 20 years old, but Sinatra and arranger Nelson Riddle showed how timeless jazzy, hip sophistication can be.

307

The Beatles, ‘A Hard Day’s Night’

Parlophone, 1964

The Richard Lester film showed the Beatles' charm. The soundtrack deepened listeners' sense of their musical genius in the off-kilter beauty of John Lennon's "If I Fell," the rockabilly bounce of Paul McCartney's "Can't Buy Me Love," and the great leap forward of George Harrison's guitar work on the 12-string Rickenbacker.

306

Beck, ‘Odelay’

DGC, 1996

Burrowing into the studio with sampledelic producers the Dust Brothers, Beck came back with a Technicolor version of his Woody Guthrie-meets-Grandmaster Flash vision, demonstrating to his rock peers that turntables had a brighter future than refried grunge.

305

Lucinda Williams, ‘Car Wheels on a Gravel Road’

Mercury, 1998

It took three torturous years to finish this alt-country masterwork, but it was worth it. Williams writes songs that explore the rootlessness of American life, with vivid imagery and gravel-guitar beauty.

304

Jeff Buckley, ‘Grace’

Columbia, 1994

Buckley had a voice like an oversexed angel, and the songs here shimmer and twist. The fierce rocker "Eternal Life" upends Led Zeppelin's take on the blues while honoring it: Instead of a hellhound on his trail, Buckley, who drowned in 1997, evokes immortality bearing down on him.

303

Bob Dylan, ‘John Wesley Harding’

Columbia, 1967

Recovering from his 1966 motorcycle crash, Dylan took a left turn into country music and ascetic mysticism, connecting to Nashville through a host of characters from the Bible and America’s rugged history. It’s his most ominous album.

302

Public Enemy, ‘Fear of a Black Planet’

Def Jam, 1990

Public Enemy expanded their widescreen vision of hip-hop on their third album, which included the righteous noise of "Fight the Power," the uplifting sentiment of "Brothers Gonna Work It Out" and the agit-funk of "911 Is a Joke."

301

Dolly Parton, ‘Coat of Many Colors’

RCA Victor, 1971

Parton's starkest, most affecting album. The title track is about wearing rags but staying proud; on "Traveling Man," Parton's mom runs off with her man; on "If I Lose My Mind," her boyfriend has sex with another woman in front of her.

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