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The 500 Greatest Albums of All Time

The classics are still the classics, but the canon keeps getting bigger and better

Rolling Stone’s list of the 500 Greatest Albums of All Time was originally published in 2003, with a slight update in 2012. Over the years, it’s been the most widely read  — and argued over — feature in the history of the magazine (last year, the RS 500 got over 63 million views on the site). But no list is definitive — tastes change, new genres emerge, the history of music keeps being rewritten. So we decided to remake our greatest albums list from scratch. To do so, we received and tabulated Top 50 Albums lists from more than 300 artists, producers, critics, and music-industry figures (from radio programmers to label heads, like Atlantic Records CEO Craig Kallman). The electorate includes Beyoncé, Taylor Swift, and Billie Eilish; rising artists like H.E.R., Tierra Whack, and Lindsey Jordan of Snail Mail; as well as veteran musicians, such as Adam Clayton and the Edge of U2, Raekwon of the Wu-Tang Clan, Gene Simmons, and Stevie Nicks.

How We Made the List and Who Voted

When we first did the RS 500 in 2003, people were talking about the “death of the album.” The album —and especially the album release — is more relevant than ever. (As in 2003, we allowed votes for compilations and greatest-hits albums, mainly because a well-made compilation can be just as coherent and significant as an LP, because compilations helped shaped music history, and because many hugely important artists recorded their best work before the album had arrived as a prominent format.)

Of course, it could still be argued that embarking on a project like this is increasingly difficult in an era of streaming and fragmented taste. But that was part of what made rebooting the RS 500 fascinating and fun; 86 of the albums on the list are from this century, and 154 are new additions that weren’t on the 2003 or 2012 versions. The classics are still the classics, but the canon keeps getting bigger and better.

Written By

Jonathan Bernstein, Pat Blashill, Jon Blistein, Nathan Brackett, David Browne, Anthony DeCurtis, Matt Diehl, Jon Dolan, Chuck Eddy, Ben Edmonds, Gavin Edwards, Jenny Eliscu, Brenna Ehrlrich, Suzy Exposito, David Fricke, Elisa Gardner, Holly George-Warren, Andy Greene, Kory Grow, Will Hermes, Brian Hiatt, Christian Hoard, Charles Holmes, Mark Kemp, Greg Kot, Elias Leight, Joe Levy, Angie Martoccio, David McGee, Chris Molanphy, Tom Moon, Jason Newman, Rob O’Connor, Park Puterbaugh, Jody Rosen, Austin Scaggs, Karen Schoemer, Bud Scoppa, Claire Shaffer, Rob Sheffield, Hank Shteamer, Brittany Spanos, Rob Tannenbaum, David Thigpen, Simon Vozick-Levinson, Barry Walters, Jonah Weiner

From Rolling Stone US


Ghostface Killah, ‘Supreme Clientele’

“I feel like I got my whole style from Ghostface,” Kanye West has said. Lavishly unhinged and viciously hard-hitting, Ghostface Killah’s second solo album helped revive the Wu-Tang franchise, marinating lines like “Ghost is back, stretch Cadillacs, fruit cocktails/Hit the shelves at Paul’s pastry rack,” in serrated Seventies-soul samples. On “Nutmeg” he drops a mind-boxing cluster of psychedelic bullshit, then simply stands back during the chorus, letting the tape roll as he mocks all comers — an untouchable champ at the top of his game.


Fela Kuti and Africa 70, ‘Expensive Shit’

The title track is a 13-minute odyssey that epitomizes Nigerian funk king Fela Kuti’s knack for channeling fearless social commentary into body-moving grooves; the Africa 70 horns blare out infectious riffs as peerless drummer Tony Allen keeps up an indefatigable shuffling pulse, while Fela calls out the “fools” who would “use your shit to put you for jail.” Side Two’s “Water No Get Enemy” slows things down to a celebratory strut, concluding a short-yet-sweet effort that plays like a primer on the joys of Afrobeat.


Blondie, ‘Blondie’

“We’re gonna shoot the tube!” Debbie Harry promises on “In the Sun,” hanging 10 on the Bowery. Blondie had a hard time getting taken seriously in the CBGB punk scene. But while the band’s debut celebrates Sixties rock & roll at its campiest — girl groups, garage trash, surf bubblegum — Harry’s heart-on-sleeve swoon during “In the Flesh “ sincerely updated the Shangri-Las for the Lower East Side circa 1977, and the gritty “Rip Her to Shreds” showed Blondie could get down with the tough guys, too.