ToP 10: Rolling Stones Albums of All Time available for purchase on amazon

Studies show that listening to music can benefit overall well-being, help regulate emotions, and create happiness and relaxation in everyday life. Reduces stress. Enjoy this life!

Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California, in 1967 by Jann Wenner, and the music critic Ralph J. Gleason. It was first known for its coverage of rock music and for political reporting by Hunter S. Thompson.


The Miseducation Of Lauryn Hill

by Lauryn Hill. She took control of the recording process, writing, producing, arranging, and helming sessions that included collaborators like pianist John Legend, still in college when he got the call to go out to New Jersey, where Hill was recording, and the pathfinding R&B artist D’Angelo. 


Blood on the Tracks

by Bob Dylan. Bob Dylan once introduced this album’s opening song, “Tangled Up in Blue,” onstage as taking him 10 years to live and two years to write. It was, for him, a pointed reference to the personal crisis — the collapse of his marriage to Sara Lowndes — that at least partly inspired this album, Dylan’s best of the 1970s.


Prince and the Revolution, ‘Purple Rain’

by Prince. “I think Purple Rain is the most avant-garde, ‘purple’ thing I’ve ever done,” Prince told Ebony in 1986. He was still a rising star with only a couple of hits when he got the audacious idea to make a movie based on his life, and make his next LP the movie’s soundtrack. When it was released in 1984, he became the first artist to have the Number One song, album, and movie in North America.


Fleetwood Mac, ‘Rumours’

by Fleetwood Mac. With Rumours, Fleetwood Mac turned private turmoil into gleaming, melodic public art. The band’s two couples — bassist John McVie and singer-keyboard player Christine McVie, who were married; guitarist Lindsey Buckingham and vocalist Stevie Nicks, who were not — broke up during the protracted sessions for the album. As John later told Rolling Stone of the atmosphere during the making of Rumours, “Parties going on all over the house. Amazing. Terrifying. Huge amounts of illicit materials, yards and yards of this wretched stuff. Days and nights would just go on and on.”


Nirvana, ‘Nevermind’

by Nirvana. An overnight-success story of the 1990s, Nirvana’s second album and its totemic first single, “Smells Like Teen Spirit,” shot up from the Northwest underground — the nascent grunge scene in Seattle — to kick Michael Jackson’s Dangerous off the top of the Billboard charts and blow hair metal off the map. Few albums have had such an overpowering impact on a generation — a nation of teens suddenly turned punk — and such a catastrophic effect on its main creator. The weight of success led already-troubled singer-guitarist Kurt Cobain to take his own life in 1994.


The Beatles, ‘Abbey Road’

by The Beatles. “It was a very happy record,” said producer George Martin, describing this album in The Beatles Anthology. “I guess it was happy because everybody thought it was going to be the last.” Indeed, Abbey Road — recorded in two months during the summer of 1969 — almost never got made at all. That January, the Beatles were on the verge of a breakup, exhausted and angry with one another after the disastrous sessions for the aborted Get Back LP, later salvaged as Let It Be [see No. 342]. Yet determined to go out with the same glory with which they had first entranced the world at the start of the decade, the group reconvened at EMI’s Abbey Road Studios to make their most polished album: a collection of superb songs cut with an attention to refined detail, then segued together (especially on Side Two) with conceptual force.


Stevie Wonder, ‘Songs in the Key of Life’

Months before the recording sessions for Songs in the Key of Life ended, the musicians in Stevie Wonder’s band had T-shirts made up that proclaimed, “We’re almost finished.” It was the stock answer to casual fans and Motown executives and everybody who’d fallen in love with Wonder’s early-Seventies gems – 1972’s Talking Book, 1973’s Innervisions, and 1974’s Fulfillingness’ First Finale – and who had been waiting two years for the next chapter. “I believed there was a lot that needed to be said,” Wonder said. More, in fact, than he could fit onto a double album – also included was a bonus EP, a seven-inch single with four more songs from the sessions.


Joni Mitchell, ‘Blue’

In 1971, Joni Mitchell represented the West Coast feminine ideal — celebrated by Robert Plant as “a girl out there with love in her eyes and flowers in her hair” on Led Zeppelin’s “Goin’ to California.” It was a status that Mitchell hadn’t asked for and did not want: “I went, ‘Oh, my God, a lot of people are listening to me,’” she recalled in 2013. “’They better find out who they’re worshiping. Let’s see if they can take it. Let’s get real.’ So I wrote Blue.”


The Beach Boys, ‘Pet Sounds’

Barking dogs – Wilson’s dog Banana among them, in fact – are prominent among the found sounds on the album. The Beatles made a point of echoing them on Sgt. Pepper’s Lonely Hearts Club Band – an acknowledgment that Pet Sounds was the inspiration for the Beatles’ masterpiece. That gesture actually completed a circle of influence: Wilson initially conceived of Pet Sounds as an effort to top the Beatles’ Rubber Soul. With its vivid orchestration, lyrical ambition, elegant pacing, and thematic coherence, Pet Sounds invented — and in several senses, perfected — the notion that an album could be more than the sum of its parts. When Wilson sang, “Wouldn’t it be nice if we were older,” on the album’s magnificent opening song, he wasn’t just imagining a love that could evolve past high school, he was suggesting a new grown-up identity for rock & roll music itself.


Marvin Gaye, ‘What’s Going On’

Marvin Gaye’s masterpiece began as a reaction to police brutality. In May 1969, Renaldo “Obie” Benson, the Four Tops’ bass singer, watched TV coverage of hundreds of club-wielding cops breaking up the People’s Park, a protest hub in Berkeley. Aghast at the violence, Benson began to write a song with Motown lyricist Al Cleveland, trying to capture the confusion and pain of the times. He knew he had something big in his nascent version of “What’s Going On,” but the rest of the Four Tops weren’t interested, and Benson’s efforts to get Joan Baez to record it didn’t work out, either.