Rolling Stones Stuio Album:
A Bigger Bang [Virgin, 2005] A-
Bridges to Babylon [Virgin, 1997] *
Voodoo Lounge [Capitol, 1994] **
Dirty Work [Rolling Stones, 1986] A
Steel Wheels [Rolling Stones, 1989] B-
Undercover [Rolling Stones, 1984] C+
Tattoo You [Rolling Stones, 1981] A-
Some Girls [Rolling Stones, 1978] A
Emotional Rescue [Rolling Stones, 1980] B+
Black and Blue [Rolling Stones, 1976] A-
It's Only Rock 'n' Roll [Rolling Stones, 1974] B
Goats Head Soup [Rolling Stones, 1973] B
Exile on Main Street [Rolling Stones, 1972] A+
Sticky Fingers [Rolling Stones, 1971] A
Their Satanic Majesties Request [London, 1967] B+
Between the Buttons [Abkco, 1967]Rolling Stone: The 40 Essential Albums of 1967
Flowers [Abkco, 1967]Rolling Stone: The 40 Essential Albums of 1967
Else:
Out of Our Heads
The Rolling Stones
12 X 5
The Rolling Stones, Now!
December's Children (And Everybody's)
Aftermath
Beggars Banquet
Let It Bleed

觉得这个讨论有意思
http://m.zhihu.com/question/20556637

我认为这些评选，都是比较没意义的，专辑本身就是音乐产业化的产物，判定一张专辑好坏与否，本身是应该由市场去决定，而把它拿到艺术范畴去判定，不是没它的道理，而是有点模式化了，违背了艺术创作天马行空的理念。
=====================我真的讨厌这种人

然而我理解的批评从来不是打分。注意，我可不是说好的批评家不评判优劣——「去听就是了嘛」「你觉得好听就好」「音乐这种东西不应该去分高低的」「存在既是价值」，这些懈怠懒惰的言论，恰恰是文艺批评应该予以痛击的——批评家一定要评优劣、分高下。然而他们最终产出的应该是一篇文章，要对音乐进行一次个性化的、有价值的、完整的阐述，而不是一个数值。读者读到这个阐述，或看到新的角度，或深入到新的层面，总之应该有帮助，尤其是帮助他们自己也尝试对音乐进行语言的阐述。
============================这就是观念看待的差别

Donovan: Mellow Yellow (Epic) [RS]
"Mellow Yellow," a Number Two hit in the U.S., was a burlesque-brass grind a la Bob Dylan's "Rainy Day Women #12 and 35," scored by John Paul Jones (later of Led Zeppelin) with whispering vocals by Paul McCartney. The rest of Mellow Yellow is gently magnificent introspection, rooted in the modern acoustic folk scene then emerging in Britain ("House of Jansch" refers to guitarist Bert Jansch) and draped in John Cameron's pastoral-jazz arrangements. Donovan later noted that "Hampstead Incident" was partly inspired by Nina Simone and the chord progression in "Anji," by British guitarist Davy Graham. Ironically, the beauty of Mellow Yellow was obscured by the rumor that the title single advocated smoking banana peels as a legal alternative to marijuana. In fact, the "electrical banana" in the third verse is a vibrator.

The Rolling Stones: Between the Buttons (London) [RS]
Accused of psychedelia, Beatlephobia and murky-mix syndrome, this underrated keeper is distinguished by complex rhymes, complex sexual stereotyping and the non-blues, oh-so-rock-&-roll pianos of Ian Stewart, Jack Nitzsche, Nicky Hopkins and Brian Jones. Like all Beatles and Stones albums till that time, it was released in different American and British versions. The surefire U.S.-only "Let's Spend the Night Together"/"Ruby Tuesday" single parlay is almost too much because its greatness is understood--"Backstreet Girl," bumped to the Flowers compilation released later that year, more closely resembles such gemlike songs of experience as "Connection," "My Obsession" and "She Smiled Sweetly." Capper: Mick and Keith's zonked music-hall "Something Happened to Me Yesterday," the Stones' drollest odd-track-out ever.

February 1967
The Byrds: Younger Than Yesterday (Columbia) [RS]
The Byrds that made this album in late 1966 were a mess: reeling from the loss of singer-composer Gene Clark and the tensions between singer-guitarists Roger McGuinn and David Crosby. Yet Younger Than Yesterday was the Byrds' first mature album, a blend of space-flight twang and electric hoedown infused with the imminent glow of 1967 yet underlined with crackling realism. The galloping "So You Want to Be a Rock 'N' Roll Star" mocked overnight success, including the Byrds' own (the teen screams were taped at one of their gigs). Crosby's ballad "Everybody's Been Burned" hinted at the stress that soon culminated in his firing. And in "My Back Pages," McGuinn's stoic vocal captured the crisis and experience in Bob Dylan's lyrics, a lesson reflected in his own determination to keep the band alive.

Jefferson Airplane: Surrealistic Pillow (RCA) [RS]
When vocalist Grace Slick joined Jefferson Airplane in the fall of 1966, she came with two songs from her old band, the Great Society -- "Somebody to Love," written by her brother-in-law Darby, and "White Rabbit," her psychedelic translation of Alice in Wonderland -- that became Top Ten hits in the Airplane's grip, dosing America with San Francisco utopia. The rest of this second album is a definitive catalog of the Airplane's acid-rock dynamics and rare composing gifts: Jorma Kaukonen's metallic-snarl guitar and Jack Casady's grumbling-funk bass; the beautiful agony of singer Marty Balin's ballads (he wrote "Today" with Tony Bennett in mind); the weave-and-soar interplay of Balin, Slick and singer-guitarist Paul Kantner. The Grateful Dead's Jerry Garcia attended the Los Angeles sessions as a "musical and spiritual advisor," suggesting arrangements, playing the delicate acoustic leads in "Comin' Back to Me" and coining the album's titl

March 1967
Otis and Carla: King and Queen (Stax) [RS]
The epitome of raw soul, Otis Redding made better albums than any other R&B artist of the Sixties. Carla Thomas was daughter to Rufus Thomas of "Funky Chicken" fame, with the teen novelty "Gee Whiz" and graduate school in English behind her. Together whenever conflicting schedules didn't compel Carla to overdub, the sparrow and the bear chuckled and moaned through the greatest duet album this side of Ella & Louis. In addition to reconceiving Clovers and Sam Cooke oldies and a bunch of current soul hits, they turned "Tramp" into their own classic and "Knock on Wood" into everybody's.

Grateful Dead: Grateful Dead (Warner Bros.) [RS]
One of the year's few supposedly psychedelic LPs that wasn't actually a pop LP (cf Sgt. Pepper, Forever Changes, Mellow Yellow), the already legendary San Francisco band-collective's debut stood out and stands tall because its boogieing folk rock epitomizes the San Francisco ballroom ethos -- blues-based tunes played by musicians who came to rhythm late, expanded so they were equally suitable for dancing and for tripping out. It's also the only studio album that respects the impact of Ron "Pigpen" McKernan, who died in 1973 of cirrhosis of the liver. McKernan's organ is almost as pervasive as Jerry Garcia's guitar. And although Garcia and Bob Weir both take vocal leads, their singing styles are still in Pigpen's white-blues thrall.

The Velvet Underground: The Velvet Underground & Nico (Verve) [RS]
The hippies and the marketplace both passed on this NYC classic, which proved as prophetic stylistically as Sgt. Pepper was conceptually. Its flat beats, atonal noise, bluesless singing, "urban decadent" subject matter and bummer vibe proved the wellspring of punk -- which, culturally if not stylistically, leads directly to the entire alt-rock subculture. Great songs here include the disillusioned "Sunday Morning" and "There She Goes Again" and the jonesing "Heroin" and "I'm Waiting for the Man." "Venus in Furs" and "The Black Angel's Death Song" remain subcultural in a rather specialized way.

April 1967
Country Joe and the Fish: Electric Music for the Mind and Body (Vanguard) [RS]
At first, Country Joe and the Fish were indie rockers. Three tracks on this trip-music classic, including the stoner's hymn "Bass Strings" and the drifting instrumental "Section 43," were initially cut by the Berkeley band for a 1966 EP on singer-songwriter Joe McDonald's agitprop label, Rag Baby. He started the Fish as a protest jug band (the name combines nods to Joseph Stalin and Mao Tse-tung) but here temporarily kept his left-wing zest in check. Flanked by the electric organ of David Cohen and Barry Melton's biting-treble guitar, McDonald spread with a preacher's zeal and spearing wit the local gospel of chemical travel and carnal freedom in "Flying High," "Happiness Is a Porpoise Mouth" and "Not So Sweet Martha Lorraine." In fact, Vanguard insisted the Fish not include one of their most popular tunes, a McDonald zinger that later became a singalong pillar of the anti-war movement: "I-Feel-L

Howard Tate: Get It While You Can (Verve) [RS]
Macon-born and Philadelphia-raised, Howard Tate never went Top Ten even on the soul charts but is remembered along with James Carr as the great lost soul man. "Ain't Nobody Home" became a B.B. King perennial, "Look at Granny Run Run" was the best thing to happen to senior sex till Levitra, and "Get It While You Can" was taken up as a showstopper by none other than Janis Joplin. The album didn't chart at all. But Tate had a supernal falsetto shriek to complement his rough howl, and writer-producer Jerry Ragovoy knew how to milk them both -- among other things, by adding two blues standards to his own sharp songs, which even for a guy who retired on "Piece of My Heart" got pretty peaky here.

June 1967
The Rolling Stones: Flowers (London) [RS]
The Stones were cresting so high around 1967 that even this pieced-together hodgepodge of singles and tracks left off the U.S. releases of Aftermath and Between the Buttons has a distinctness of style and invention about it. Right, it re-recycles "Let's Spend the Night Together"/"Ruby Tuesday," which shouldn't have been on Between the Buttons to begin with. It disrespects the rightful owners of "My Girl" (the Temptations) and the target of "Mother's Little Helper" (yo mama). As for "Lady Jane," what's that about? Nevertheless, every track connects. That's more than can be said of Their Satanic Majesties Request, which is better than its rep even so.