Let’s imagine you have a friend who has never heard any of the Rolling Stones’ music.

Such a person might be rare in your life, but for the sake of this example, it’s intriguing to consider how an innocent individual like that should be introduced to the music of what many call the “world’s greatest rock ‘n’ roll band.”

What direction would you give this friend? With over 30 studio albums to choose from, the answer may not be straightforward – over decades, the Stones have explored nearly every corner of rock music, and each era of their career offers listeners something unique.

Below, we present what we believe are the “Big 4” of Rolling Stones albums. These are the releases we feel are essential to the band’s listening experience, the main LPs that showcase what the Rolling Stones are all about.

1. Let It Bleed (1969)

We’re not suggesting that the earlier part of the Rolling Stones’ discography should be overlooked, but if you want to start strong, we recommend beginning with 1969’s Let It Bleed. This was, after all, a new chapter for the band, as Let It Bleed marked Brian Jones’ final appearance on a Stones album and the first for guitarist Mick Taylor.

Here you’ll immediately sense how vast the Stones’ influences are, from the electrifying opening track “Gimme Shelter” to more relaxed, country-inspired songs like “Let It Bleed,” the Delta blues-oriented “You Got the Silver,” or the gospel-like closer “You Can’t Always Get What You Want.”

Let It Bleed isn’t overly flashy rock ‘n’ roll; it opts instead for raw, unfiltered emotion — exhibit A: Merry Clayton’s desperate vocals in “Gimme Shelter.” Not that the songs are particularly cheerful. Themes of violence and despair run rampant. However, it can certainly be argued that this darkness and cynicism reflect the times, when the Vietnam War raged on alongside other global conflicts. You won’t find the flower power of the ’60s in Let It Bleed.

“Well, I hope we’re not too messianic or a trifle too satanic,” Mick Jagger sings in “Monkey Man.” “We love to play the blues.

2. Sticky Fingers (1971)

Apart from their iconic tongue and lips logo, is there an image more closely associated with the Stones than a bulging, front-and-center crotch complete with a working zipper? Probably not. Sticky Fingers was one of the most successful albums up to that point in the band’s career — it was their first to reach No. 1 in both the U.K. and U.S. — and it remains many fans’ favorite record.

Like Let It Bleed, there’s a variety within Sticky Fingers. Tracks like “Bitch” and “Can’t You Hear Me Knocking” rock harder than others like “Wild Horses” or “Moonlight Mile.” Would we call it entirely groundbreaking? Not quite. But it does deliver the raunchiness, grit, and unapologetic arrogance that became hallmarks of the Rolling Stones’ style in songwriting and production. And we mean that positively. For nearly ten years, the Stones worked to refine their craft, and as the ’60s transitioned into the ’70s, they hit their sweet spot.

As with many other ’70s rock albums, some parts of Sticky Fingers haven’t aged well (we’re looking at you, “Brown Sugar”). But there is no denying its significance as one of rock’s most important releases. Here is proof that being messy, vulgar, and brash can propel you to the top of the charts.

3. Exile on Main St. (1972)

In many ways, Let It Bleed and Sticky Fingers paved the way for Exile on Main St.. It’s regarded by many as a culmination of sorts, marking a definitive conclusion to a series of albums that established the Stones as titans of rock ‘n’ roll.

When Exile on Main St. was released in 1972, Lenny Kaye – yes, from Patti Smith’s band — wrote about it for Rolling Stone. He lamented what he perceived as inconsistency: “There are songs that are better; there are songs that are worse; there are songs that’ll become your favorites and others you’ll likely skip when their time comes.”

You could argue that unevenness is an asset for the Stones, particularly on Exile. The first quarter of this double album features energetic tracks like “Rocks Off” and “Rip This Joint,” then transitions into more laid-back songs like “Sweet Virginia” and “Torn and Frayed.” Fluctuating between rock, gospel, and country influences, Exile is a genuine journey. Life isn’t consistent or even; neither is rock ‘n’ roll.

Looking back at it now, Exile is a classic Stones album for reasons similar to those that made them popular initially. Kaye wrote: “The Stones have never positioned themselves at the forefront of any musical revolution; instead they prefer to take what’s already been established and elevate it to its highest level.”

4. Some Girls (1978)

If you stay in the music industry long enough, as the Rolling Stones have done, you inevitably face moments where you must either adapt or be left behind. We argue that the Stones managed to pivot effectively in the late ’70s without losing sight of their roots.

This is evident on 1978’s Some Girls. As disco gained popularity, the Stones incorporated some elements into their sound while marrying them with rock tendencies to create something irresistible — Charlie Watts, a self-proclaimed jazz drummer at heart, expertly plays a highly danceable four-on-the-floor drum part on tracks like “Respectable” and “Miss You.” These songs demonstrate something Jagger has always known: rock music is meant for dancing.

The album has a polished feel; it’s more organized than Sticky Fingers or Exile, but not so much so that their inherent tenacity gets lost; their cover of The Temptations’ “Just My Imagination (Running Away With Me)” and Keith Richards-sung “Before They Make Me Run” maintain loose, sexy arrangements characteristic of classic Stones music. “It’s very brass-edged,” Jagger remarked about Some Girls in 1995. We agree.

Some Girls demonstrated that the Stones could absorb other sounds while still showcasing their own. “Love and hope and sex and dreams are still surviving on the street.