Rolling Stone's 50 Greatest Concept Albums of All Time

Since I Left You is as sunny as an Australian summer, harnessing a wide range of music - soul, hip-hop, warped analog synths, disco, orchestral crescendos - with the new-toy joy of early sampling-based rap and a dance-music sensibility.

His wordy narratives get hazy at times, but Sunday succeeds as a whirlwind tour through an overstuffed brain.

His latest ... seems like a broader, and altogether more stunning reaction to losing his son.

Though brief, with a runtime of just over 30-minutes, the EP shows Sullivan crafting a complete constellation of love and loss.

The K-Pop boy band’s latest blockbuster is full of stylistic experiments that all flow together.

It's looser and messier than Sgt. Pepper and, one suspects, always would have been. But its sui generis Americanism counterbalances its paucity of classic pop songs.

With a scintillating shrug of her shoulders, Jackson asserted her newfound Control.

Its blend of unembarrassed spirituality and unflinching social realism, as well as relentless percussion set against lush orchestration, was unlike anything that came before it in both form and content. For Gaye, it was a self-produced declaration of independence.

Quadrophenia is the Who at their most symmetrical, their most cinematic, ultimately their most maddening.

Lemonade is an entire album of emotional discord and marital meltdown, from the world's most famous celebrity; it's also a major personal statement from the most respected and creative artist in the pop game.

This is pop, a music of ornery, glistening guile and honest ache, and it will feel good under your skin once you let it get there.

Ziggy Stardust remains the most famous of all glam records, turning up Ronson's boogie guitar for a concept album about an androgynous rock star from outer space.

Her full-length debut ... is so ambitious, so freighted with sounds and ideas and allusions, it threatens at times to sink under its own weight.

Sgt. Pepper is filled with sly inside jokes, broad music-hall humor and completely gratuitous novelties. It is not only the Beatles' most artistically ambitious album but their funniest.

Rosalía’s new album, El Mal Querer, is less rigorous than its predecessor, though even easier to like.

In the Wee Small Hours is the first fully great album.

The Black Parade, the New Jersey group’s third studio album, is the best mid-Seventies record of 2006, a rabid, ingenious paraphrasing of echoes and kitsch from rock’s golden age of bombast.

The Wall was the last croak of vintage Floyd.

On American Idiot, the thirteen tracks segue together, expanding into piano balladry and acoustic country shuffle ... Green Day have found a way to hit their thirties without either betraying their original spirit or falling on their faces.

Lamar is an unlikely star: a storyteller, not a braggart or punch-line rapper, setting spiritual yearnings and moral dilemmas against a backdrop of gang violence and police brutality.