All Music Guide's Scores

  • Music
For 9,632 reviews, this publication has graded:
  • 67% higher than the average critic
  • 4% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Little Match Girl Passion
Lowest review score: 20 I'm Back! Family & Friends
Score distribution:
9,632 music reviews
    • 43 Metascore
    • 30 Critic Score
    It's a shame and embarrassment, and hopefully it will be a temporary slump like Circus.
    • 66 Metascore
    • 30 Critic Score
    Orbital is either uninspired or saving up for something better next time.
    • 33 Metascore
    • 30 Critic Score
    Since the music has no melody, hooks, or energy, all attention is focused on the clown jumping up and down and screaming in front, and long before the record is over, you're left wondering, how the hell did he ever get to put this mess out?
    • 61 Metascore
    • 30 Critic Score
    Throughout The Last DJ, Petty sounds utterly lost -- and instead of liberating him like it did in the past, it paralyzes him, boxing him into a corner where he can't draw on his strengths. It's the first true flop in a career that, until now, had none.
    • 39 Metascore
    • 30 Critic Score
    There may be no recognition of L.A. Style, but in their blissfully ignorant, lazily monotonous sunshine grooves, Shwayze does manage to be all about the style of L.A. in 2008, creating the quintessential record for L.A. sleazeballs.
    • 51 Metascore
    • 30 Critic Score
    The problem facing New Kids on the Block on their 2008 reunion The Block is the same one they had on their last album, 1994's "Face the Music": the quintet are no longer kids and don't quite know how to be adults.
    • 50 Metascore
    • 30 Critic Score
    Far from being the soundtrack to a raging party, Black Butterfly is the flipside of indulgence: Buckcherry is now the sound of a slow slide into the monotony of addiction.
    • 49 Metascore
    • 30 Critic Score
    The repetition hammers home Hinder's stultifying lack of imagination and even that would be excusable if the group had a scintilla of sleaze but like anybody too beholden to their idols, they tread the familiar ground too carefully, winding up as bland by-the-book bad boys.
    • 49 Metascore
    • 30 Critic Score
    Dark Horse was constructed entirely from the group's standard templates of bleating power ballads and dulled hard rock.
    • 42 Metascore
    • 30 Critic Score
    It never seems like a collaboration, it seems like it was assembled by committee, discussed in boardrooms, farmed out to contract players and stitched together on computer.
    • 43 Metascore
    • 30 Critic Score
    It's a holiday album for people who have never wanted to hear a holiday album, let alone own one.
    • 45 Metascore
    • 30 Critic Score
    There are no reinterpretations--not even the Nas-fronted "Back in Black" changes the song much--just restatements of riffs and replicated effects, each familiar element offering a reminder that Santana, Davis, and company chose to take the easy road by settling for gauche pop instead of guitar rock, winding up with a truly terrible album.
    • 43 Metascore
    • 30 Critic Score
    There's always a sense that she and Noonan believe they're lowering themselves to sing pop music, that they are better, smarter, funnier than the music they're making...and that alienating smug entitlement is impossible to shake even when the productions are appealing, as they are through half of Hello.
    • 35 Metascore
    • 30 Critic Score
    A lamentable debut all round.
    • 15 Metascore
    • 20 Critic Score
    The worst thing about Playing with Fire is that it's too stale and inept to inspire laughter: it can only elicit weary groans.
    • 39 Metascore
    • 20 Critic Score
    Brown clumsily emphasizes womanizing and hedonism and balances it out with a couple clean and empty ballads. Out of this portion of the album, only a couple songs leave a lasting impression, and when they do, the silly things that come out of Brown’s mouth tend to be the reason.
    • 42 Metascore
    • 20 Critic Score
    Even within the framework of a musical these songs are a murky, turgid mess, too concerned with atmosphere and narrative to reel in a listener and ironically not offering ambience or story enough to suggest that the musical would entertain.
    • 35 Metascore
    • 20 Critic Score
    This isn't ugly visceral music; it's castrated rock with a rotten heart.
    • 37 Metascore
    • 20 Critic Score
    As songs, these are not outright disasters -- they're not bad evocations of post-Riot funk -- but they're saddled with the same awful production that hobbles the re-creations, the same sticky, tacky, desperate replication of the past that only underscores just how long ago Sly's golden years were.