AllMusic's Scores

  • Music
Select another publication »
For 17,275 reviews, this publication has graded:
  • 64% higher than the average critic
  • 5% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 The Marshall Mathers LP
Lowest review score: 20 Graffiti
Score distribution:
  1. Positive: 14,392 out of 17275
  2. Mixed: 2,861 out of 17275
  3. Negative: 22 out of 17275
17275 music reviews
view
per page
    • 51 Metascore
    • 50 Critic Score
    Come Home the Kids Miss You
    The sound of Come Home the Kids Miss You is polished and ready for the massive level of worldwide commercial success Harlow has been building up to, but it's difficult to find much substance beneath the expensive sheen.
    • 51 Metascore
    • 60 Critic Score
    Who You Are
    Who You Are is a singularly ironic title for a debut that finds Jessie J trying on discarded threads from every British pop starlet of the last half decade.
    • 51 Metascore
    • 60 Critic Score
    Amateur Night In The Big Top
    Sure, it's more interesting than the still-born, awkward second Black Grape album Stupid, Stupid, Stupid, largely thanks to its intricate, layered production, but the end result is calculated without reaping the rewards of its precision.
    • 51 Metascore
    • 40 Critic Score
    Tical 0: The Prequel
    Give or take a couple hot tracks, this release is not likely to play a significant role in his legacy.
    • 51 Metascore
    • 60 Critic Score
    Plays Music
    Caught somewhere between the breezy, intricate Sea and Cake and the well-mannered orchestration of Rachel's, the band fills a space that is often vied for, yet not usually attained.
    • 51 Metascore
    • 60 Critic Score
    Don't Tread On Me
    There are no missteps on the album, and the group's faithful will have plenty to rock with. But Don't Tread on Me still feels like one to grow on instead of one to remember.
    • 51 Metascore
    • 60 Critic Score
    Scream
    Despite the occasional misstep, Scream shows that the bandmembers are ready and able to embrace their growing abilities.
    • 51 Metascore
    • 40 Critic Score
    Doll Domination
    Digging out this handful of songs from the 16-track proper album-- inflated to as much as 24 tracks with the bonus disc added in--is flat-out exhausting, necessitating trawling through too many dull beats, breathy bleats, a phoned-in Snoop Dogg cameo and Missy Elliot name-dropping Katy Perry.
    • 51 Metascore
    • 60 Critic Score
    For(n)ever
    Despite this barrage of invective, it's strangely reassuring hearing the oft-preprogrammed Hoobastank break free from their constraints.
    • 51 Metascore
    • 60 Critic Score
    Do You Want The Truth Or Something Beautiful?
    The overall mood of the album feels a bit broken and battered, but comes off too polished to let that feeling drive home.
    • 51 Metascore
    • 50 Critic Score
    Fly Me to the Moon: The Great American Songbook, Vol. 5
    Fly Me to the Moon, Rod Stewart's fifth collection of American pop standards, finds him singing such classics as That Old Black Magic, I've Got You Under My Skin, Beyond the Sea, Fly Me to the Moon, and Moon River.
    • 51 Metascore
    • 60 Critic Score
    Attention Deficit Domination
    There's just enough that's worthwhile on this album to hope that Hank3 doesn't fully abandon this concept, but this is a far cry from what he does best, and even serious doom fans are likely to find this is pretty ordinary.
    • 51 Metascore
    • 40 Critic Score
    Up Guards and at 'Em
    Described as a rallying call to guitar bands by Bowman, Up, Guards and at 'Em isn't distinctive or original enough to inspire anyone to swap their synths for a six-string, and instead, sounds more like a final nail in the British indie coffin than the shot in the arm it needed.
    • 51 Metascore
    • 50 Critic Score
    Circles Super Bon Bon Sleepless How Many Cans? True Dreams of Wichita Monster Man Mr. Bitterness Maybe I’ll Come Down St. Louise Is Listening I Miss t
    Unfortunately, the bar set by these songs was an awfully high one, so although the creation of Circles… was no doubt a cathartic experience, the songs here aren't likely to become the first choice for any old-school Soul Coughing lovers.
    • 51 Metascore
    • 60 Critic Score
    Man on the Rocks
    Imperfections aside, this is a strange, oddly compelling addition to his catalog.
    • 51 Metascore
    • 60 Critic Score
    A Town Called Paradise
    Best to part it out and party, because if there's a blueprint for the vocal EDM album, A Town Called Paradise follows it too closely, spinning through all the usual breaks and drops without pausing to consider the full picture.
    • 51 Metascore
    • 60 Critic Score
    We Are Only What We Feel
    Ultimately, NoNoNo have a good feel for the past, but an even better feel for the present.
    • 51 Metascore
    • 60 Critic Score
    Punk Goes Pop, Vol. 6
    The series is still going strong with Punk Goes Pop, Vol. 6.
    • 51 Metascore
    • 50 Critic Score
    Rotten Apple
    The highlights are way high, but the album as a whole is "fans-only."
    • 50 Metascore
    • 60 Critic Score
    Matricidal Sons Of Bitches
    As it stands, its mix of tiny triumphs and incomplete ramblings will make all but Friedberger's most die-hard fans long for a Fiery Furnaces reunion.
    • 50 Metascore
    • 40 Critic Score
    Lil Boat 2
    There's an abundance of low-wattage boasts about financial and libidinal surpluses, most of which could have been composed by a generator. Softer and more melodic cuts are indicated with all-lowercase track titles. ... If Yachty can find a way to be his goofy self and elevate his writing, he can rebound.
    • 50 Metascore
    • 60 Critic Score
    A Little More Personal (Raw)
    While this makes for an album that's substantially more interesting and cohesive than the gaudy Speak, it doesn't necessarily mean that A Little More Personal (Raw) is a successful record, either.
    • 50 Metascore
    • 60 Critic Score
    Lost And Found
    Some of the playful songs are as joyously boisterous and willfully corny as anything in Smith's past, making Lost and Found an entertaining and thoughtful album for young kids and their parents to listen to and talk about.
    • 50 Metascore
    • 60 Critic Score
    Revival
    Provocative and muddled, Revival percolates with ambition but doesn't lack in laziness either.
    • 50 Metascore
    • 50 Critic Score
    More Than You Think You Are
    The songs lack hooks, as if melody would be too commercial, while the production has its sights on the radio, resulting in tuneless songs that are polished for mainstream consumption.
    • 50 Metascore
    • 40 Critic Score
    Light After Dark
    Because Light After Dark tries so hard to keep up with the tricks of the trade in 2011, it loses any sense of originality that Maguire brings to the table, which, especially in the pop music scene, is the only way to stand out.
    • 50 Metascore
    • 50 Critic Score
    Necessary Evil
    There are interesting moments here, but they're fleeting, crying out for a bit of the deliberate craft of Blondie's comeback albums, which may be predictable but at least they're focused, which makes for easier listening than this long 17-track slog of sound.
    • 50 Metascore
    • 40 Critic Score
    Everybody Hertz [EP]
    A poor release.
    • 50 Metascore
    • 60 Critic Score
    WZRD
    WZRD, the album, is sort of emo, sort of dream pop, and surely an indulgent effort that surprises with its chemistry and willingness to follow the music.
    • 50 Metascore
    • 60 Critic Score
    Cardiology
    Maturity doesn't necessarily suit the band--there's a natural, flat whine to Joel Madden's voice that dooms him to eternal adolescence--but every step Good Charlotte makes toward a comfortable middle age on Cardiology is a step that succeeds, producing music that resonates louder and longer than the flashy twaddle of Good Morning Revival.
Page: