Amazon.com's Scores

  • Music
For 468 reviews, this publication has graded:
  • 73% higher than the average critic
  • 4% same as the average critic
  • 23% lower than the average critic
On average, this publication grades 4 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 SMiLE
Lowest review score: 30 Siberia
Score distribution:
  1. Negative: 1 out of 468
468 music reviews
    • 68 Metascore
    • 70 Critic Score
    The album sags in spots, and McGraw and his coproducers misstep in adding faux R&B vocal washes here and there. But this is a good, solid effort to make music and not just the radio charts.
    • 63 Metascore
    • 70 Critic Score
    Beneath this band's graceful posturing lies a deep discontent and anger, but band lyricist Michael Timmins manages to once again turn that gentle simmering fury into poetic grandeur.
    • 74 Metascore
    • 70 Critic Score
    He sounds rushed, like he doesn't have time for too much tinkering. This is a good thing.
    • 69 Metascore
    • 70 Critic Score
    Hope of the States pull off the commendable trick of twisting avant-garde apocalyptica into bona fide pop songs. [Amazon UK]
    • 66 Metascore
    • 70 Critic Score
    As before, he continues to flawlessly integrate straight-ahead, unforced vocals into a riproaring sound.
    • 71 Metascore
    • 70 Critic Score
    As with the band's other releases, the music inspires clear feelings of love and hate.
    • 54 Metascore
    • 70 Critic Score
    The result is an energetic paean to the Cars' power-pop heritage, capturing the band's classic feel-good vibe with all cynical subtexts intact.
    • 70 Metascore
    • 70 Critic Score
    As an album, it probably won't spawn any MTV-hogging video classics--certainly, that was never the intention--but Finn fans in search of a mellow listen should find Everyone Is Here hits all the right buttons.
    • 60 Metascore
    • 70 Critic Score
    Songs like "Baby Come On" and the spooky "Little Death" show the musicians finally delivering the substance that was promised on Blink 182's self-titled 2003 release.
    • 65 Metascore
    • 70 Critic Score
    Like its predecessor, Genesis, this album is sonically superior to most in the marketplace.
    • 55 Metascore
    • 70 Critic Score
    Garcia and company wear their '80s influences proudly throughout, yet bring enough fresh ideas to the mix to avoid being mere slaves to precious retro-fashion.
    • 74 Metascore
    • 70 Critic Score
    Ozomatli serve up a rhythmically seething musical mélange that serves as virtual mirror to the dizzying cultural contradictions at the heart of their Los Angeles hometown.
    • 64 Metascore
    • 70 Critic Score
    Lost Highway isn't "Bon Jovi goes country" so much as a meaningful tribute to the Nashville ethos done on their own terms.
    • 62 Metascore
    • 70 Critic Score
    Ripe rides a similar vibe to 2005's "Awake Is the New Sleep": quick-and-dirty pop melodies polished with chiming guitars, piano fills, and Lee's exuberant, boyish vocals.
    • 53 Metascore
    • 70 Critic Score
    If you're over 21, file souljaboytellem.com under guilty pleasures. If you're younger, let it rip without reservation.
    • 84 Metascore
    • 70 Critic Score
    Without a doubt the most challenging collection of music she has ever released.
    • 73 Metascore
    • 70 Critic Score
    As a player, his bold, midrange-heavy tone complements his most nuanced vocal performances.
    • 81 Metascore
    • 70 Critic Score
    The darkest, most mysterious album of his career.
    • 70 Metascore
    • 70 Critic Score
    Red Light District has its share of filler, but, track for track, Ludacris still delivers satisfaction.
    • 73 Metascore
    • 60 Critic Score
    More D12 than 50 Cent in terms of quality, Cheers should have been way more than simply the sum of its notable parts.
    • 52 Metascore
    • 60 Critic Score
    Unpredictable actually gets rather predictable over the course of 15 songs, too many of which begin to meld into one another.
    • 63 Metascore
    • 60 Critic Score
    Pocket Symphony won't yield any pop hits, but it could be the soundtrack to endless rainy afternoons.
    • 54 Metascore
    • 60 Critic Score
    Phair doesn't need her angry-girl persona to prove she has talent, but she may still need it to stand out from the crowd.
    • 73 Metascore
    • 60 Critic Score
    Even with its share of jangle-pop gems, the disc also offers a few bland strummers that never quite take off.
    • 69 Metascore
    • 60 Critic Score
    Their irritating habits remain as intractable as ever: must every romantic spat be framed against saving the whales (okay, the shrinking water supply) and the fight for clean air?
    • 51 Metascore
    • 60 Critic Score
    The F.A.B.O.’s smooth, deadpan flow cruises over benignly commercial beats, and the overall effect isn’t hard enough to stand up to "official" street-issue hip-hop.
    • 63 Metascore
    • 60 Critic Score
    All the Roadrunning--while beautiful--seems somehow underwhelming, and without a true centerpiece.
    • 79 Metascore
    • 60 Critic Score
    Wincing is neither the clever genre recombinant exercise of their second album nor is it the perfect little self-contained universe of their debut. This is not the Shins' best album; it's their growing pains third record.
    • 80 Metascore
    • 60 Critic Score
    It's not likely this music will age spectacularly well, but so what?
    • 40 Metascore
    • 60 Critic Score
    For a woman who once used lyrics to shock listeners, there's nothing terribly shocking about this new CD.
    • 68 Metascore
    • 60 Critic Score
    When Tool sounds as good as it does on ["Jambi" and "The Pot"] it's hard to get enough. Which makes it all the more baffling that a surprisingly large chunk of the disc is given over to mood-enhancing soundscapes like "Lost Keys" and "Vigniti Tres."
    • 57 Metascore
    • 60 Critic Score
    If play-it-to-the-back-rows, unabashed power-pop is what the Ataris were after here, they've delivered it with nigh perfection.
    • 65 Metascore
    • 60 Critic Score
    Fans and casual enthusiasts will no doubt be bewildered by the extra experimental outings of an already daunting band--but for completists, this is the last word.
    • 64 Metascore
    • 60 Critic Score
    The production seems a bit slick, as if the group was going for some Interpol-type success, while the songs would perhaps be better served at a studio like Easley in Memphis.
    • 72 Metascore
    • 60 Critic Score
    It's this lumpy consistency that ultimately lets them down, but this is a laudable effort from a band on a decade-long roll. [Amazon UK]
    • 76 Metascore
    • 60 Critic Score
    If her album is musically uneven at times, her artistry and strength continue to shine as undimmed beacons.
    • 64 Metascore
    • 60 Critic Score
    Its center becomes weighed down with bland mid-tempo numbers and the final song detracts from the powerhouse close the record might have had.
    • 58 Metascore
    • 60 Critic Score
    Fortunately, producer Steve Lillywhite is on hand to clean things up, giving even the most bumbling lyrical experiments, such as "Wordplay" and "Geek in the Pink," at least the illusion of a newfound maturity.
    • 59 Metascore
    • 60 Critic Score
    The problem lies in Gore's lack of emotional and musical range.
    • 50 Metascore
    • 60 Critic Score
    Has she grown up? Maybe not entirely yet, but Lohan is showing the promise of an honorable mainstream career.
    • 68 Metascore
    • 60 Critic Score
    It may still sound beautiful, but too often Amazing Grace comes off as mere formula.
    • 75 Metascore
    • 60 Critic Score
    The less successful interpretations simply fail to differentiate themselves from the spirit of the originals.
    • 73 Metascore
    • 60 Critic Score
    Over the course of the album, too much of the midtempo material sounds too much the same, more inspired lyrically than musically, failing to sustain the momentum of the opening tracks.
    • 74 Metascore
    • 60 Critic Score
    It’s just a shame that the lack of soul in his rotating rap deliveries tends to undermine his masterful storytelling capabilities.
    • 64 Metascore
    • 60 Critic Score
    9
    Not quite as endearing as his raw and seductive 2002 debut.
    • 52 Metascore
    • 60 Critic Score
    A solid, if not wholly overwhelming album.
    • 62 Metascore
    • 60 Critic Score
    Despite Clarkson's sublime vocal talents, excessive gloss at times overwhelms the quirky charm and personality she displayed on Idol.
    • 73 Metascore
    • 60 Critic Score
    Little here finds McGraw in a feel-good mode.
    • 64 Metascore
    • 60 Critic Score
    Busta has never sounded so mature.
    • 52 Metascore
    • 60 Critic Score
    More a pop orchestral mishmash than a well-defined rock opus, Bat III is dark, seemingly hopeless at times, and über dramatic. Oddly enough, that's also its saving grace.
    • 61 Metascore
    • 60 Critic Score
    Not as promising as 1999’s Lipstick Gamemight have indicated, but an aggressive, hard-rock effort nonetheless.
    • 68 Metascore
    • 50 Critic Score
    These bawdy Peter Pans of rock are more appealing when they summon their innate raunchy power, instead of coming off like a 2003 version of the Beach Boys with the sand washed off.
    • 62 Metascore
    • 50 Critic Score
    Musically, it's simply awesome, sounding not completely unlike early PJ Harvey... It's a shame, then, that the lyrics frequently don't cut it. [Amazon UK]
    • 63 Metascore
    • 50 Critic Score
    Trouble is, Chesney, who wrote or cowrote all 13 tracks, ended up with enough material for only half a record, and then repeated many of his ideas.
    • 51 Metascore
    • 50 Critic Score
    Fans of albums such as 2001’s From Chaos and 2003’s promising Evolver will likely find Tread familiar and perhaps even comforting, but it’s unlikely to invite a new horde of fans as the album often sounds like an imitation of the bands 311 helped inspire in its decade-plus career.
    • 67 Metascore
    • 50 Critic Score
    For every catchy electro-dance, there's a tune that leaves you scratching your head.
    • 67 Metascore
    • 50 Critic Score
    Noise Floor presents a mixed bag that will enthrall hardcore Conorites but leave others frequently reaching for the skip button.
    • 55 Metascore
    • 50 Critic Score
    Amarantine sounds like it was born in cloistered solitude, self-referentially echoing Enya albums past.
    • 48 Metascore
    • 50 Critic Score
    The acoustic guitars have largely been set aside on Chapter V, leaving Staind to pummel away at its troubles and hoping that people still have time to listen to self-pitying grown men moan about their dysfunctional childhoods.
    • 66 Metascore
    • 50 Critic Score
    While such willingness to experiment is admirable, in this case the attempt comes off as slightly desperate and too diffuse.
    • 45 Metascore
    • 40 Critic Score
    Committed Ja Rule fans looking for those signature hip-pop collaborations he's taken to the bank before won’t find them here.
    • 67 Metascore
    • 40 Critic Score
    Keith occasionally appears to be stretching himself... but often seems to be coasting.
    • 70 Metascore
    • 40 Critic Score
    Most of Light at the End of the World works within the familiar confines of the vintage Erasure formula, drunk on everyman synthesizers, listing through painfully vague and obvious rhymes.
    • 75 Metascore
    • 40 Critic Score
    Some of this music is oddly affecting; much of it is merely odd.
    • 67 Metascore
    • 40 Critic Score
    It has been said that Nelson can sing just about anything--which doesn't necessarily mean that he should.
    • 65 Metascore
    • 40 Critic Score
    A severe line-up change has left the Stills devoid of much of its original edge.
    • 62 Metascore
    • 40 Critic Score
    Bejar's warm, odd voice does not jibe well with the voice of the former Toronto Children's Choir singer.
    • 66 Metascore
    • 30 Critic Score
    The band is seeming lackluster and suffers from it.