Billboard.com's Scores

  • Music
For 769 reviews, this publication has graded:
  • 83% higher than the average critic
  • 2% same as the average critic
  • 15% lower than the average critic
On average, this publication grades 4.4 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 Sticky Fingers [Deluxe Edition]
Lowest review score: 40 Water for Your Soul
Score distribution:
  1. Negative: 0 out of 769
769 music reviews
    • 51 Metascore
    • 60 Critic Score
    You either love or hate Pitbull's music, and sometimes a little of both when listening to the same album.
    • 72 Metascore
    • 60 Critic Score
    The result is certainly more adventurous than anything from her peers, if a little forced.
    • 55 Metascore
    • 60 Critic Score
    Produced for the most part by U2 collaborator Flood, the new album rarely operates at anything less than a frenzied fever pitch, with thundering percussion grooves, Leto's top-of-the-lungs yowl and wave after wave of Edge-style guitar theatrics.
    • 63 Metascore
    • 60 Critic Score
    While Turner is a worthy heir to such barrel-chested baritones as Don Williams, Randy Travis and Trace Adkins, his fourth album, "Haywire," is a study in inconsistent use of his vocal gift.
    • 56 Metascore
    • 60 Critic Score
    The nine-song album's softer ballads--like the piano-driven "What If"--distract from Derulo's powerhouse vocals. His talent is somewhat misused on the tune, blanketed beneath equal parts Auto-Tune and lyrical vagueness. However, the inclusion of club bangers like "The Sky's the Limit" and "Love Hangover" boost the set's energy.
    • 67 Metascore
    • 60 Critic Score
    Bundy's obvious affection for feisty predecessors like Loretta Lynn and Dolly Parton adds an appealing jolt to the music's already clever hooks and personal narrative. But what Bundy still needs to develop are the durable melodies and lyrical nuance that turned those artists' compositions into classics.
    • 71 Metascore
    • 60 Critic Score
    The lyrical focus, along with raw production and eclectic instrumentation (including mandolin, strings and autoharp), give the 10-song set a heat that's honest and personal, but not quite the riveting bearing of souls that Heart is known for.
    • 70 Metascore
    • 60 Critic Score
    Fiasco turns Food & Liquor II into one long tirade -- everything sucks and no one's going to fix it.
    • 64 Metascore
    • 60 Critic Score
    On Cheek to Cheek, Gaga justifies his [Tony Bennett's] faith--sometimes a bit too forcibly. Whereas Bennett is a master of restraint--a guy whose best performances play like melodic chat sessions--Gaga thrives on spectacle.
    • 77 Metascore
    • 60 Critic Score
    A handful of tracks strewn with cheesy metaphors shows the impersonality that mars Cuomo's post-Pinkerton songwriting, despite some redeeming musical qualities that reaffirm Weezer as a purveyor of feedback and fuzz (particularly "Cleopatra," a great rock single if you ignore the lyrics).
    • 75 Metascore
    • 60 Critic Score
    The music is more subdued than My Chemical Romance's, but Way's still not as understated as the influencers he's channeling. His storied themes of love and pain pop up throughout Hesitant Alien like embarrassing Facebook statuses. It's a largely smooth transition out of the dark and into the bright world of pop.
    • 61 Metascore
    • 60 Critic Score
    The formidable 3rdEye ladies want badly to be a raw, stripped-down rock band, but despite their chops and the analog production, the performances are slightly anodyne, scrubbed of menace.
    • 60 Metascore
    • 60 Critic Score
    Young's scratchy vocal fails to complement its exquisitely cinematic orchestration until the final two lines show a fleshed-out poignancy. It's the same, too, with his blues performances.... At times, though, Young and his many collaborators do gel.
    • 57 Metascore
    • 60 Critic Score
    The album's most arresting moments are stuck in the shadows, mere teasers for an artist the listener knows exists, but is intentionally sidelined.
    • 75 Metascore
    • 60 Critic Score
    About half of them work, though which half might depend on your love or tolerance for the players involved.
    • 51 Metascore
    • 60 Critic Score
    The recipe might be different, but the ingredients are largely the same.
    • 70 Metascore
    • 60 Critic Score
    The overall sound might be slighter and less sprawling, but it's also more sharply focused.
    • 54 Metascore
    • 60 Critic Score
    What results is a new-ish, but not necessarily improved, Nickelback.
    • 59 Metascore
    • 60 Critic Score
    Aside from an understandable naivete, Trainor's weaknesses are her stylistic cherry-picking and her compulsion to appear adorably relatable and socially correct all at once.
    • 63 Metascore
    • 60 Critic Score
    On Dahlia's debut, My Garden, she transcends the sum of her seemingly disparate influences, proving herself to be a relatively distinct artist, even if her risks don't always pay off.
    • 74 Metascore
    • 60 Critic Score
    An album that works better as a musical koan than it does a hip new collection of indie folk.
    • 55 Metascore
    • 60 Critic Score
    Ink has clearly studied his success, and it feels strategic that Full Speed is sardine-packed with star collaborators.
    • 62 Metascore
    • 60 Critic Score
    It's true that Eclipse unveils itself less coyly than previous Twin Shadow albums, and sounds more brashly contemporary. But it hazards turning generic in the process.
    • 75 Metascore
    • 60 Critic Score
    It all sounds amazing on the first couple of listens, but the wheat (songs like the title track and “Did You Know?”) separates quickly from the chaff. Regardless, The Scene Between opens up a whole new lane for an artist that would have been easy to write off.
    • 68 Metascore
    • 60 Critic Score
    Run
    Run is more of a technical accomplishment than an artistic one. Bruno the pop star is not nearly as appealing as Bruno the juggler.
    • 63 Metascore
    • 60 Critic Score
    The bum-outs outnumber the bangers by a decisive ratio on Ludaversal, but that speaks to the rapper's comfort in straddling dissimilar topics.
    • 58 Metascore
    • 60 Critic Score
    It's a promising teen's first album, and it will satisfy the ­longings of the keepers of fan Tumblrs. So far, though, Mendes' music is not nearly as inventive as his strategies to publicize it.
    • 69 Metascore
    • 60 Critic Score
    It's a quick listen, clocking in at less than 45 minutes, and the 10 tracks are laid-back--perhaps too much.
    • 84 Metascore
    • 60 Critic Score
    The result is an album that doesn't quite reach the heights of Vessel, but nevertheless serves as evidence that one of pop's most daring duos isn't about to slow down--even if that means running into a few walls.
    • 53 Metascore
    • 60 Critic Score
    It sounds like a collection of random one-offs rather than an album. Foxx's voice, falsetto and all, still sounds lovely, but he seems unsure exactly how he should use it.
    • 63 Metascore
    • 60 Critic Score
    Muse is one of the world's biggest rock bands, but for all its missionary zeal, Drones preaches to the converted.
    • 67 Metascore
    • 60 Critic Score
    On Everything Is 4, some songs give him newfound definition, but then others distract from it.
    • 61 Metascore
    • 60 Critic Score
    The album lacks the obvious potential hits to guarantee that, although the moody, Jeremih-featuring single "Like Me" is easy to get lost in. The album does, however, strike a graceful balance between gritty roots and big-budget sheen.
    • 61 Metascore
    • 60 Critic Score
    Grand Romantic has some moments more danceable than dour.
    • 64 Metascore
    • 60 Critic Score
    There’s a semblance of a flow to the record’s sprawling track list, but too many songs sound hastily written, and too often Cyrus acts as if her drug trip is more poignant than the average freakout.
    • 75 Metascore
    • 59 Critic Score
    On its eighth full-length release, Glasgow, Scotland, indie pop group Belle & Sebastian ditch their sad-vibes-hidden-by-happy-melodies schtick in favor of legitimately upbeat songs.
    • 66 Metascore
    • 59 Critic Score
    Given Healy's winsome vocals and his good-guy image, the grab at gravitas doesn't always connect.
    • 55 Metascore
    • 59 Critic Score
    The problem is that the hints of personality underneath the braggadocio overflowing on "Based on a T.R.U. Story" exist as faint flickers, pointing to a storytelling skill that has yet to be given the spotlight.
    • 60 Metascore
    • 58 Critic Score
    Lil Wayne is back with the equally confounding Dedication 4, a messy rehashing of this year's respective rap bangers.
    • 68 Metascore
    • 57 Critic Score
    The band's first release since 2003, "The Chair in the Doorway," is too scattered -- and occasionally silly -- to make a serious re-impression.
    • 37 Metascore
    • 56 Critic Score
    Although the cleaner melodies and pop polish seem to mute the rapper's stream-of-consciousness salvos, he still shines on "Drop the World," featuring Eminem.
    • 64 Metascore
    • 56 Critic Score
    At times, Here Lies Love wobbles as a concept album, and listeners unfamiliar with Marcos' story may not initially understand the lyrical conceits. But it contains enough solid material to justify repeated listens.
    • 56 Metascore
    • 55 Critic Score
    Although a love for hydro is Cypress Hill's claim to fame, it's the more substantial tracks on "Rise Up" that smoke the competition.
    • 48 Metascore
    • 55 Critic Score
    Throughout Can't Be Tamed Cyrus seems checked out of her vocal performances, singing with neither the tween-queen enthusiasm of her Hannah Montana material nor the confrontational energy of 2008's Breakout.
    • 77 Metascore
    • 54 Critic Score
    Willowy Los Angeles art-rock group Warpaint summons a remarkably heady atmosphere on its debut album, The Fool, which follows a buzzed-about EP released last year on Los Angeles-based indie Manimal Vinyl.
    • 49 Metascore
    • 52 Critic Score
    The fresh material isn't likely to expand your idea of who Bret Michaels is.
    • 56 Metascore
    • 52 Critic Score
    Simply put, Weezer needs to exorcise the metal demons and find a balance that works.
    • 66 Metascore
    • 51 Critic Score
    Interpol is undoubtedly a solid effort, but solid shouldn't be satisfying for a band that has proved to possess the talent of indie rock's elite class.
    • 60 Metascore
    • 51 Critic Score
    Most of these strummy feel-good ditties-aw-shucks song titles include "Gotta Be Wrong Sometimes" and "Taking On the World Today"-make Jason Mraz sound like some kind of avant-garde noisemaker.
    • 54 Metascore
    • 50 Critic Score
    Who I Am is so polished and adult-sounding -trading teen pop moxie for organ and slide guitar-that one is left wondering whether the same songs about love, heartbreak and political curiosity wouldn't be a more satisfying evolutionary step in the hands of a scrappier troupe.
    • 67 Metascore
    • 50 Critic Score
    The album is a sprawling, experimental work defined more by ambient synth hum and field-recording rustle than by melodic hooks or danceable grooves.
    • 69 Metascore
    • 50 Critic Score
    Clearly, Lambert has talent, but on Heart she's merely scratching the surface.
    • 65 Metascore
    • 50 Critic Score
    None of these tracks can match the best cuts on the act's first two albums for sheer catchiness.
    • 54 Metascore
    • 50 Critic Score
    Hood Billionaire lands in a dull gray area between feel-good retro rap (its first two singles are the Memphis homage "Elvis Presley Blvd" and the pleasant but forgettable jazz jangle of "Keep Doin' That [Rich Bitch]") and Rozay greatest-hits karaoke that tries and fails to recapture the impact of his bulletproof Teflon Don bombast.
    • 58 Metascore
    • 50 Critic Score
    Lyrics like "You don’t have to be big and tall/To stand up and hold your own" (from "Miracles") play like inspirational memes. Still, their hearts are in such the right place that it's hard to totally root against them.
    • 60 Metascore
    • 50 Critic Score
    Smoke + Mirrors may seem too recycled and belabored to entice the unconverted, but the hints of hidden depths are a pleasant surprise.
    • 71 Metascore
    • 49 Critic Score
    Unfortunately, "Year" lacks the grandiose thematic concepts of previous outings as well as an immediate single, like past songs "A Favor House Atlantic" or "The Suffering."
    • 50 Metascore
    • 47 Critic Score
    Shock Value II packs plenty of heat from the layered beats, but never lets Timbaland shine as the artist he wants to become.
    • 60 Metascore
    • 40 Critic Score
    Jackie feels like a missed opportunity for a talented artist to connect with fans in a new way.
    • 62 Metascore
    • 40 Critic Score
    Stone is clearly still finding her sound and, if Water is any indication, herself, too.
    • 48 Metascore
    • 40 Critic Score
    The tunes are competently rendered, but that actually makes them worse: That these guys are selling out shows as what amounts to a cover band is the kind of thing you need to be super-baked to wrap your head around.