Billboard.com's Scores

  • Music
For 825 reviews, this publication has graded:
  • 81% higher than the average critic
  • 3% same as the average critic
  • 16% 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 The Complete Matrix Tapes [Box Set]
Lowest review score: 40 Jackie
Score distribution:
  1. Negative: 0 out of 825
825 music reviews
    • 60 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.
    • 70 Metascore
    • 60 Critic Score
    It sounds good on paper, but the album unfolds as an undifferentiated wash of music, without the big toothsome melodies that have lifted John's music for decades.
    • 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.
    • 77 Metascore
    • 60 Critic Score
    Neither a departure nor a return to Segall’s usual fuzzy form, Emotional Mugger asks a lot from the listener, and it doesn’t always ask nicely.
    • 57 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.
    • 65 Metascore
    • 60 Critic Score
    It doesn’t all click, like when Imbruglia smooths over all the emotional grit of Damien Rice’s “Cannonball.” But her charms on Male win you over in the end.
    • 53 Metascore
    • 60 Critic Score
    The subtler, less stylized Wiped Out! keeps the palm-trees-at-twilight feel, but the sound is more hazy R&B than rock.
    • 64 Metascore
    • 60 Critic Score
    As on True, the nondance tracks are more or less power ballads, albeit with fairly pallid vocals.... The dance tracks are actually where most of this album’s pleasant surprises lie.
    • 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.
    • 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.
    • 70 Metascore
    • 60 Critic Score
    The chemistry works as expected, even if it never exceeds, or even reaches, the sum of its artists. There's no transcendent moment here, because the project is essentially a meeting of opposites who mostly stay in their lanes.
    • 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).
    • 73 Metascore
    • 60 Critic Score
    Caracal is the kind of effort that diehard fans might convince themselves to appreciate, and then never play again.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 60 Critic Score
    About half of them work, though which half might depend on your love or tolerance for the players involved.
    • 72 Metascore
    • 60 Critic Score
    The result is certainly more adventurous than anything from her peers, if a little forced.
    • 67 Metascore
    • 60 Critic Score
    Much of It's About Time is dense, cooking Southern rock. It can be frivolous (the bleacher-stomp shout-alongs "Club U.S.A." and "The Party's On") but has no problem nailing a groove.
    • 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.
    • 67 Metascore
    • 60 Critic Score
    Despite a few highlights, This Is Acting is scattered and forgettable next to the emotional 1000 Forms of Fear.
    • 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.
    • 54 Metascore
    • 60 Critic Score
    What results is a new-ish, but not necessarily improved, Nickelback.
    • 70 Metascore
    • 60 Critic Score
    The overall sound might be slighter and less sprawling, but it's also more sharply focused.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 60 Critic Score
    On Khalifa, he's characteristically mellow and melodic, mixing rhymes that are part equal parts braggadocio and motivational slogans in an almost singular pursuit of highs and riches. By design, none of the songs stand out, save for the Travis Scott featuring "Bake Sale," which wins mostly by sounding like an aired-out version of Scott's own hit "Antidote."
    • 61 Metascore
    • 60 Critic Score
    Grand Romantic has some moments more danceable than dour.