Boston Globe's Scores

For 2,028 reviews, this publication has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Masseduction
Lowest review score: 10 Lulu
Score distribution:
2028 music reviews
    • 52 Metascore
    • 80 Critic Score
    the bigger question with any record regardless of genre should always be is it good? And The Incredible Machine is very good indeed.
    • 62 Metascore
    • 80 Critic Score
    With help from producers Dave Stewart of Eurythmics - who co-wrote seven songs as well - and Glen Ballard, Nicks sings of big loves and losses and sprinkles them with her enchanted glitter of optimism, melancholy, ecstasy, and regret.
    • 71 Metascore
    • 80 Critic Score
    This week the Canadian sorta-supergroup releases Together, its fifth album, and provided you're not the kind of fan who requires your heroes to evolve, the disc is delectable.
    • 73 Metascore
    • 80 Critic Score
    He delivers deceptively subtle music that retains all of the singer's seductive charms and inimitable style.
    • 74 Metascore
    • 80 Critic Score
    The hooks are restrained, yet Mellencamp never loses sight of melodies and his fine song sense. Unsettled and disconsolate, these songs fittingly reflect their time.
    • 89 Metascore
    • 80 Critic Score
    Musically, the band mixes its customary blast beat-driven grindcore maelstroms--the punishing one-two assault of “Smash a Single Digit” and “Metaphorically Screw You,” the layered, complex “Cesspits”--with industrial dolor (“Dear Slum Landlord”) and junk-bin clangor (the title track): caustic nods to influential circa-early ’80s noise-mongers like Public Image Ltd. and Swans.
    • 86 Metascore
    • 80 Critic Score
    Saadiq, the former leader of Tony! Toni! Toné! and keeper of old-school R&B flame, delivers a deliciously good set of playful yet engaging songs that nods to the past while sounding thoroughly of the moment.
    • 68 Metascore
    • 80 Critic Score
    She applies her ever-mesmerizing mix of vocal heat and instrumental chill to images of longing, falling, searching, raging, and despair on her deeply emotional and soul-stirring fourth solo album, Songs of Mass Destruction.
    • 65 Metascore
    • 80 Critic Score
    The tracks are impeccably manicured, super-tuneful, and offer lyrics about the various agonies and ecstasies of love that are unremarkable in and of themselves but reach nuclear-threat levels of desperation thanks to Lewis's voice.
    • 72 Metascore
    • 80 Critic Score
    Edwards succeeds in stepping out of the Americana territory where her first three records resided.
    • 88 Metascore
    • 80 Critic Score
    It's that sprawling sense of humanity that makes Dear Science such a rich listen.
    • 68 Metascore
    • 80 Critic Score
    It is a strong, welcome detour in the artist’s recent discography. Or just call it a return to form since the album is her most satisfying effort in a decade and nimbly connects the dots between Madonna’s various eras and guises.
    • 79 Metascore
    • 80 Critic Score
    The band has never sounded more relaxed, with a lived-in confidence.
    • 72 Metascore
    • 80 Critic Score
    His second album is confident and hooky, spanning funk and reggae and psych.
    • 79 Metascore
    • 80 Critic Score
    Terminology aside, it’s a sprawling, star-studded release, and an impressive achievement--one that signals a new level of ambition for Drake.
    • 76 Metascore
    • 80 Critic Score
    Overall, this is a satisfying return to Booker T.'s classic instrumental soul and funk.
    • 86 Metascore
    • 80 Critic Score
    It’s definitely more expansive sonically than Monroe’s previous work, which doesn’t mean it sounds disjointed; rather, it comes across as presenting different sides of the same artist.
    • 81 Metascore
    • 80 Critic Score
    It’s a short, casual release, so much so that it’s easy to miss just how expertly crafted these songs are.
    • 79 Metascore
    • 80 Critic Score
    Ingredients from those progressive forays ensure that the new tunes sound fresh even as the album is marked with such Sonic signatures as artful contrasts and angular arrangements.
    • 78 Metascore
    • 80 Critic Score
    Ghost Notes unsurprisingly reflects (and reflects on) the band’s maturity, but retains the confidence and playfulness that made it an alt-rock touchstone.
    • 84 Metascore
    • 80 Critic Score
    You can feel the giddy fun Parker was clearly having in the studio.
    • 73 Metascore
    • 80 Critic Score
    Deftones frontman Cheno Moreno shows up on “Embers,” but sounds tame next to the recharged Blythe.
    • 71 Metascore
    • 80 Critic Score
    A pop album that operates on its own terms, partly thanks to the way the white-hot notoriety of the star at its center allowed her to, after all these years, rule her own pop fiefdom.
    • 71 Metascore
    • 80 Critic Score
    All of it's a terrific listen.
    • 76 Metascore
    • 80 Critic Score
    The music draws on two decades of musicianship to showcase the indie veterans’ trademark versatility. Anthemic “We Were Beautiful” melds euphoric horns with programmed drum machines; elsewhere, “The Girl Doesn’t Get It” floats its lyrics across a sea of synths. Best of all is delicate opener “Sweet Dew Lee,” on which Stuart Murdoch’s honeyed delivery posits him as the missing link between Simon and Garfunkel.
    • 75 Metascore
    • 80 Critic Score
    Berberian Sound Studio is like a notebook filled with a lost love's handwriting.
    • 74 Metascore
    • 80 Critic Score
    All of the tracks are produced by No I.D., with a fluid, melodic head-bobbing nod to R&B, giving Common plenty of room to weave his dreams.
    • 76 Metascore
    • 80 Critic Score
    They recorded this in James’s studio in Louisville, Ky., and nearly each song has a compelling depth.
    • 89 Metascore
    • 80 Critic Score
    There’s enough variety here that you understand why the whole shebang needed to come out--and vintage audiophiles will just about bow down before the quality of these tapes.
    • 80 Metascore
    • 80 Critic Score
    The singer-guitarist's mien is again that of a siren dressed in black mourning and white lace, beckoning lovers and loners through the misty moors.