Boston Globe's Scores

For 1,666 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 0.4 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 City of Refuge
Lowest review score: 10 Lulu
Score distribution:
1,666 music reviews
    • 82 Metascore
    • 80 Critic Score
    The album is dark and menacing, and also better than the first "Trill," even if Bun doesn't threaten to slap anyone in the face with a pie a la mode.
    • 79 Metascore
    • 80 Critic Score
    The years away may have recharged Staples's batteries, but the music itself sounds much the same, which is a good thing.
    • 79 Metascore
    • 80 Critic Score
    As usual that pep is paired with tunes that seep into your brain with the stealth of Mann's own beguiling murmur and lyrics that range from poetic to narrative.
    • 60 Metascore
    • 80 Critic Score
    Her voice is huskier, veined with the fine lines of age, but that only enhances the sultry sound of the Vineyard's favorite songbird.
    • 77 Metascore
    • 80 Critic Score
    His latest is one of his best in recent years.
    • 78 Metascore
    • 80 Critic Score
    On her new album, Harris has meticulously written and chosen a group of folk and country songs that support the nuances of that voice perfectly.
    • 84 Metascore
    • 80 Critic Score
    That said, it's not an instant classic, but it is the best rap album since Kanye West dropped "Graduation" last year.
    • 75 Metascore
    • 80 Critic Score
    Dylan, as a songwriter, may have lost interest in grand rock-band arrangements but not his sense of melody or storytelling.
    • 64 Metascore
    • 80 Critic Score
    Burnett has fashioned a sumptuously spooky, if lyrically opaque, work that feels both spacious and claustrophobic.
    • 84 Metascore
    • 80 Critic Score
    Anyone who rues the scarcity of smart, serious pop music for grown-ups should snap up the entire Sam Phillips catalog. On second thought, skip "Omnipop." But don't miss Phillips's splendid new effort, Don't Do Anything, a collection that dances in her signature mystery space between darkness and light with strange grace, emotional candor, and winsome hooks.
    • 78 Metascore
    • 80 Critic Score
    Upping the studio gloss, turning the amps up--way up--and reining in their more twee impulses, the Montreal bloggers' heroes unleash their inner beast, growing by taking a page out of their colleagues' playbooks.
    • 87 Metascore
    • 80 Critic Score
    The album manages to co-opt elements of the Beach Boys - soaring harmonies, tack piano, orchestral arrangements - yet doesn't particularly sound as if it were recorded by the group.
    • 81 Metascore
    • 80 Critic Score
    With Med sud, the band proves its indie-pop potential while remaining rooted in its unique brand of spaced-out alt-rock.
    • 85 Metascore
    • 80 Critic Score
    Ultimately, Stay Positive achieves the admirable feat of being a record you can listen closely to or rock out to, equally adaptable to late-night wallowing and the party at the water tower.
    • 80 Metascore
    • 80 Critic Score
    More than ever, Ribot's creativity and versatility astound, confound, and frighten.
    • 77 Metascore
    • 80 Critic Score
    With 10 songs clocking in at just 33 minutes, Modern Guilt feels fleeting, even temporal, and that seems to be the point. It's destined to be an artifact of an age that's rocketing, Beck suspects, toward oblivion.
    • 64 Metascore
    • 80 Critic Score
    Working more closely with his band, Hammond has given his songs more dimension, and the ambition.
    • 71 Metascore
    • 80 Critic Score
    The new album, immersed in a soul-funk sound with guest spots from the Stylistics and the Last Poets, is contradictory at times, but the idea of building hope through about an hour's worth of music supersedes any effort to brew controversy.
    • 75 Metascore
    • 80 Critic Score
    Eschewing any concept of "radio ready" and singing with a gruff immediacy, Mellencamp tackles all of the titular concepts on this folk- and blues-based material with a sense of liberation that is keenly palpable.
    • 72 Metascore
    • 80 Critic Score
    His interpretive use of his rich, burnished baritone has never been better, and that remarkable voice is still a force to be reckoned with.
    • 70 Metascore
    • 80 Critic Score
    Knowle West Boy marks a long-overdue return to form from one of the founding fathers of trip-hop.
    • 63 Metascore
    • 80 Critic Score
    Donkey favors texture over attitude, and while the boozy, shouted choruses remain, CSS now favors a subtler approach.
    • 70 Metascore
    • 80 Critic Score
    Canning's effort, however, is a bit of a departure, as he assumes the mostly unfamiliar lead-vocalist role. It suits him well.
    • 76 Metascore
    • 80 Critic Score
    With Oberst, there is little filter; the gems and the rubbish all emerge from the same place. Oberst's talent and his unevenness are all of a kind.
    • 86 Metascore
    • 80 Critic Score
    40 years after his debut, the curly-haired songwriter continues to play to his strength: three-minute social commentaries that might sound bitter if they weren't so funny.
    • 71 Metascore
    • 80 Critic Score
    The album bumps from electronica to cabaret to jazz and back again; it's busy but never feels schizophrenic.
    • 77 Metascore
    • 80 Critic Score
    Simply Grand is an album whose charms are too subtle to catch on the first spin or third, but enough listens will make it clear that the album's title is nothing more than a statement of fact.
    • 75 Metascore
    • 80 Critic Score
    The Rhumb Line--defined as a straight-shot line across all meridians, for the geospatially uninitiated--mostly just thrums with an uncommon sort of pop radiance.
    • 70 Metascore
    • 80 Critic Score
    What makes the record work, though, is Wilson's ability to create melodies that blend the childlike and enthusiastic with the melancholic and nostalgic.
    • 78 Metascore
    • 80 Critic Score
    Much has been made of Leithauser's voice, which often feels choked, but on You & Me, could one imagine a more perfect instrument?