Checkout.com's Scores

  • Music
For 59 reviews, this publication has graded:
  • 69% higher than the average critic
  • 0% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 1.3 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Figure 8
Lowest review score: 30 Chocolate Starfish and the Hot Dog Flavored Water
Score distribution:
  1. Positive: 40 out of 59
  2. Negative: 1 out of 59
59 music reviews
    • 90 Metascore
    • 90 Critic Score
    It's an album of textural terror, a musical abrasive applied to the slick multinational machinery, via hard beats and sonic density, angry politix and dance-floor decline.
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    • 86 Metascore
    • 90 Critic Score
    Transcendental Blues epitomizes musical craftsmanship; it simmers instead of sizzles, meaning it's solid throughout and has no shortage of good songs... [w]hat is missing in the mix here is Earle at his angriest...
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    • 83 Metascore
    • 100 Critic Score
    Making a record that delivers satisfaction from start to finish is a rare and momentous thing. Making any record that sounds unlike anything else is a victory in itself. To bring the two in line as Yo La Tengo has done with And Then Nothing Turned Itself Inside-Out may as well be called perfection.
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    • 83 Metascore
    • 90 Critic Score
    Her latest, I Am Shelby Lynne, is not a country record, but rather a graceful hybrid of roots rock influences and Muscle Shoals soul that adds up to one of the most intimate, earthy and adult pop-rock records in recent memory.
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    • 82 Metascore
    • 90 Critic Score
    Songs don't get any better than this, and with the exception of Elliott Smith, no one plays a sad song sweeter than Tweedy & Co. -- it's always a thrill to hear a band maturing into its prime.
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    • 82 Metascore
    • 100 Critic Score
    Songwriting and production throwbacks granted, the Apples send the repackage down a new stretch of road with full-throttle performances and the soon-to-be legendary pipes of singer Robert Schneider.
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    • 82 Metascore
    • 100 Critic Score
    Moment for moment, there's not a more significant collection of songs to spend your life with...
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    • 81 Metascore
    • 100 Critic Score
    It's a sweeping, gorgeous masterwork that draws upon a collage of pop flavors from the last four decades, brightly burning the eternal singer/songwriter flame and touching down for a couple of power pop punches.
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    • 81 Metascore
    • 80 Critic Score
    This extraordinarily gifted vocalist casts an unbreakable spell over each interpretation, turning it into something else entirely, and making one believe that it's impossible for the supposed original to be as significant.
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    • 80 Metascore
    • 60 Critic Score
    Being that the band's name is derivative, so are many of these Thirteen Tales they tell.
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    • 79 Metascore
    • 70 Critic Score
    The bottom-line is that while All is a good album, it isn't a great one.... All largely rides somewhere in the '80s, hitting a few heights (the ruminative "New York"), while occasionally missing the target altogether ("Peace on Earth").
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    • 78 Metascore
    • 80 Critic Score
    Fast, furious and full of wicked good fun...
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    • 78 Metascore
    • 70 Critic Score
    There are songs on Mathers that are very, very good; as a result, when Eminem misses the mark, it feels incredibly frustrating, because you know what he's capable of.
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    • 77 Metascore
    • 90 Critic Score
    the album shows that the group has the power to whip audiences into a frenzy with beats and loops that feel remarkably organic and spontaneous.... Everything should be required listening for those who question the validity of electronic in a live format.
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    • 77 Metascore
    • 90 Critic Score
    Suicides offers music that's even softer and more blurred around the edges than the band's previous efforts (Moon Safari and Premiers Symptomes), deftly meshing Bacharach-influenced progressions with martini lounge instrumentation for a mix that's retro-futuristic and smooth as, well, air.
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    • 77 Metascore
    • 80 Critic Score
    His latest release pops to life with the Beatlesque piano beat of "Humble Bee" and maintains a buoyant atmosphere throughout.
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    • 77 Metascore
    • 50 Critic Score
    While Two Against Nature certainly has its moments, it doesn't catch your ear with the crafty songsmith of Steely Dan past.
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    • 77 Metascore
    • 60 Critic Score
    At the Drive-In (from El Paso, Texas) picks up where Jane's Addiction leaves off, emitting that thin, distinctive Perry Farrell upper register vocal amid a post-punk apocalyptic guitar/bass/drums detonation. Good for the Addiction, not so good for the Drive-In.
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    • 76 Metascore
    • 60 Critic Score
    On his new album, You're the One, the singer's lyrics are masterful as ever, but their emotional punch is compromised considerably by syrupy melodies and uninspired production.
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    • 75 Metascore
    • 90 Critic Score
    On Naked Self, Johnson hasn't let up one bit. His tongue is as sharp as ever, and his songs show that updating one's style doesn't have to mean dressing in this year's airwave fashions.
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    • 75 Metascore
    • 70 Critic Score
    The group spiffs up their sound and takes it cruising in a modern direction -- proving that there's plenty of life left in them yet.... The caveat? In updating their grooves to sound like everybody else's, the band has succeeded in -- well, sounding like everybody else.
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    • 74 Metascore
    • 80 Critic Score
    Although it is a more orchestrated affair than the stripped down sound this band is known for, The Night is as impressive as any of their previous efforts.
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    • 73 Metascore
    • 70 Critic Score
    Though G.O.A.T.'s songs are all new, they do bear more than a whiff of the familiar, with the rapper looking back in time to invoke the tried-and-true formulas which have brought him chart-topping success throughout his storied career.
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    • 73 Metascore
    • 80 Critic Score
    Smith's latest CD, Gung Ho, is the most socially relevant album to come along in eons, pointing rock back towards its ambitious past when it once attempted to affect social change.
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    • 73 Metascore
    • 90 Critic Score
    Silver & Gold is as pretty an album as Young's created yet...
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    • 72 Metascore
    • 90 Critic Score
    A complex, heavily textured album that aims for the stars.
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    • 72 Metascore
    • 70 Critic Score
    At first, it may sound void of the instantly accessible pile of hits from Dookie and the handful more from Insomniac, but the album's social conscience and cunning lyrics make it a Warning to be heeded.
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    • 70 Metascore
    • 70 Critic Score
    OST
    The real genius of Almost Famous, however, is the inclusion of the exquisite and infuriatingly overlooked Led Zeppelin ode "That's the Way," as well as David Bowie's rare (but not impossible to acquire) live cover of Lou Reed's "I'm Waiting for the Man." And herein lies Crowe's smoking gun with which he shoots himself in the foot. If these songs are worth having (and they absolutely are) and are the best that Almost Famous has to offer (ditto), so too are the entire albums from whence they come, Led Zeppelin III and Santa Monica '72.
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    • 70 Metascore
    • 70 Critic Score
    Alone With Everybody is a good album with great moments.
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    • 69 Metascore
    • 60 Critic Score
    If Binaural were Pearl Jam's first effort, it would receive little notice and get panned for its lack of focus and abundant musical mediocrity.
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