For 566 reviews, this publication has graded:
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51% higher than the average critic
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3% same as the average critic
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46% lower than the average critic
On average, this publication grades 0.3 points lower than other critics.
(0-100 point scale)
Average Music review score: 73
Highest review score: | I Like to Keep Myself in Pain | |
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Lowest review score: | Graffiti |
Score distribution:
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Positive: 456 out of 566
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Mixed: 97 out of 566
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Negative: 13 out of 566
566
music
reviews
- By Date
- By Critic Score
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- Critic Score
Most of it might fascinate for a listen or two, but presenting this as new work at top-end retail prices is the type of barrel-scraping exploitation that would've made the ever-wary Cobain retch.- Chicago Tribune
- Posted Nov 16, 2015
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- Critic Score
Ferry’s best songs bubble with double-edged nuances and pastiche-style textures, drawing on influences from many eras. The Jazz Age diminishes that complexity, turning many of these brilliant tunes into period caricatures.- Chicago Tribune
- Posted Feb 12, 2013
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- Critic Score
It's hardly ground-breaking, but when Tyler brays, Perry blooze-ifies on guitar, the cow-bells ring and the back-up singers wail, Aerosmith approximates a cartoony version of its glory days. But the album's second half nosedives.- Chicago Tribune
- Posted Nov 5, 2012
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- Critic Score
The soundtrack strives for a quirky, melancholy resonance befitting its tragic subject, but too often it comes off as gimmicky and ponderous.- Chicago Tribune
- Posted May 7, 2012
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- Critic Score
A cash-in thin on new songs that confirms Winehouse was still a long way from finishing up the five-years-in-the-making follow-up to "Back to Black."- Chicago Tribune
- Posted Dec 5, 2011
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- Critic Score
LuLu is a work that invites derision, an album that wallows in a tarpit of ugliness.- Chicago Tribune
- Posted Oct 31, 2011
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- Critic Score
It's the end of something, alright, and Johansen and Sylvain – as great as they once were as the backbone of the Dolls -- should get the message and move on.- Chicago Tribune
- Posted Mar 14, 2011
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- Critic Score
The vocals are slathered in Auto-Tune (didn't Jay Z proclaim Auto Tune dead once already?). The rhymes are simplistic ("You're the gas in my car, you're my petrol/You and I go way back, retro") or silly ("This is the original, this has no identical"–-really?). And the music's reliance on rhythmic and lyrical repetition (as opposed to progression and surprise) becomes wearying.- Chicago Tribune
- Posted Dec 7, 2010
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- Critic Score
Duffy's pinched voice warbles into Lulu land pretty frequently, and that squeakiness isn't helped much by the music: five ballads swathed in strings and heartache, five uptempo tracks with a bit more bounce but not much attitude.- Chicago Tribune
- Posted Dec 7, 2010
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- Critic Score
With music as rigidly formulaic as this, no wonder the teens in her songs want to party until they blank out.- Chicago Tribune
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- Critic Score
It would've been fascinating to see how far a full-blown collaboration might've taken her, but Aguilera spreads out the songwriting and production credits in search of more hits, most of which come off as flimsy gimmicks.- Chicago Tribune
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“Rebirth” doesn’t swing, it staggers, and Wayne’s bullfrog rasp is distorted by Auto-tune, apparently to mask the fact that he can’t sing.- Chicago Tribune
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- Critic Score
'Famous Girl' throws the album off balance, and makes every note feel exploitive and self-serving. In trying to restore his reputation, Brown ends up damaging it even more.- Chicago Tribune
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