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
Coldplay has a formula, and formula prevails on Mylo Xyloto despite Eno's presence.- Chicago Tribune
- Posted Oct 24, 2011
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Only "Virus" connects in the way Bjork's best work can, uniting the fundamental optimism and wonder underlining this project with music that sounds otherworldly yet welcoming.- Chicago Tribune
- Posted Oct 10, 2011
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At his best, Wayne was positively psychedelic in his wordplay, capable of creating entire alternative worlds out of a few surrealist metaphors. But he sounds slower, more methodical, less unhinged on Tha Carter IV.- Chicago Tribune
- Posted Aug 29, 2011
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- Chicago Tribune
- Posted Aug 26, 2011
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In many ways, West and Jay-Z are saying something similar on their new album. But their approach is not to shine a spotlight on their community. Instead, they urge listeners to "watch the throne," and gaze in awe on their good fortune.- Chicago Tribune
- Posted Aug 8, 2011
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More problematic are the melodies and the songs themselves; they strive for rousing resonance, a deep sense of loss, but often settle for pat prettiness and easy sentimentality.- Chicago Tribune
- Posted May 25, 2011
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Maybe working on a novel distracted Earle, but the feisty dust-kicker of old appears to have taken this one off.- Chicago Tribune
- Posted Apr 22, 2011
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It's all competently done, but none of it matches the invention of Grohl's drumming in the last decade with Queens of the Stone Age, Probot or Them Crooked Vultures.- Chicago Tribune
- Posted Apr 11, 2011
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Over a clipped backdrop that at times sounds like white-noise static, bell-like notes accent an airy, almost vaporous vocal. The voice belongs to Spears, but it could be anyone's – an anonymous ghost in the dance machine.- Chicago Tribune
- Posted Mar 25, 2011
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What better band to cover R.E.M. than R.E.M.? That's exactly what the longtime Athens, Ga., trio sounds like it's doing on its 15th studio album, Collapse Into Now.- Chicago Tribune
- Posted Mar 4, 2011
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Her voice often sounds overly pinched, and the horns come off as gimmicky.- Chicago Tribune
- Posted Jan 21, 2011
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It's not that Michael is embarrassing, it's just below par, a warehouse for songs that languished in the vaults for decades because they didn't quite measure up.- Chicago Tribune
- Posted Dec 13, 2010
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With the relentlessly bland Live It Up, he becomes the latest in a long line of folk-pop singers air-brushed to melt into the pack, not rise above it.- Chicago Tribune
- Posted Nov 15, 2010
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It's the kind of hair-raising music that one wishes occurred more frequently on this overly subdued collection.- Chicago Tribune
- Posted Nov 1, 2010
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It was a promising evolution, but four years later the Scottish band's new album, Write About Love, sounds like old news.- Chicago Tribune
- Posted Oct 21, 2010
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In search of the grandiose, Kings of Leon seem to have forgotten how to rock. It's as if the quartet wanted to become the next U2 so badly that it lost sight of how it got here in the first place.- Chicago Tribune
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He's a troubadour for the suburbs, a guy who sings about middle-class life with a plainspoken mixture of wistfulness and humor.- Chicago Tribune
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The pianist has a malleable voice, capable of swinging from poignance to sarcasm, though sometimes Hornby's dense wordplay can't help but sound awkward in making the transition from the page to the speakers.- Chicago Tribune
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The hooks are more pronounced and the bottom end beefed up, which gives Barnes' R&B leanings a lot more dancefloor appeal and makes songs such as the buttery Solange duet "Sex Karma" sound better than anything Prince has come up with in years. But the affectations remain troubling.- Chicago Tribune
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Reed's second major-label album, Come and Get It! (Capitol), is loaded with terse, catchy pop-soul songs outfitted with sharp horn riffs, taut guitar fills and bouncy bass lines. It's all done well enough. But when he slows down and attempts a ballad such as "Pick Your Battles," Reed's gusto is no longer enough to mask his limitations as a singer.- Chicago Tribune
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Like the similarly star-studded (but bland) "Twilight" and (insufferably twee) "Juno" soundtracks, Scott Pilgrim is something less than the sum of its parts.- Chicago Tribune
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With Praise & Blame, Jones dials down the camp and tries to act his age--he turned 70 in June. So what we get is a more refined, more serious Jones, and that's no fun at all.- Chicago Tribune
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Unfortunately, the ambitious concept proves too unwieldy to work as a consistent album.- Chicago Tribune
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For an artist who has sold 30 million albums, his latest release is brutally short on hooks and, most of all, fun. The subversive humor is long gone, and his cultural references (David Cook? Austin Powers? Yet another dis of Mariah Carey?) remain dated.- Chicago Tribune
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The album definitely could’ve used a little more friskiness; as it is, a horn-spackled version of Derek and the Dominoes’ “Why Does Love Got to Be So Sad” and a brisk run-through of the Beatles “The Word” are the only moments where LaVette busts loose from her always heart-felt, but sometimes overly earnest, introspection.- Chicago Tribune
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But as with “Horehound,” “Sea of Cowards” is all about the volatile vibe rather than songs. When the vibe works, it’s a decent approximation of the band’s top-shelf live show. But beneath all the “Hustle and Cuss,” the tunes just aren’t there.- Chicago Tribune
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Songwriters Linda Perry and Billy Corgan (moonlighting from the Smashing Pumpkins), producer Michael Beinhorn--sand down her rough edges and turn Nobody's Daughter into a dreary piece of middle-of-the-road product.- Chicago Tribune
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Both Byrne and Fatboy Slim have built careers on beats, the imperative of activating the hips as much as the brain, and they touch on everything from salsa to Philadelphia soul on Here Lies Love. But too often the needs of the narrative supersede the music, and too much of "Here Lies Love" falls into midtempo blandness.- Chicago Tribune
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The problem is that the songs all have a similar arch, with instrumental grandeur substituting for the previous album’s emotional punch and tears-of-rage specifics.- Chicago Tribune
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Gabriel’s decision to pay homage to the core essentials underpinning these songs is a noble one, he also sacrifices many essential ingredients: rhythmic drive, dynamic surprise, harmonic and textural variety. As experiments go, Scratch My Back ranks as a well-intentioned dud.- Chicago Tribune
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