Chicago Tribune's Scores

For 489 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 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: 72
Highest review score: 100 The ArchAndroid
Lowest review score: 25 Lulu
Score distribution:
  1. Negative: 13 out of 489
489 music reviews
    • 47 Metascore
    • 37 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.
    • 54 Metascore
    • 37 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.
    • 67 Metascore
    • 37 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.
    • 59 Metascore
    • 37 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.
    • 56 Metascore
    • 25 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.
    • 39 Metascore
    • 25 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.
    • 37 Metascore
    • 25 Critic Score
    “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.
    • 52 Metascore
    • 25 Critic Score
    With music as rigidly formulaic as this, no wonder the teens in her songs want to party until they blank out.
    • 65 Metascore
    • 25 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."
    • 73 Metascore
    • 25 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.
    • 56 Metascore
    • 25 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.
    • 64 Metascore
    • 25 Critic Score
    The soundtrack strives for a quirky, melancholy resonance befitting its tragic subject, but too often it comes off as gimmicky and ponderous.
    • 45 Metascore
    • 25 Critic Score
    LuLu is a work that invites derision, an album that wallows in a tarpit of ugliness.