Country Weekly's Scores

  • Music
For 134 reviews, this publication has graded:
  • 73% higher than the average critic
  • 2% same as the average critic
  • 25% lower than the average critic
On average, this publication grades 6.3 points higher than other critics. (0-100 point scale)
Average Music review score: 78
Highest review score: 100 Platinum
Lowest review score: 50 The Party Ain't Over
Score distribution:
  1. Negative: 0 out of 134
134 music reviews
    • 65 Metascore
    • 70 Critic Score
    True to form, his major-label debut is a personal, understated and unpredictable collection.
    • 75 Metascore
    • 70 Critic Score
    The turquoise-hued bluegrass offered here is anything but generic--it's specialty-shop stuff.
    • 74 Metascore
    • 70 Critic Score
    While it lacks the emotional heft of Merle's acclaimed 2010 album, I Am What I Am, the cancer survivor's latest album boasts plenty of flinty independence.
    • 51 Metascore
    • 70 Critic Score
    Overall, a solid debut from a young, still-maturing artist.
    • 72 Metascore
    • 70 Critic Score
    Despite the album's title, she plays it safe rather than wild.
    • 73 Metascore
    • 70 Critic Score
    Hitting a sweet spot between honky-tonk and the more sophisticated Nashville Sound of yore, Long Line of Heartaches delivers unapologetically traditional fare without resorting to self-conscious nostalgia.
    • 72 Metascore
    • 70 Critic Score
    Joe is at his best on the traditional romps like "This Ole Boy" and "No Truck, No Boat, No Girl."
    • 72 Metascore
    • 70 Critic Score
    If you've ever been worried that good old Southern-fried boogie is an endangered species, then Dixie Lullabies should help you rest a little easier.
    • 76 Metascore
    • 70 Critic Score
    Only a real party-pooper would deny Guy's talented pals the chance to respectfully demonstrate how well this stuff still works.
    • 70 Metascore
    • 70 Critic Score
    Release Me provides a clear picture of Lovett's stylistic bedrock, and reminds that he's stood steadfast upon it all along.
    • 64 Metascore
    • 70 Critic Score
    While the album lacks some of the energy and freshness of 2010's Nothing Like This, introspective tunes such as "A Little Home," "Sunrise" (co-written by Joe Don) and the Lady Antebellum-esque "Come Wake Me Up" add even more depth to the trio's sound.
    • 70 Metascore
    • 70 Critic Score
    Heroes indicates that the future is in good hands.
    • 75 Metascore
    • 70 Critic Score
    His label home may have changed, but his everyman approach to songwriting holds steady.
    • 73 Metascore
    • 70 Critic Score
    Collectively, they touch upon a complex range of emotions and interconnections, supported by sparse and countrified instrumentation that sets an appropriately Texan tone.
    • 77 Metascore
    • 70 Critic Score
    Red
    Red may not be a bona fide country album, but it could very well be a pop masterpiece, more in line with P!nk's latest, The Truth About Love, than even Red's predecessor, Speak Now.
    • 67 Metascore
    • 70 Critic Score
    His recorded albums, and even his mesmerizing live show, have gradually incorporated a country sound. That trend continues on his latest, the rewarding 14-song Rebel Soul.
    • 66 Metascore
    • 67 Critic Score
    Ultimately, Life on a Rock’s most exciting moments come when Kenny pushes his limits on something unusual
    • 70 Metascore
    • 67 Critic Score
    Despite the presence of utterly infectious single “Downtown” and the jangly “Better Off Now That You’re Gone,” the first half of Golden is a little too polished, as if the trio couldn’t escape the pull of Own the Night’s gravitas.
    • 56 Metascore
    • 67 Critic Score
    It’d be nice to see Luke, the reigning ACM Entertainer of the Year, grow out of the fields he’s so clearly comfortable in. But for now, if the soil is still bearing fruit, you can’t blame him for continuing to plow ahead.
    • 63 Metascore
    • 60 Critic Score
    As he moves beyond his rap boundaries into more country-rock fare, this album is a step forward for the Kid.
    • 76 Metascore
    • 60 Critic Score
    The album plays like a tribute to an earlier era, rich with period atmosphere, and Gregg, as always, delivers an authenticity few white singers could muster.
    • 72 Metascore
    • 60 Critic Score
    Frankly, traditional-minded listeners will wonder if the whole crew shouldn't be committed, as this quirky affair-depending on your perspective--is either brilliant or crazy.
    • 76 Metascore
    • 60 Critic Score
    Aside from bandmate Dan Tyminski's American-roots turns, there are fewer diversions this time from the restrained, often introspective fare Alison favors, including the regrettable omission of the stirring devotionals that have graced her past works.
    • 70 Metascore
    • 60 Critic Score
    She doesn't just alternately pay homage to country and jazz here; she elegantly blends the two.
    • 70 Metascore
    • 60 Critic Score
    With this vocal showcase, Ronnie may finally garner a long-overdue best male country vocalist award.
    • 72 Metascore
    • 60 Critic Score
    Overall, these songs are safe, inoffensive and respectable, but they simply don't quite scale the same musical heights of Dolly's former glories such as "Jolene" or "I Will Always Love You."
    • 57 Metascore
    • 60 Critic Score
    It's a formula sure to satisfy any fan--even Bruce.
    • 63 Metascore
    • 60 Critic Score
    Country Hits Bluegrass Style is mostly a rehash of Ricky's 2008 album for Cracker Barrel.
    • 72 Metascore
    • 60 Critic Score
    Ranging from jazzy jaunts to breezy tropical confections and varied country and blues hues, the sometimes-scattered Ready for Confetti is a multicolored parade in which even the shovel-pusher walking behind the horses can find that hope happens, too.
    • 67 Metascore
    • 60 Critic Score
    Country die-hards are likely to favor something sturdier, but listeners who walk on the wilder side are sure to find a few kicks inside Little Red Boots.