E! Online's Scores

  • Music
For 787 reviews, this publication has graded:
  • 72% higher than the average critic
  • 4% same as the average critic
  • 24% lower than the average critic
On average, this publication grades 2.6 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 A Rush Of Blood To The Head
Lowest review score: 0 Results May Vary
Score distribution:
  1. Negative: 11 out of 787
787 music reviews
    • 81 Metascore
    • 67 Critic Score
    [Will] leave White Stripes' fans divided.
    • 75 Metascore
    • 67 Critic Score
    Sadly, The Way It Is never quite lives up to the album it could have been.
    • 58 Metascore
    • 67 Critic Score
    The white-boy funk routine wears thin fast, but the overbearing Broadway-style ballads are even worse.
    • 78 Metascore
    • 67 Critic Score
    Even though he didn't use Godrich's elegant landscaping to its full advantage, we'll still listen to what this man has to say.
    • 84 Metascore
    • 67 Critic Score
    Her voice has grown huskier with age, the songs are barely there, and hip-hop producer Mike Elizondo doesn't have the delicate hand that's required to bring them to life.
    • 54 Metascore
    • 67 Critic Score
    Most tracks have a commercial sheen that makes the songs sound like they were custom-made to be played in the background of pivotal scenes on The O.C.
    • 43 Metascore
    • 67 Critic Score
    The pop hooks are there, but we can't shake the feeling that the sentiments come off as phony.
    • 66 Metascore
    • 67 Critic Score
    Most the songs feel like they should have come out around the same time Clinton moved into the White House.
    • 57 Metascore
    • 67 Critic Score
    Chesney sticks with what he knows best: drinking ("Beer in Mexico"), driving ("Somebody Take Me Home") and raising his glass to everyday heroes ("Who You'd Be Today").
    • 50 Metascore
    • 67 Critic Score
    Ultimately, like her manufactured pop rivals Ashlee Simpson and Hilary Duff, Lindsay is a little too superficial to sell us angst.
    • 69 Metascore
    • 67 Critic Score
    29
    He fails to come up with an album that keeps up the standard set here by a couple of standout tracks such as "Strawberry Wine" and "Nightbirds."
    • 76 Metascore
    • 67 Critic Score
    Someone get this woman some drama, pronto.
    • 55 Metascore
    • 67 Critic Score
    The music on the group's debut album... feels as if it was inspired by awkward adolescent feel-up LPs by the likes of Pat Benatar and Cheap Trick.
    • 63 Metascore
    • 67 Critic Score
    It sounds all too familiar.
    • 59 Metascore
    • 67 Critic Score
    The band goes a different way now, and it's not necessarily a better one.
    • 78 Metascore
    • 67 Critic Score
    The music on Comfort of Strangers is at times so complex and distracting that it often overshadows Orton's winsome voice.
    • 76 Metascore
    • 67 Critic Score
    The disc is made up mostly by mid-tempo classic rockers and sweet nothing ballads. Disappointing? Well, yes.
    • 64 Metascore
    • 67 Critic Score
    Ultimately he fails to make a lasting impression.
    • 69 Metascore
    • 67 Critic Score
    While tracks like "So Sick" and "Stay" hit a few sweet neosoul spots, this perfectly pleasant disc is lacking that roundhouse kick that floors you.
    • 75 Metascore
    • 67 Critic Score
    At the end of the day, it's really hard to screw up these songs with that voice--try as he might.
    • 68 Metascore
    • 67 Critic Score
    Subtítulo... is not without its charms, but it borders on easy listening at times.
    • 70 Metascore
    • 67 Critic Score
    The only sign of life is that filthy mouth and cherry-vanilla hair.
    • 51 Metascore
    • 67 Critic Score
    In the end, even LL himself seems a little lost in his efforts to find Todd Smith.
    • 63 Metascore
    • 67 Critic Score
    For a better taste of Harris' harmonizing abilities, try her recent collaborations with young'uns like Bright Eyes and Ryan Adams.
    • 57 Metascore
    • 67 Critic Score
    Unfortunately, Jewel... chooses to revert to the soppy musical formula of her 1995 debut, Pieces of You.
    • 76 Metascore
    • 67 Critic Score
    The surprising thing about this retro rock trio is that it can actually rock.
    • 59 Metascore
    • 67 Critic Score
    Unfortunately, she has also followed Ms. Knowles' lead in recording overly earnest, confessional ballads.
    • 53 Metascore
    • 67 Critic Score
    Listening to all this Edge-y guitar doodling and whiny wailing, the question remains: Why mess with a fun, 20-million-album-selling formula for this ponderous prog project?
    • 53 Metascore
    • 67 Critic Score
    Hoobastank balances heavy riffs with dark existentialism and hooks that closely imitate that of its breakthrough hit.
    • 82 Metascore
    • 67 Critic Score
    [It] feels more overly familiar and Velvet Underground-y than usual, which isn't a good thing for a band with such forward-thinking ideals.
    • 71 Metascore
    • 67 Critic Score
    She mysteriously trims away her individuality and morphs into a J.Lo imitator.
    • 63 Metascore
    • 67 Critic Score
    Even if Keane hasn't completely gone down with Under The Iron Sea, the band is merely treading water here.
    • 82 Metascore
    • 67 Critic Score
    This set of songs comes with a chill of morbidity that's hard to shake.
    • 74 Metascore
    • 67 Critic Score
    And by classics we mean poorly produced electro songs you'll hear once, chuckle and never want to hear again--unless you have a head wound or a Sparks fetish.
    • 76 Metascore
    • 67 Critic Score
    This could have been groundbreaking once upon a time, but there's nothing really new here and only a few songs ever rise above sheer novelty value.
    • 73 Metascore
    • 67 Critic Score
    The album's bluesy Americana-inspired tunes like "Saving Grace" and "Turn This Car Around" are, sure, kind of predictable, but they make up for that by being pretty darn good songs.
    • 74 Metascore
    • 67 Critic Score
    An arresting mix of the singer's political and personal strife set to a jazzy backbeat.
    • 69 Metascore
    • 67 Critic Score
    It's too much.
    • 89 Metascore
    • 67 Critic Score
    The veteran singer-songwriter has opted to retreat into old-timey blues, rattling off clichés about blind horses and hog-eyed towns while laying down a halfhearted soundtrack of brushed drums, plucked guitars and woozy strings.
    • 57 Metascore
    • 67 Critic Score
    Listening to her debut album, you get the feeling that she breezed in and out of the studio.
    • 67 Metascore
    • 67 Critic Score
    On "Waiting on the World to Change," Mayer breathily imagines a world where frat boys get off their couches and have people sign petitions. Sigh. A little more of that and less of noodley songs like "Vultures" and "Gravity" would have been a good step toward reminding us who Mayer really is.
    • 70 Metascore
    • 67 Critic Score
    The result? An album that could just as easily bear the name of any other pop singer working the charts today.
    • 65 Metascore
    • 67 Critic Score
    The Day After sounds like something we've heard before.
    • 58 Metascore
    • 58 Critic Score
    His backing band's heavy-metal veering leans toward the generic. Only the Igster's sometimes fierce (but fading) yowl adds enough soul--and insanity--to make them at least momentarily credible.
    • 63 Metascore
    • 58 Critic Score
    A rather complacent set of radio-ready lite alt-rock.
    • 59 Metascore
    • 58 Critic Score
    Short on the kind of sweet 'n' simple coffeehouse ditties that made the Alaskan-born folksinger a fan favorite.
    • 78 Metascore
    • 58 Critic Score
    This spinner of wispy, earnest vocals, sad-eyed melodies and country sensibilities lacks that special spark of passion to keep one's interest.
    • 61 Metascore
    • 58 Critic Score
    The ballads sound more mawkish than ever and the rockers sound, well, a lot like bad Bruce Springsteen rip-offs.
    • 52 Metascore
    • 58 Critic Score
    Nothing here is gonna rock your world.
    • 72 Metascore
    • 58 Critic Score
    Headed for a prom near you... it's the Goo Goo Dolls.
    • 85 Metascore
    • 58 Critic Score
    Shelve this one next to that Adam Sandler CD you haven't listened to in four years.
    • 74 Metascore
    • 58 Critic Score
    Given that this may be your final release, this is no way to say goodbye.
    • 67 Metascore
    • 58 Critic Score
    Nearly missing are the charming sax and violin song augmentations. Gone are the tunes that are too long but always find their way back. And gone is some of Matthew's long-faced songwriting personality--now all gussied up in a swirl of quick hits, easy ballads and electric guitar.
    • 56 Metascore
    • 58 Critic Score
    At worst, a couple of the songs sound like bad Oasis remixes--"All or Nothing" comes to mind--but the good stuff can get any club (or car) hopping.
    • 71 Metascore
    • 58 Critic Score
    Plodding jazz-rock tunes that are 30 years old at this point.
    • 64 Metascore
    • 58 Critic Score
    Gone are the inspired melodies and sweet emotional turns of their past triumphant albums, replaced by boring philosophical musings and wafer-thin tunes.
    • 60 Metascore
    • 58 Critic Score
    A mixed bag at best.
    • 77 Metascore
    • 58 Critic Score
    If you're not already into it, you're not missing much.
    • 56 Metascore
    • 58 Critic Score
    But once those fleeting, producer-driven thrills die down, the remainder of the album takes a middle-of-the-road, midtempo stance that goes from covering her age issues on "17" to getting downright silly and insipid about looove with "Saturate Me."
    • 42 Metascore
    • 58 Critic Score
    His similar-sounding interpretations lose their oomph a few tracks in.
    • 54 Metascore
    • 58 Critic Score
    Though perfect for hipster English-lit teachers, ravenous Reed fans will find themselves saying "nevermore."
    • 51 Metascore
    • 58 Critic Score
    The transformation leaves her bland and boring, rather than bright like Britney or bold like [Michelle] Branch.
    • 58 Metascore
    • 58 Critic Score
    Grand Champ would make a great single. As it stands, it's about a full hour more of DMX hollering gruffly than anybody really needs.
    • 75 Metascore
    • 58 Critic Score
    While this sounds mostly like incomplete leftovers, there are a few tasty treats: The lonely guitar of "Knives Out," that dirty beat pulsating under "Pulk/Pull Revolving Doors" and the hypnotic body-ponging of "I Might Be Wrong."
    • 85 Metascore
    • 58 Critic Score
    All bluster and noise and no substance.
    • 64 Metascore
    • 58 Critic Score
    She fails to bake any new ideas, leaving us with the same old sad love songs and confused-girl anthems that the Texas torchbearer has always churned out.
    • 62 Metascore
    • 58 Critic Score
    The band sounds strong but derivative of its own best work.
    • 64 Metascore
    • 58 Critic Score
    A little less than half of this stuff is worth singing about.
    • 55 Metascore
    • 58 Critic Score
    If she had just shown up and sang her ass off, Stripped would've been a better show.
    • 58 Metascore
    • 58 Critic Score
    This is mainly just D12's other five anonymous members moaning on about the lack of credit they get by dropping the most underwhelming rhymes this side of the last Dogg Pound album.
    • 53 Metascore
    • 58 Critic Score
    A disc that sounds like it's... 1998.
    • 76 Metascore
    • 58 Critic Score
    10 mediocre new songs.
    • 55 Metascore
    • 58 Critic Score
    His voice is rough, the melodies fall flat, and there's even a guitar solo by Eric Clapton.
    • 68 Metascore
    • 58 Critic Score
    After too many calls for the end of humanity and playing the Satan card a few times, all the yelling becomes little more than a humorless joke.
    • 79 Metascore
    • 58 Critic Score
    13
    Little gems are overwhelmed by sprawling jam tracks that, well, blur into each other.
    • 54 Metascore
    • 58 Critic Score
    The experiments sometimes work, but the album is mainly weighted down by cryptic religious ramblings that sap the pop life right out of it.
    • 47 Metascore
    • 58 Critic Score
    A few moody moments work, but this CD should come with a warning sticker that reads vacant.
    • 57 Metascore
    • 58 Critic Score
    Tracks like "Lonely No More" might strike a chord because people will think it's a funky new Maroon 5 song. However, Backstreet Boys-esque ballads like "Ever the Same" and "When the Heartache Ends" are just way too much to handle.
    • 57 Metascore
    • 58 Critic Score
    We'd rather watch the Dandys than listen to 'em.
    • 45 Metascore
    • 58 Critic Score
    Even Santana sounds bored, absentmindedly delivering Latin rock-influenced guitar licks behind a parade of stale melodies.
    • 60 Metascore
    • 58 Critic Score
    It's a well-produced disc, but the cavalcade of stars and cartoonish beats make the songs sound more dated than the originals.
    • 83 Metascore
    • 58 Critic Score
    Ultimately, it's hard to shake the feeling that something is missing.
    • 69 Metascore
    • 58 Critic Score
    The whole deal threatens to take off occasionally, but in the end, it doesn't rise beyond meandering.
    • 60 Metascore
    • 58 Critic Score
    The actual music merely offers more of the same oddly faceless brand of heavy rock the group has been cranking out since its 2002 debut.
    • 52 Metascore
    • 58 Critic Score
    Dated songs like "So Excited" and "Do It 2 Me" end up sounding like they're, well, 20 years old.
    • 64 Metascore
    • 58 Critic Score
    [It] offers only occasional flashbacks to the seedy glamour of the debut, instead settling on lightweight MOR clichés.
    • 58 Metascore
    • 58 Critic Score
    Exactly as gratingly infectious as you might expect.
    • 61 Metascore
    • 50 Critic Score
    Record buyers will find nothing as good on Atomic as the breakout bubblegum slacker-punk of "My Own Worst Enemy."
    • 77 Metascore
    • 50 Critic Score
    It's not exactly a convincing change of gears, nor is it particularly groundbreaking--unless you consider jamming as many four-letter words as possible into three minutes (on "As I Come Back") novel.
    • 77 Metascore
    • 50 Critic Score
    It's so predictable and so painfully trendy that More Than a Woman might as well have a former Mouseketeer's face on the cover.
    • 58 Metascore
    • 50 Critic Score
    Although he has sensibly cut back on the droning that defined his last disc's stand-out single "Strange Condition," this release shows few other signs of growth.
    • 60 Metascore
    • 50 Critic Score
    What once sounded like the future's music a decade ago just sounds creepy and dated now.
    • 53 Metascore
    • 50 Critic Score
    Most of Future/Present dabbles in drab mainstream pop, with songs ranging from fairy-tale cute to charmless good tunes that are weighed down by overwrought production.
    • 64 Metascore
    • 50 Critic Score
    This bummer sounds more in league with Yanni than Moby.
    • 52 Metascore
    • 50 Critic Score
    Seventy Two & Sunny breezes by with the worst kinds of countrified clichés... sung by a guy who was never meant to carry a harmony.
    • 75 Metascore
    • 50 Critic Score
    Less immediate than their brilliantly untouchable 1998 album Mezzanine, this project is unsettling, uneasy and, okay, sometimes unbearably depressing.
    • 34 Metascore
    • 50 Critic Score
    A largely boring affair.
    • 66 Metascore
    • 50 Critic Score
    Too much of the disc is filtered through clinical and slightly jazzy rock that renders it a tiny noise about nothing.
    • 60 Metascore
    • 50 Critic Score
    There's something high-concept going on here, if you listen closely enough. Sad thing is, you probably won't want to. There's something high-concept going on here, if you listen closely enough. Sad thing is, you probably won't want to.
    • 52 Metascore
    • 50 Critic Score
    Predictably packed with hip-hoppy dance numbers and chiming ballads that don't dare push her vocal range, J.Lo vibelessly goes through a series of songs about love, fidelity and how real she is.