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 2.7 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Okonokos [Live]
Lowest review score: 0 I Get Wet
Score distribution:
  1. Negative: 11 out of 787
787 music reviews
    • 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.
    • 66 Metascore
    • 50 Critic Score
    Rife with hyper-marketable flamenco guitars and jazz pianos, it's world music for people whose idea of adventure is a trip to Banana Republic.
    • 65 Metascore
    • 50 Critic Score
    Aside from some cool collaborations with Missy Elliott, Twista and Method Man, Kim spends most of the album lecturing her fans with less-than-stimulating lines.
    • 56 Metascore
    • 50 Critic Score
    His crisp voice has dulled, and his inspiration has gone with it.
    • 71 Metascore
    • 50 Critic Score
    It sounds like he wrote his lyrics by taking random words out of a thesaurus.
    • 77 Metascore
    • 50 Critic Score
    This collection of quirky tunes is largely directionless, with Gough's indistinct voice sounding lost and uncertain in a swell of pianos, strings and horn arrangements.
    • 51 Metascore
    • 50 Critic Score
    The fortysomething performer doesn't have the stamina he used to, and the album quickly turns into a long run of listless ballads and silly cries for privacy.
    • 53 Metascore
    • 50 Critic Score
    It doesn't help that the best song here, "Feel," sounds like a bad Richard Ashcroft B-side; the worst is a seven-minute mariachi stomp about traveling to Las Vegas with a monkey, called "Me and My Monkey."
    • 58 Metascore
    • 50 Critic Score
    Most of the good parts of the Britney that originally hit us, baby, one more time (then oops!...did it again) drown in breathy vocals and multiproduced, tweaked-to-perfection studio gimmickry.
    • 63 Metascore
    • 50 Critic Score
    Sadly, Keith's least-clever disc yet was almost completely written by him for the first time.
    • 71 Metascore
    • 50 Critic Score
    If he approached these songs with the slightest hint of subtlety, he might get his point across, but he's happy just hammering everyone with his trailer-park politics.
    • 37 Metascore
    • 50 Critic Score
    Fails to whip up much excitement.
    • 59 Metascore
    • 50 Critic Score
    While the band's wounded vulnerability and breathy melodrama will probably imitate enough to sell well, this is predictable second-rate stuff.
    • 59 Metascore
    • 50 Critic Score
    She throws so much sparkle, shine and, yes, glitter at us that even tracks about her friend's suicide and her recent breakup are as glossy as her latest publicity shot.
    • 65 Metascore
    • 50 Critic Score
    What sounds great on paper feels like hollow tribute on closer inspection.
    • 72 Metascore
    • 50 Critic Score
    Up!
    The album is so "been there, done that" that Twain often sounds like she's ripping herself off.
    • 70 Metascore
    • 50 Critic Score
    Gold Medal's tempos are sluggish and the lyrics are emotionally vacant.
    • 65 Metascore
    • 50 Critic Score
    Velvet Revolver sounds like a hungover bar band playing catch-up, wading through tired blues licks and meaningless grunge imagery.
    • 57 Metascore
    • 50 Critic Score
    At their best they sound like a female Black Sabbath tribute band, at their worst they sound like slutty old goth rockers. Frankly, neither is all that appealing.
    • 52 Metascore
    • 50 Critic Score
    The first word that comes to mind while listening to Destiny Fulfilled is: boring!
    • 64 Metascore
    • 50 Critic Score
    His pontification gets in the way of his songwriting.
    • 52 Metascore
    • 50 Critic Score
    Shows the SoCal outfit mining the same bright pop-rock riffs that are being done better by the younger kids today.
    • 50 Metascore
    • 50 Critic Score
    Sure, sanitary party jams like "Switch" will get the PTA meeting rocking, but there's just no getting around Smith's insipid rhymes.
    • 73 Metascore
    • 50 Critic Score
    The B. Coming attempts to document the emotional upheaval Sigel went through during his trial and conviction, but from the start the sober moral tone and forced gospel choruses make it obvious the MC's mind is on other matters.
    • 64 Metascore
    • 50 Critic Score
    A set of predictable, plastic, street-tough R&B jams.
    • 72 Metascore
    • 50 Critic Score
    The First Lady should be the last album on anyone's shopping list.
    • 59 Metascore
    • 50 Critic Score
    For the most part, the vitality is gone.
    • 40 Metascore
    • 50 Critic Score
    Even if they aren't Never Gone, their inspiration certainly is.
    • 48 Metascore
    • 50 Critic Score
    Chapter V is merely a carbon copy of, uh, chapters I-IV, simply rehashing the same punishing riffs and self-pitying lyrics.
    • 51 Metascore
    • 50 Critic Score
    It's business as usual.
    • 70 Metascore
    • 50 Critic Score
    Though not terrible, Trey Anastasio's latest is miles below what he's done before.
    • 56 Metascore
    • 50 Critic Score
    A frustratingly half-assed album, full of great ideas executed in the poorest way possible.
    • 55 Metascore
    • 50 Critic Score
    Anyone order more of the same?
    • 64 Metascore
    • 50 Critic Score
    Has a polish that verges on parody.
    • 67 Metascore
    • 50 Critic Score
    Feels like it was designed by committee.
    • 67 Metascore
    • 50 Critic Score
    In the end, Island makes Dave sound like he's just not enthusiastic about making music anymore.
    • 71 Metascore
    • 50 Critic Score
    The end result of all this sermonizing will likely inspire you not to renounce sin and its sordid ways, but feel the itch to grab some hooch and a few George Jones albums and have a rip-roaring time.
    • 69 Metascore
    • 50 Critic Score
    Despite a few promising creative bursts ("Love," "Black Sweat"), it's another case of dashed expectations, as the disc dissolves into a bloodless puddle of smooth-jazz grooves and lyrics that wither at the hands of the singer's recent religious ideals.
    • 76 Metascore
    • 50 Critic Score
    [A] thoroughly underwhelming debut, an album that merely paints within the lines already drawn by Pavement and the Pixies.
    • 69 Metascore
    • 50 Critic Score
    A thoroughly dull collection of acoustic-based country-rock ballads you could hear at any local open-mike night.
    • 40 Metascore
    • 50 Critic Score
    Employing actress Brittany Murphy on the ridiculous "Faster Kill Pussycat" hardly helps, as does reducing Pharrell Williams' talent with a caricature of a tune like "Sex 'N' Money."
    • 69 Metascore
    • 50 Critic Score
    Weighed down with bland lyrics and blander arrangements, it meanders off into chick-rock clichés and lazy easy-listening melodies.
    • 52 Metascore
    • 50 Critic Score
    There's nothing as instantly likable as "Frontin'," and even with the presence of some bigwig collaborators the disc sounds strangely inspiration-free.
    • 48 Metascore
    • 50 Critic Score
    Only the faux-reggae of "Jamaican Girl" lets some much needed light in between the blinds.