Entertainment Weekly's Scores

For 3,111 reviews, this publication has graded:
  • 80% higher than the average critic
  • 1% same as the average critic
  • 19% lower than the average critic
On average, this publication grades 5.3 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 Let England Shake
Lowest review score: 0 Playing With Fire
Score distribution:
3,111 music reviews
    • 74 Metascore
    • 100 Critic Score
    Lush, high-plains soundtrack music. [1 Nov 2002, p.70]
    • 79 Metascore
    • 100 Critic Score
    The overall tone remains knowing and playful.
    • 82 Metascore
    • 100 Critic Score
    Another set of songs that are political and unflinchingly personal, but still manage to entertain. [7 June 2002, p. 76]
    • 86 Metascore
    • 100 Critic Score
    In wedding bluegrass with the Appalachian sound of her youth, Parton, who wrote half of the material and reprises her classic ''Down From Dover,'' repeatedly explores her favorite theme -- romantic betrayal -- and turns in a powerful performance, augmented by the best of bluegrass' hot pickers
    • 88 Metascore
    • 100 Critic Score
    This blissful joy ride is hard to resist and easy to love.
    • 80 Metascore
    • 100 Critic Score
    A lovely surprise. [17 Aug 2001, p.72]
    • 85 Metascore
    • 100 Critic Score
    The results are astonishing. [26 July 2002, p.68]
    • 75 Metascore
    • 100 Critic Score
    A magisterial album.... If the group has cast off some of the youthful eclecticism, the three Chicks have pulled off something more difficult: refined their trademark sound without allowing it to turn into a copyrighted formula.
    • 80 Metascore
    • 100 Critic Score
    Although he can be self-righteous, scattered, and grim, a team of truly youthful-minded producers is there to color the gray.
    • 75 Metascore
    • 100 Critic Score
    Betke masterfully manipulates space and echo. [25 Apr 2003, p.151]
    • 72 Metascore
    • 100 Critic Score
    The sweetly pained vocals sound darn similar to Beth Orton's. [25 Apr 2003, p.151]
    • 75 Metascore
    • 100 Critic Score
    A perfect 41-minute album that balances wide-open melodic inventions with crisp, time-stopping grooves. [Listen 2 This supplement, Feb 2003, p.10]
    • 79 Metascore
    • 100 Critic Score
    Wipe away its dusting of frost and you'll encounter mystery, beauty, and alluring rhapsodies, with the warm, pulsating beats serving as the music's heart.
    • 80 Metascore
    • 100 Critic Score
    Though the Man in Black has rarely sounded blacker, producer Rick Rubin frames that deep sea voice with harmonies and churchly organs, making for a dark angel beauty of an album that's austere but welcoming.
    • 68 Metascore
    • 100 Critic Score
    A glorious blend of punk and power pop straight outta '78. [22/29 Aug 2003, p.133]
    • 82 Metascore
    • 100 Critic Score
    With Broadway-worthy new standards, and a strong supporting cast, Wainwright delivers a flawless, flip-flopless performance. [8 June 2001, p.76]
    • 85 Metascore
    • 100 Critic Score
    They're profane, bursting with rage and lust, and they deliver more laughs than anyone since Richard Pryor.
    • 79 Metascore
    • 100 Critic Score
    As hopelessly antiquated as it may sound in the year 2000, it's as if they decided it was time to write and record an album of very good, extremely substantial traditional rock songs with an underlying inspirational bent.... the new work focuses on songs, not sonic gimmicks, and the difference is palpable.
    • 79 Metascore
    • 100 Critic Score
    Practically every song is a near-perfect amalgam of straight-up melodies and pogoing beats. [5 Nov 2004, p.80]
    • 95 Metascore
    • 100 Critic Score
    Stankonia reeks of artful ambition rendered with impeccable skill -- or as one song title so concisely has it, ''So Fresh, So Clean.''
    • 73 Metascore
    • 100 Critic Score
    Much of the credit for this catchy set of Britpop goes to the intelligent use of samples. [2 Apr 2004, p.66]
    • 89 Metascore
    • 100 Critic Score
    The year's best hard-rock album. [6 Sep 2002, p.86]
    • 79 Metascore
    • 100 Critic Score
    Apple's piano trundles, the strings loom, the beats clop; everything, including her throaty voice, has alluring dark circles under it. With their hints of cabaret, tango, and doomed chanteuses, the melodies slither rather than pummel you.
    • 70 Metascore
    • 100 Critic Score
    From start to powerful finish 16 tracks later, Scorpion pumps up the volume, the rhythms, everything.
    • 82 Metascore
    • 100 Critic Score
    11 irresistible sound collages that feature driving beats, amiable guitar acoustics, and a quadraphonic sense of aural play that encourages rampant headphone abuse. [15 Feb 2002, p.68]
    • 87 Metascore
    • 100 Critic Score
    Lovely, heartbreaking, and just diffident enough to get perspective on this bittersweet old world. [26 Sep 2003, p.94]
    • 86 Metascore
    • 100 Critic Score
    It's not all darkness: The Brighton, England-based quintet offers enough straight-ahead rockers to keep the CD from turning into dirge overkill. [Oct 2003, p.95]
    • 79 Metascore
    • 100 Critic Score
    Sophisticated stuff even for a music vet; truly stunning considering McKay is only 19.
    • 80 Metascore
    • 100 Critic Score
    The disc's gritter sound, courtesy of producer Steve Earle, is a perfect complement to Sexsmith's "Waterloo Sunset" croon... [6/8/2001, p.76]