HOB.com's Scores

  • Music
For 101 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 4.4 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 90 White Blood Cells
Lowest review score: 0 Duke Lion Fights The Terror!!
Score distribution:
  1. Positive: 74 out of 101
  2. Negative: 3 out of 101
101 music reviews
    • 95 Metascore
    • 70 Critic Score
    As the tracks shift from smooth R&B to frantic, drum machine driven beats, Outkast prove able to pull from a big enough bag of tricks as rappers to remain unpredictable. The problem is that they come out of it all without having left any defining mark on the songs. It's almost as if Stankonia would be more memorable if the duo stuck to one sound, one rhythm, and one train of lyrical thought.
    • 91 Metascore
    • 70 Critic Score
    Their album is little more than thirty minutes and eleven versions of the same song. But damn if that one song isn't a good one.
    • 88 Metascore
    • 70 Critic Score
    The material is perfectly suited to Hammond's subtle syncopation and sauntering vocals. The warmth of the recording makes it seem all the more like listening to a master storyteller sharing tales that have been passed down through generations.
    • 88 Metascore
    • 80 Critic Score
    The combination of bombastic musings and ethereal compositions is not simply a grab bag of past accomplishments, or a recycling of what works, but a record that yields a wholly different result: An easy sounding album, upbeat and surprisingly positive with not much forced.
    • 86 Metascore
    • 90 Critic Score
    The White Stripes' songs are so strong, so deliciously simple, it's genius.
    • 86 Metascore
    • 70 Critic Score
    This of course is the power of mountain music, the weight it gives to simple instruments and simple folk, and for all of Parton's talents, singing in this medium may very well be her best.
    • 85 Metascore
    • 80 Critic Score
    A collection of near perfect (and brief, yes!) lo-fi pop tracks that openly mine the sonic groundwork laid by The Cars, Squeeze and even Led Zeppelin.
    • 84 Metascore
    • 70 Critic Score
    Emotionally generous to the point of near biography, the Red House Painters win over listeners with their ability to dress even the most depressing song in lyrical warmth...
    • 83 Metascore
    • 80 Critic Score
    Here the trio trade in the constant reliance on the fuzzed out guitars that led the charge of their steady rise through obscurity for the more subdued moments that have occasionally reared up in past projects.
    • 83 Metascore
    • 70 Critic Score
    The weaknesses of this ten song collection come in the occasional over orchestration found on some tracks that would do well in succumbing to the subtlety that Lynne and her producer Bill Bottrell have mastered in other spots.
    • 82 Metascore
    • 80 Critic Score
    It's impressive enough that Wainwright doesn't have the whole orchestra playing at once. But his well thought out arrangements are only the finishing touches on songs that would have held up even if he was given little more than a guitar and a pocket tape recorder to work with.
    • 82 Metascore
    • 80 Critic Score
    Alvin injects these historic tunes with his own modern flavoring that keeps them fresh in light of their aging repose.
    • 81 Metascore
    • 70 Critic Score
    Smith makes a valiant effort to match the austere beauty of XO... Still, he falls short on the most important element of his songs, the vocal melodies.
    • 81 Metascore
    • 80 Critic Score
    What is most striking about The Sophtware Slump, besides the band's resonating compositions, is its subtle approach towards invoking a strong cathartic response. It's at times a sleepy record with songs that only work as an afterthought, or only make sense when you can focus enough attention on what the band is actually saying. But it has just enough on the surface to strike an initial interest that unfolds, sometimes slowly, sometimes quickly, into the many brilliant aspects of this album and band.
    • 81 Metascore
    • 80 Critic Score
    This is more of simply Hersh and an acoustic guitar than her last effort (1999's Sky Motel), but that just gives the appearance of other instruments greater effect. The emotional weight of her often unorthodox sentiments comes from subtle mastery of dynamics.
    • 80 Metascore
    • 70 Critic Score
    Yes, they tried something different, but they kept it accessible. Just as with the last album's guitar-rock-on-tranquilizers, if Kid A's mood music changes the world it will be precisely because it is mainstream, not because it is revolutionary.
    • 80 Metascore
    • 80 Critic Score
    Even the ample cast of guests on The W seems less like a blatant attempt to boost its first week sales than simply a welcome attempt to add to its stylistic diversity. The result is something almost as rare as getting the entire Wu-Tang Clan together: a mainstream rap album that actually sounds like an album instead of a long-playing single.
    • 80 Metascore
    • 80 Critic Score
    Not as immediate as Keep It Like A Secret, or as unified on the sonic surface, but with enough patience, Ancient Melodies of the Future resonates on a level that connects the band's body of work, while also taking it a step further.
    • 80 Metascore
    • 80 Critic Score
    So at 68 he's still able to churn out songs that are immediately likable, if not instantly classic. For a man who's seemingly suffered from every ailment imaginable in the past few years, his signature baritone remains as strong and expressive as ever, too.
    • 80 Metascore
    • 80 Critic Score
    One of the better albums released this year...
    • 79 Metascore
    • 70 Critic Score
    In The Mode is far from an innovative lyrical masterpiece. But then, it's not supposed to be. The rapping, singing, and general noisemaking of vocalists Dynamite MC, Onallee, and guests Method Man and Rahzel serve a far more critical purpose than merely adding hollow words. Unspectacular in their own right, the vocals here are what bind together the bursts of musical thought into a fluid whole.
    • 79 Metascore
    • 70 Critic Score
    Furtado occasionally comes off sounding like a modern day Billie Holiday with her crisp, yet subtle vibrato filtering through a slick production that holds the record together. But while one can easily detect a smattering of her worldly intentions, it's the big one eyed pop monster that seems to win out in almost every instance.
    • 78 Metascore
    • 80 Critic Score
    This self-titled effort is the kind of wall-to-wall spitting, snarling aggression that they haven't fully unleashed on the world since Let's Go.
    • 78 Metascore
    • 40 Critic Score
    The problem is that he's just not that funny. For someone who takes such pleasure in spouting off on everything and everyone, from fans and critics to boy bands and label executives, Eminem really has nothing to say.
    • 77 Metascore
    • 70 Critic Score
    A haunting through line of notes that impact wonderfully in stirring the darker recesses of the mind.
    • 77 Metascore
    • 70 Critic Score
    There are times when a few rough edges might make these songs more compelling.
    • 77 Metascore
    • 70 Critic Score
    The tight focus on craft and detail within the simple compositions and deep emotions Mojave 3 display on their third album, Excuses for Travelers, is something to take note.... Halstead's writing compares closely to Wilco, and Hank Williams on occasion...
    • 76 Metascore
    • 60 Critic Score
    Turin Brakes' music consists largely of the same kind of contemplative minor key laments that one might hope to hear from Elliott Smith...
    • 76 Metascore
    • 80 Critic Score
    Lyrically, Haunted progresses from timid to defiant, and ultimately to triumphant. Musically, Poe drifts confidently from trippy beats and spacy sounds to straight ahead rock and mellow, melancholic numbers, though not always in such a way as to strictly parallel the dramatic flow of the album's lyrics. All that means, though, is that this is a dynamic collection of songs and not merely the kind of high-minded rock opera that quickly goes from interesting novelty to pretentious joke. Ignore everything but what comes out of the speakers, and you've got a pop treasure that is as innovative and insightful as it is immediate and unforced.
    • 75 Metascore
    • 60 Critic Score
    PRG has obviously matured to a point that allows them to avoid formula and the pressures of writing another hit song. This is both for the better and for the worse as PRG deliver an album that at times is both graceful pop art and long-winded pontification.