Los Angeles Times' Scores

For 1,330 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Shadows in the Night
Lowest review score: 25 Based on a T.R.U. Story
Score distribution:
1,330 music reviews
    • 59 Metascore
    • 60 Critic Score
    It's an impressively focused and clever work. But this music is not transcendent. It's still stuck in Marshall Mathers' muck, his fundamental mistrust of pleasure and love.
    • 67 Metascore
    • 60 Critic Score
    This is pop music, and it's all in good fun.... I just wish the recipe would have included a touch more poetry.
    • 52 Metascore
    • 50 Critic Score
    At a time when newer acts, from fringe to mainstream, are moving the band's old ideas forward, Duran Duran needs to do more than just mix in the blips and bleeps of contemporary dance music to prove it has something to contribute. [31 Oct 2004]
    • Los Angeles Times
    • 57 Metascore
    • 50 Critic Score
    Ultimately, all his genre-grazing makes him seem slippery rather than adventurous.
    • 66 Metascore
    • 50 Critic Score
    It's all very fun and creative, but, ironically, the duo fall into the common hip-hop traps of being short on actual hooks and not knowing when to edit themselves. [15 Dec 2004]
    • Los Angeles Times
    • 75 Metascore
    • 50 Critic Score
    There are exceptions, but most of "Talkie Walkie" is static and not fleshed out, like a perfectly produced series of unfinished demos.
    • 51 Metascore
    • 50 Critic Score
    There's a sense of urgency when he is inspired by the production backing him, but when the beats coast along without much flair, Method Man does the same.
    • 53 Metascore
    • 50 Critic Score
    It's like a series of beats in search of a firestarter. [3 Oct 2004]
    • Los Angeles Times
    • 65 Metascore
    • 50 Critic Score
    She's sounding as genre-bound in her way as the synthetic singers she was supposed to be a relief from.
    • 72 Metascore
    • 50 Critic Score
    The Roots have always been more about the music than the lyrics, but "Tipping Point" excels at neither. [11 Jul 2004]
    • 61 Metascore
    • 50 Critic Score
    McGraw's album leans heavily on the soap opera-ish tales that have brought him his biggest successes. [5 Sep 2004]
    • Los Angeles Times
    • 53 Metascore
    • 50 Critic Score
    Each shimmering track lights a momentary spark, but the attraction proves fleeting. [6 Feb 2005]
    • Los Angeles Times
    • 63 Metascore
    • 50 Critic Score
    Not surprisingly, the music is heavy on acoustic guitars and steel drums, light on powerhouse percussion, making for a musical tour as relaxing as a ride in a hammock strung between two palm trees. And about as uneventful. [23 Jan 2005]
    • Los Angeles Times
    • 52 Metascore
    • 50 Critic Score
    Oddly, the production in most songs allows lots of open sonic space that reinforces the wispiness of her voice, which rarely ventures out of a mid-range comfort zone. Beyoncé she ain't, much less Alicia. [27 Feb 2005]
    • Los Angeles Times
    • 66 Metascore
    • 50 Critic Score
    Once you get past the surface attractions, Sam Endicott's arch singing and rock-rebel posturing are forced, and his production is as stiff as the mechanical discoid rhythms. [24 Apr 2005]
    • Los Angeles Times
    • 64 Metascore
    • 50 Critic Score
    Her sadly depleted voice is again propped up by multi-tracking, and the occasional dog-deafening shriek hardly proves she's recaptured her early acrobatic power. [10 Apr 2005]
    • Los Angeles Times
    • 51 Metascore
    • 50 Critic Score
    [His] mature eroticism is undone by overwrought production, eventually drowning every track in layers of instrumentation, vocals and other sonic drama. [31 Jul 2005]
    • Los Angeles Times
    • 63 Metascore
    • 50 Critic Score
    There might be a compelling story in there, but when the Furnaces' songs come in to elaborate on her tales... it's all but impossible to figure out what's going on. [6 Nov 2005]
    • Los Angeles Times
    • 68 Metascore
    • 50 Critic Score
    The challenge in coming back for Round 2 was to make it more than a one-note joke, but the Darkness remains in its Spinal Tap mode for most of "One Way Ticket." [6 Dec 2005]
    • Los Angeles Times
    • 53 Metascore
    • 50 Critic Score
    Hoobastank's newest album has more of the same, mingled with some energetic, inoffensive, mostly forgettable harder rocking tunes. [16 May 2006]
    • Los Angeles Times
    • 40 Metascore
    • 50 Critic Score
    Instead of finding a different voice as a writer and producer of original material, Oakenfold seems trapped by dance-music genre conventions. [28 May 2006]
    • Los Angeles Times
    • 72 Metascore
    • 50 Critic Score
    "Idlewild" leaves the ears longing for something. Coherence, basically. There's no sustaining mood, no clear message, only Benjamin and Patton's efforts to outdo whatever they came up with last.
    • 65 Metascore
    • 50 Critic Score
    It may not be fair to rag on the group for picking the wrong decade to rip off, but right now Kasabian's allegiance to the '90s sounds especially uninspired.
    • 66 Metascore
    • 50 Critic Score
    A sense that his musical vision hasn't stalled in 1978 might add some urgency. Some kind of retooling might also help with his larger problem: trying to do the same job with old equipment. [11 Sep 2006]
    • Los Angeles Times
    • 58 Metascore
    • 50 Critic Score
    The problem is the Duchess herself. Fergie exudes earthy charm, but can't keep up with the breakneck music. She forces emotion on the slower show-stoppers, and she's all cartoon kitten on the come-ons. [17 Sep 2006]
    • Los Angeles Times
    • 62 Metascore
    • 50 Critic Score
    It certainly weaves a wide range of up-to-the-second pop styles into the mix: throwback '70s funkiness, dance music's two-step and drum 'n' bass, new-wave soul.... Still, he is no Prince.
    • 44 Metascore
    • 50 Critic Score
    It doesn't have the kind of force and power that would show the kids how it should be done.
    • 72 Metascore
    • 50 Critic Score
    Freeway's penchant for ham-handed hooks and emotionally flat attempts at introspection ('I Cry') and romance ('Take It to the Top') reveal, over the course of these 14 songs, an ultimate two-dimensionality.
    • 73 Metascore
    • 50 Critic Score
    The sounds are largely tepid arrangements that fail to generate much excitement.
    • 54 Metascore
    • 50 Critic Score
    Other than the album's highlight, the resonant break-up song "Still Missin'," Mail on Sunday rarely delivers.