For 1,600 reviews, this publication has graded:
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62% higher than the average critic
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3% same as the average critic
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35% lower than the average critic
On average, this publication grades 0 points lower than other critics.
(0-100 point scale)
Average Music review score: 73
| Highest review score: | Chemtrails Over the Country Club | |
|---|---|---|
| Lowest review score: | The New Game |
Score distribution:
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Positive: 1,362 out of 1600
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Mixed: 176 out of 1600
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Negative: 62 out of 1600
1600
music
reviews
- By Date
- By Critic Score
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- 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
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- Critic Score
Each shimmering track lights a momentary spark, but the attraction proves fleeting. [6 Feb 2005]- Los Angeles Times
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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
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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
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- 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
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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
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[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
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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
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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
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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
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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
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"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.- Los Angeles Times
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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.- Los Angeles Times
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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
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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
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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.- Los Angeles Times
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It doesn't have the kind of force and power that would show the kids how it should be done.- Los Angeles Times
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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.- Los Angeles Times
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The sounds are largely tepid arrangements that fail to generate much excitement.- Los Angeles Times
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Other than the album's highlight, the resonant break-up song "Still Missin'," Mail on Sunday rarely delivers.- Los Angeles Times
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E=MC2 is a little better--the songwriting is more consistent, the feel a bit more natural--but it too lacks a ruling temperament or artistic vision.- Los Angeles Times
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The ho-hum tunes on Forgiven won't flip your wig, but the playing-- particularly in the three cuts featuring Dr. John on the keys--oozes bone-deep feeling throughout.- Los Angeles Times
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Although her songs occasionally feature the alto piano of Apple or the otherworldly trilling of Morissette or Björk, her voice can sound thin and inconsistent, giving the whole thing a somewhat derivative feel.- Los Angeles Times
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More often than not, though, Nas offers windy whines instead of innovative ideas.- Los Angeles Times
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- Los Angeles Times
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Even in the heavier material on Black Butterfly these guys make more room for melody than they ever have before.- Los Angeles Times
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One just wishes the band did it with a bit more grace and inventiveness than on Appeal to Reason, where straight-outta-the Nation song titles like 'Collapse (Post-Amerika)' and 'Re-education (Through Labor)' disguise some pretty conservative ideas about how modern mainstream punk should sound.- Los Angeles Times
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The addition of superstar producer Robert John "Mutt" Lange to the mix ensures that everything here is as radio friendly and mainstream minded as heavy guitar rock gets.- Los Angeles Times
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Between this and the first "Alone" installment, there's enough gristle for the third-best Weezer album as yet unmade. Cuomo's Patron problems are beatable--it's the "Pork & Beans" that's really derailed him lately.- Los Angeles Times
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The cartoonish sound compensates for Spears' lack of range and lung power by allowing her to ham it up.- Los Angeles Times
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