Los Angeles Times' Scores

For 1,313 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:
1,313 music reviews
    • 98 Metascore
    • 90 Critic Score
    The new box set does indeed help shed new light on the music and the entire project by way of the various bonus features that now accompany the original album... To paraphrase Rod Stewart, every album may indeed tell a story, but some stories are dramatically more compelling than others. The story of "Graceland" is one of the most compelling in all of pop music.
    • 97 Metascore
    • 100 Critic Score
    "Smile" emerges as a beautiful and cohesive work, at times deeply moving, at others oddly whimsical, at still others eerily disturbing but celebratory. [27 Sep 2004]
    • Los Angeles Times
    • 96 Metascore
    • 90 Critic Score
    This record is so expansive that it's tough to wrestle into shape, even as it overflows with wit, smarts and a masterful skill of the language and phrasing.
    • 96 Metascore
    • 63 Critic Score
    He [Brian Wilson] more skillfully balanced inspiration and aspiration elsewhere.
    • 95 Metascore
    • 100 Critic Score
    Rife with the kind of sublimely loose grooves achievable only through instrumental precision, Black Messiah is as vital as it is sublime.
    • 94 Metascore
    • 100 Critic Score
    You want immaculate structure and production, there are plenty of albums available. You want the sound of life, of a voice summoning all its powers to shake a room and be heard, this recording is waiting.
    • 94 Metascore
    • 100 Critic Score
    The Promise album, with gems like the Crystals' homage "Ain't Good Enough for You" and the lilting ballad "Candy's Boy" (a far cry from "Darkness' " aggressively lustful revision "Candy's Room") showcases the danceability, catchiness and even sentimentality Springsteen had to rein in to create "Darkness."
    • 92 Metascore
    • 100 Critic Score
    It's almost too much, really, but Waits doesn't release albums very often, so you can make it last.
    • 92 Metascore
    • 88 Critic Score
    A dance syncretism made of menacing beats skittering from dark dancehall to mashed-up jungle, super-warped bass frequencies, stark anti-hooks, and a voice that is the most authentic to emerge in years. [18 Jan 2004]
    • Los Angeles Times
    • 91 Metascore
    • 100 Critic Score
    OutKast's duo have made a cohesive statement that not only cries at the boundaries of rap music but vaults over them to a place where the music sounds like neon colors and the only rule is that you must free your mind. Your ears will follow.
    • 91 Metascore
    • 88 Critic Score
    It's a masterpiece of storytelling, empathy in the midst of chaos.
    • 91 Metascore
    • 88 Critic Score
    The production is as dry as old wallpaper. But as a kind of Art Brut storytelling, it is magnificent.
    • 91 Metascore
    • 100 Critic Score
    While hearing the band tear through early takes on pillars from the trumpeter's electric period such as "Miles Runs the Voodoo Down" and "Spanish Key," it's hearing the band upend some of Davis' older material that may be most striking.
    • 91 Metascore
    • 88 Critic Score
    At times, the fumes of ambition are so thick off "The ArchAndroid," it's hard to absorb in one sitting. All the same, it's a star-making debut.
    • 91 Metascore
    • 100 Critic Score
    With The Guitar Song, he's made an ambitious work that goes down easy. Johnson may masquerade as a throwback but what he really aims for is timelessness, and he usually hits his mark.
    • 90 Metascore
    • 100 Critic Score
    The tone of subdued romanticism is balanced by a fine, seductive sense of melody and arrangement. [3 Jul 2005]
    • Los Angeles Times
    • 90 Metascore
    • 88 Critic Score
    While it's great to have the old albums re-mastered, the real draw here are the remixes and the concert performances.
    • 90 Metascore
    • 88 Critic Score
    Tasty cuts abound here, but Sir Lucious is most enjoyable as a complete listening experience.
    • 90 Metascore
    • 100 Critic Score
    Tom Petty, another classic rocker, has assembled an impressive collection of his live work with his band the Heartbreakers that's similar in spirit to Young's remarkable anthology if not quite as expansive.
    • 90 Metascore
    • 88 Critic Score
    Z
    "Z" moves away from the more overt Band and "The Notorious Byrd Brothers" references, closer to a convergence of Who-like playfulness and drive with R.E.M. mystery. [2 Oct 2005]
    • Los Angeles Times
    • 89 Metascore
    • 88 Critic Score
    Headphone rap of the highest order, tracks on this sequel hum and groove, laced with texture and hidden sonic accents.
    • 89 Metascore
    • 90 Critic Score
    This swinging, sometimes mournful, often tender set of 10 songs proves an easy album to, well, love. [25 Aug 2006]
    • 89 Metascore
    • 100 Critic Score
    It's essential 2012 listening for anyone interested in popular music as art.
    • 89 Metascore
    • 88 Critic Score
    Animal Collective still struggles with effective counterweights to its euphoric beauty--the attempt at romance on 'Bluish' is off-putting and some of the murkiness can exhaust and undermine--but it shifts so rapidly, with such conviction, that it's more fun to hunker down and surrender.
    • 89 Metascore
    • 88 Critic Score
    Clark wrote or co-wrote all 12 of these songs with the feistiness of Loretta Lynn and the songwriting gift of Dolly Parton.... This is the country debut of the year.
    • 89 Metascore
    • 88 Critic Score
    This 11-track album--the second collection of collaborations by Touré and the Malian kora player Toumani Diabeté--doesn't sound like death. Rather, it's an early contender for the warmest, most life-affirming listen of 2010.
    • 89 Metascore
    • 75 Critic Score
    There's a cold efficiency in how the Clipse delivers songs built on street-corner cockiness and billfold bluster. It's all shamelessly amoral, but the Clipse wouldn't be such savvy hustlers if they didn't know how to sling with style.
    • 89 Metascore
    • 75 Critic Score
    As spread over four CDs and a DVD, "There's a Dream" is a lot to consume, especially if you're not into Hazlewood's in-your-face approach.... Best, though, are some of Hazlewood's sides with Ann-Margret, recorded in Nashville.
    • 88 Metascore
    • 88 Critic Score
    Incisive, cutting and verbally dexterous, if a little overwhelming in a single sitting, Barnett's best new songs — "Pedestrian at Best," "Depreston" and "Debbie Downer" among them--inject memorable heft into timeless rock terrain formerly explored by Polly Jean Harvey, young and angry Elvis Costello, Courtney Love and Kurt Cobain.
    • 88 Metascore
    • 100 Critic Score
    Brash, polarizing, fearless and filled with a purity of vision that would make Col. Kurtz blanch.