Los Angeles Times' Scores

For 1,445 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 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Red Gone Wild: Thee Album
Lowest review score: 25 Paralytic Stalks
Score distribution:
1445 music reviews
    • 74 Metascore
    • 60 Critic Score
    By the time the band rumbles into album-closer “Glendale Junkyard,” its engine may be glowing and the radiator overheating, but somehow the wreckage has stayed intact, no worse for the wear.
    • 65 Metascore
    • 60 Critic Score
    On Made in the A.M. the group takes advantage of its nothing-to-lose position with a handful of cuts that feel even loosey-goosier than usual.
    • 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.
    • 65 Metascore
    • 60 Critic Score
    AIM
    It’s an unpredictable mix of sharp, artful commentary, wildly creative song making and, despite the album’s title, plenty of aimless, indulgent meandering.
    • 67 Metascore
    • 60 Critic Score
    Working together, they [Mark Ronson, Beck, Father John Misty and dudes from detail-obsessed rock bands like Queens of the Stone Age and Tame Impala] assemble some gorgeous pieces. ... Yet other songs, for all their vivid sonic color, lack strong stories.
    • 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.
    • 58 Metascore
    • 60 Critic Score
    The default setting is polished professionalism; rawness actually takes time. And here Shelton seldom pushes beyond that finesse to reach something less smooth. Which doesn’t mean If I’m Honest isn’t pleasure.
    • 57 Metascore
    • 50 Critic Score
    The weird aftertaste of Raditude isn't that Cuomo has so surrendered the oddball charm of his band's first two albums, though. It's that his late-career pursuit of mindless, opulent fun is so transparent that it almost taps a deeper vein of interior sadness than anything on "Pinkerton."
    • 75 Metascore
    • 50 Critic Score
    The album's polished, middle-of-the-road approach isn't exactly for everyone, but its agreeable heart doesn't hit any sour notes, either.
    • 69 Metascore
    • 50 Critic Score
    The singer cuts loose only as '8th Wonder' winds down, building to the kind of fury that causes one to wonder what this album could've been with less polish and a lot more Ditto, unfiltered.
    • 57 Metascore
    • 50 Critic Score
    The 11 new songs, Kiss' first since 1998's "Psycho Circus," hardly deviate from the band's time-proven formula.
    • 59 Metascore
    • 50 Critic Score
    Gloriana's pop acumen (and virtuoso hair-care abilities) are a sure bet to fill arenas very soon, but they shouldn't forget to toss an occasional 'Landslide' in for the grizzled oldsters out there.
    • 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
    • 47 Metascore
    • 50 Critic Score
    Consider it a musical Snuggie for tottering Valley party girls--it will feel marvelous in the cold, drunken and lonely hours of the night.
    • 78 Metascore
    • 50 Critic Score
    She's clearly capable of belting a worthy song out of the park, but once again she's hampered by bloop singles and the infrequent double.
    • 71 Metascore
    • 50 Critic Score
    More often than not, though, Nas offers windy whines instead of innovative ideas.
    • 77 Metascore
    • 50 Critic Score
    The King Is Dead clings so closely to formula that it doesn't sound like homage or even truth; it sounds like the studious but unconvincing work of an extremely gifted mimic.
    • 55 Metascore
    • 50 Critic Score
    Most of the dozen tracks on Partners-- which features duet partners such as Michael Bublé, Andrea Bocelli and the singer’s son, Jason Gould--offer no such vantage [of a whole other way of looking at [a] song].... Yet there is strong work here--four songs that live up to the singer's stated ambition.
    • 60 Metascore
    • 50 Critic Score
    Its latest album, Love Hate and Then There's You, is a stereotypical dilution of the Stooges/MC5 canon, there are a few unexpectedly tight tunes that hit as hard as, well, a sock in the eye.
    • 53 Metascore
    • 50 Critic Score
    The sonic equivalent of a blooper reel with a few solid highlights edited in to remind us of the player he once was, the 11-song album mostly rehashes ideas he's ruminated on with more focus and skill in earlier work.
    • 54 Metascore
    • 50 Critic Score
    Music From Another Dimension delivers riffs, clichés, solos, yowls and a virtual banquet of the same one-dimensional tropes Aerosmith has been offering for years. Mixed in, however, are a few gems.
    • 57 Metascore
    • 50 Critic Score
    The presence of those strong women [Gwen Stefani and Haim] does wonders for Harris’ amped-up music. They bring out the man, not the meathead, in the machine.
    • 48 Metascore
    • 50 Critic Score
    The band does black and white, but nothing in between.
    • 54 Metascore
    • 50 Critic Score
    Play On exhibits a distressing lack of dimension for a singer with Underwood's obvious abilities.
    • 75 Metascore
    • 50 Critic Score
    There's no denying that, three albums in, the winning novelty of Art Brut's tightly defined project is beginning to wear off.
    • 67 Metascore
    • 50 Critic Score
    The 16 songs vary in tone, from grease-and-nicotine-stained jams to spit-shined ballads, but too little of it is adroit enough in construction or execution to stick in the craw.
    • 71 Metascore
    • 50 Critic Score
    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.
    • 45 Metascore
    • 50 Critic Score
    Despite all the work put into his workmanlike pop, it ultimately comes off as agreeable, but not memorable.
    • 66 Metascore
    • 50 Critic Score
    Chesney's tone-deafness here seems especially egregious because it's surrounded by better, smarter material.
    • 68 Metascore
    • 50 Critic Score
    Klaxons, if you're going to shout in our ears a bunch, can you at least have something to say?