Los Angeles Times' Scores

For 1,289 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 The Block
Lowest review score: 25 Scream
Score distribution:
1,289 music reviews
    • 77 Metascore
    • 37 Critic Score
    Too many of these 16 hazy, half-crazy tracks sound like undercooked studio goofs recorded in the wee hours by Albarn and his impressive circle of celebrity pals.
    • 75 Metascore
    • 37 Critic Score
    Pure Vida overwhelms as often as it inspires.
    • 72 Metascore
    • 37 Critic Score
    Jeezy's sonic sins would be partially pardonable were The Recession to flash any hint of fun or humor. Instead, the street-cred-consumed caricature is more content to rip off Tupac Shakur ("Hustlaz Ambition") and write abominable hooks.
    • 72 Metascore
    • 37 Critic Score
    A pronounced feeling of descent pervades Turn Blue.
    • 72 Metascore
    • 37 Critic Score
    Basic Instinct offers enough android booty bass action to satisfy those who like their rhythms complicated but repetitive and hooks foreseeable from a mile away, but pleasant enough when they arrive.
    • 71 Metascore
    • 38 Critic Score
    An exercise in pointless artifice. [23 Nov 2004]
    • 69 Metascore
    • 37 Critic Score
    Predictable and flavorless, these songs seem to realize a fear that unfairly gathered around Shakira in 2009 when her album "She Wolf" led some critics to suspect that the Colombian-born star was attempting to Americanize her sound (or had been coerced into doing so by forces in the music industry).
    • 69 Metascore
    • 25 Critic Score
    Full of dull riffs and saggy rhythms, Uncanney Valley makes you wonder why exactly frontman Travis Morrison reunited the group in 2011.
    • 68 Metascore
    • 37 Critic Score
    Ross seems on auto-pilot here.
    • 67 Metascore
    • 37 Critic Score
    The jokes are reasonably funny and the riffs rock reasonably hard. But Argos never convinces you that his unlikely persistence is paying off.
    • 67 Metascore
    • 37 Critic Score
    On 'Human' you can hear Brandy striving (understandably) to express herself, yet the result rarely rises above diary-entry tedium.
    • 66 Metascore
    • 37 Critic Score
    747
    If Chapman restores some of Lady Antebellum's polish, he still keeps the group moving too fast with zippy pop-country arrangements that rarely allow Charles Kelley and Hillary Scott to harmonize as sumptuously as they're able.
    • 66 Metascore
    • 37 Critic Score
    The result isn't the clean-up job it might've been; Bugg, 19, still sings with a nasal edge that wouldn't last more than a round on "American Idol." Yet the songwriting here feels more evened-out, less appealingly pugnacious than it did last time.
    • 66 Metascore
    • 37 Critic Score
    Here they sag under the weight of too many wind-swept piano ballads and booming productions seemingly modeled on Katy Perry's "Roar."
    • 65 Metascore
    • 37 Critic Score
    Every touch of lyrical bitterness is followed by enough sugar to mask the taste, which might be good in the short term but isn't a recipe for long-term health.
    • 64 Metascore
    • 25 Critic Score
    She does herself no favors by choosing consistently bland material, and her third album does nothing to dispel the sense that Rowland should be more selective.
    • 64 Metascore
    • 25 Critic Score
    Shallow, deeply unimaginative renditions [of standards out of the Great American Songbook].
    • 64 Metascore
    • 37 Critic Score
    Peel away the accessibility of his fluffy debut and there's nothing but major-label album fodder.
    • 63 Metascore
    • 37 Critic Score
    The album's sound is raw, but "raw," even in the Americana circles that Son Volt travels in, doesn't always equate with primal power. Sometimes it's just undercooked.
    • 63 Metascore
    • 37 Critic Score
    The rest of it, though, is stuff that will probably sound just fine beneath NFL highlight reels but fails to gel when the volume is up and California 2011 beckons.
    • 63 Metascore
    • 37 Critic Score
    Last Night feels like a cold academic exercise, as though Moby were compiling a collection of beats for future examination by an alien race curious about our after-hours ways.
    • 62 Metascore
    • 37 Critic Score
    Though saucier and sleeker than its peers, the Wanted isn't nearly as fun....But none of the guys has an especially charismatic--or even distinguishable--voice.
    • 62 Metascore
    • 37 Critic Score
    She has to, you know, sing. You can tell she's not into it.
    • 62 Metascore
    • 25 Critic Score
    You have to ask if the tween sector of the 1% just found their house band.
    • 62 Metascore
    • 25 Critic Score
    Paralytic Stalks is downright exhausting.
    • 61 Metascore
    • 37 Critic Score
    Connick's music has none of the attitude the singer often summons outside the studio.
    • 60 Metascore
    • 38 Critic Score
    Kelly's whole approach is familiar and threadbare. [3 Jul 2005]
    • Los Angeles Times
    • 59 Metascore
    • 25 Critic Score
    Full of dull riffs and saggy rhythms, Uncanney Valley makes you wonder why exactly frontman Travis Morrison reunited the group in 2011.
    • 59 Metascore
    • 37 Critic Score
    Dead Son Rising feels watery and without a center; it reinforces Numan's legacy, rather than his potential.
    • 59 Metascore
    • 25 Critic Score
    The aimless fragments on The Endless River, on the other hand, are so excruciatingly dull (even by Pink Floyd’s often-dull standards) that the band’s name on the cover feels like a straight-up bait-and-switch.