MSN Consumer Guide (Robert Christgau)'s Scores

  • Music
For 178 reviews, this publication has graded:
  • 87% higher than the average critic
  • 0% same as the average critic
  • 13% lower than the average critic
On average, this publication grades 14 points higher than other critics. (0-100 point scale)
Average Music review score: 86
Highest review score: 100 The Ecstatic
Lowest review score: 33 Definition Of Real
Score distribution:
  1. Negative: 1 out of 178
178 music reviews
    • 83 Metascore
    • 91 Critic Score
    Elegiac rather than dancey, but elegiac about the preconditions of the dance, it states, sustains, and varies a bracing mood. It even has an ending.
    • 83 Metascore
    • 100 Critic Score
    OK, 19 songs, gotta be filler here somewhere, and there is, only it isn't melodic -- with all music credited to the band, Shonna Tucker's muzzier lyrics and Mike Cooley's more elusive ones sound as well-turned as those of Patterson Hood, who's never written better.
    • 82 Metascore
    • 91 Critic Score
    The sound is bigger too, strengthening a band that's all guitars-drums-vocals sonics -- including Molly Siegel's yelping vocables, without which the sound's faux-tween soul and wise-ass tempo shifts would evanesce into abstraction.
    • 82 Metascore
    • 91 Critic Score
    His salvation is humanistic empathy, spiritual complexity, and melodies more unfailing than back when the Holy Ghost was inspiring into his ear.
    • 82 Metascore
    • 83 Critic Score
    The painful detail and joyful exuberance are there once they get going. But in under two years this Welsh punk sextet has matured/devolved from tromping over their pan-sexual alienation like so many glockenspiel-wielding grape dancers to enacting "miserabilia" about how unfulfilling it is to get on your knees next to a urinal.
    • 82 Metascore
    • 91 Critic Score
    It's more like sloshing or spewing, as intermittent love lookbacks evoke a social despair also contextualized by fabulous spoken epigraphs from Walt Whitman, Jefferson Davis, William Lloyd Garrison, and Young Abe Lincoln.
    • 82 Metascore
    • 91 Critic Score
    Live, McMurtry can still be way too strophic and trad. But he's never made an album so loud or hard.
    • 82 Metascore
    • 91 Critic Score
    Affecting a clarity and delight that pleases the many and confounds the some, their lyrically alluring, structurally hop-skip-and-jumping songs aren't deep. They're just thoughtful fun.
    • 82 Metascore
    • 91 Critic Score
    Even the now-obligatory vulnerable one, where Karen tries to prove she's not only human but nice, is... well, not a cartoon, but at least a bedtime story.
    • 81 Metascore
    • 91 Critic Score
    True, Green spends more time supplicating than celebrating, and probably fabricated the whole scenario. But he knows his subject, and he doesn't need Jesus to lay it down.
    • 81 Metascore
    • 100 Critic Score
    Contra establishes that his band has chosen another path, celebrating the world's contradictions, contraindications, and contradistinctions with a new pop sound made up of old pop sounds that aren't the same old pop sounds.
    • 81 Metascore
    • 100 Critic Score
    Half associative rhymes that clock in under two-and-a-half minutes, devoid of hooks but full of sounds you want to hear again, it's like a dream mixtape.
    • 81 Metascore
    • 83 Critic Score
    The result is less a mixtape than a hip-hop version of a good Augustus Pablo album--more varied, jocular, and disquieting because that's how hip-hop is, but still a single organism.
    • 81 Metascore
    • 83 Critic Score
    His good-old-days laments taste sweet where once they curdled.
    • 81 Metascore
    • 91 Critic Score
    This slightly progger and grander follow-up bypasses such corny stuff until Track 8 begins a closing sequence of five lyrics-enhanced lite-jazzish tracks.
    • 81 Metascore
    • 100 Critic Score
    A glockenspiel in a guitar band? Freshens up the sound, they think. And they're right.
    • 81 Metascore
    • 91 Critic Score
    Although I gather there's a concept here, knowing what it is might ruin the gently wigged-out dystopianism the lyrics cozy up to. More important, it might undercut the otherwise irreducible pleasures of their exploding guitars, unworldly synths, and crazy drums.
    • 81 Metascore
    • 91 Critic Score
    As on most Go-Betweens records, the melodies take time to sink in, though not the Grant McLennan legacy retrofitted with a Robert lyric about Grant's affinity for melody.
    • 80 Metascore
    • 91 Critic Score
    Playing at world, at heavy, at soul, [Jack White] arts it up plenty and protests a little.
    • 80 Metascore
    • 91 Critic Score
    Hood is too inclined toward dark-side thoughts and the world too inclined toward dark-side realities for the newer songs to come off complacent.
    • 80 Metascore
    • 91 Critic Score
    Loaded with talent, heart and personality, he's an eccentric who still thinks the world is his friend, and one more sweet argument for the civilized compromises of democratic socialism.
    • 80 Metascore
    • 91 Critic Score
    Ratcheting his reticence up half a turn, he opens with his bleakest new song, and only if you follow his chronically noncommittal lyrics will you notice his emotions opening up along with his tunes, his attitudes along with his structures.
    • 80 Metascore
    • 91 Critic Score
    There's no denying her eye for out-of-the-way details or her ear for a decent tune.
    • 80 Metascore
    • 100 Critic Score
    With an incongruent Fall Out Boy track set aside for single duty and all those rappers a dream community taking the burden off Black Thought, this is the most accomplished pure hip-hop album in years.
    • 79 Metascore
    • 91 Critic Score
    It's Buenos Aires' Gaby Kerpel without irony, maybe even Barcelona's Manu Chao without hooks -- ecstatic yes, escapist no.
    • 79 Metascore
    • 91 Critic Score
    Only two songs ring false. [Feb/Mar 2007]
    • MSN Consumer Guide (Robert Christgau)
    • 79 Metascore
    • 91 Critic Score
    The fun comes easier when he fools around with the title conceit, and even sometimes when he thinks about it.
    • 79 Metascore
    • 100 Critic Score
    He's made a novelty record that gets deeper with time.
    • 79 Metascore
    • 100 Critic Score
    He goes Motown with so much joy in one-man-band craft he'll not only convince the girl he's sweet-talking that this is forever, he'll convince you.
    • 79 Metascore
    • 100 Critic Score
    Fortified by his Christian faith, he lends a cracked gravity to souvenirs of cornball sentiment ranging in tone from Ed McCurdy's political "Last Night I Had the Strangest Dream" to Queen Lili'uokalani's escapist "Aloha Oe," which close an album that also includes the traditional title song, a Sheryl Crow number about redemption, "Cool Water," and the tenderest "For the Good Times" I've ever heard.