Rolling Stone's Scores

For 3,826 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 7.2 points lower than other critics. (0-100 point scale)
Average Music review score: 64
Highest review score: 100 Tempest
Lowest review score: 0 Know Your Enemy
Score distribution:
3,826 music reviews
    • 72 Metascore
    • 80 Critic Score
    The first few tunes are instant, and all stay with you.
    • 80 Metascore
    • 80 Critic Score
    Pig Lib is Malkmus' loosest set of songs ever, an elegantly meandering head trip underpinned by the kind of tuneful, world-wise romanticism that's won him the hearts of English majors everywhere.
    • 76 Metascore
    • 80 Critic Score
    If their recent studio work has been distinguished by additive, layer-by-layer composition, in concert Radiohead's magic comes from subtraction: The elegy "Like Spinning Plates" relies almost entirely on Yorke's famously anguished voice.
    • 52 Metascore
    • 80 Critic Score
    Hearing twenty-one Lynch-penned songs back to back gets exhausting.
    • 77 Metascore
    • 80 Critic Score
    As a final statement from one of the most important artists of the last decade, it's not exactly earth-shattering. But this eclectic, personal and heartfelt Scarecrow is still outstanding in its field.
    • 73 Metascore
    • 80 Critic Score
    There isn't much music on your radio dial that sounds so quintessentially bittersweet; the Jayhawks' old-fashioned gift is that they can make being lost sound sort of nice.
    • 71 Metascore
    • 80 Critic Score
    Gray's pipes aren't for everyone, but if you can't stomach them, I feel for you. You're missing some of the best soul on the planet.
    • 82 Metascore
    • 80 Critic Score
    Angry, bold, pointed and eclectic as hell, Stag suggests that Nirvana and Sleater-Kinney are just as important to Ray as Simon and Garfunkel.
    • 77 Metascore
    • 80 Critic Score
    A hit album without any obvious hit songs.
    • 80 Metascore
    • 80 Critic Score
    The W is a sonic gestalt that exists somewhere between the Queensbridge projects and OutKast's Stankonia, down the block from Lee Perry's Black Ark studios, two floors below A Tribe Called Quest's Low End Theory.
    • 75 Metascore
    • 80 Critic Score
    Inside Out is the kind of recording God created Nashville for.
    • 75 Metascore
    • 80 Critic Score
    Some of the best baby-making music since Barry White.
    • 74 Metascore
    • 80 Critic Score
    He's supported by the most accomplished set of beats in recent hip-hop memory.
    • 75 Metascore
    • 80 Critic Score
    McCartney has embraced the small-combo spirit that made Run Devil Run, his 1999 album of rock & roll covers, such a triumph.
    • 70 Metascore
    • 80 Critic Score
    Orton delivers some gooey pop complete with sticky tunes and honey-dipped ear candy - yet it's heavy, disturbing, recondite.
    • 82 Metascore
    • 80 Critic Score
    Despite Poses' multiple producers, there are more clean, clever ideas of arrangement here than on Wainwright's cluttered debut.
    • 74 Metascore
    • 80 Critic Score
    OST
    Eminem contributes three new songs, all self-produced, which happen to be three of the most ferocious hip-hop songs ever recorded.
    • 79 Metascore
    • 80 Critic Score
    U2's tenth studio album and third masterpiece, All That You Can't Leave Behind, is all about the simple melding of craft and song.... The album represents the most uninterrupted collection of strong melodies U2 have ever mounted, a record where tunefulness plays as central a role as on any Backstreet Boys hit.... Every track -- whether reflective but swinging, like "Wild Honey," or poised, then pouncing, like "Beautiful Day" -- honors a tune so refined that each seems like some durable old number. Because this is U2, there's a quick impact to these melodies, yet each song has a resonance that doesn't fade with repeated listening.
    • 75 Metascore
    • 80 Critic Score
    The new album is their most adventurous and passionate since Disintegration.
    • 85 Metascore
    • 80 Critic Score
    Virtually all of these songs and recordings have held up beautifully. [28 Oct 2004, p.104]
    • 67 Metascore
    • 80 Critic Score
    An equally available yet more sophisticated album.
    • 72 Metascore
    • 80 Critic Score
    As appealing, focused and straight-up satisfying an album as Prince has made since who can remember when.
    • 70 Metascore
    • 80 Critic Score
    Peachtree highlights once again just how soulful John's music can be. [25 Nov 2004, p.92]
    • 95 Metascore
    • 80 Critic Score
    One of the best albums of the year.
    • 87 Metascore
    • 80 Critic Score
    The ambiguity in the songs adds to their haunting quality.
    • 81 Metascore
    • 80 Critic Score
    Over subdued soul loops and improbably mellow piano work, The Lost Tapes displays Nas' gifts for tightly stitched narrative and stunningly precise detail.
    • 81 Metascore
    • 80 Critic Score
    Where Yankee Hotel Foxtrot sounded dense and surreal, the bulk of Ghost is spare and earthy, with streaks of Crazy Horse, the Band, the Beatles and the Replacements.
    • 76 Metascore
    • 80 Critic Score
    Aaliyah is Control, Velvet Rope and Jagged Little Pill all rolled into one. It's the album Janet should have made with All for You, the manifesto that Beyonce thought she was penning with Survivor.
    • 71 Metascore
    • 80 Critic Score
    A series of punk songs that balance throat-shredding, brain-rattling intensity with an undercurrent of sadness and vulnerability.
    • 87 Metascore
    • 80 Critic Score
    They evoke folks as diverse as Led Zeppelin and My Bloody Valentine, but the gently woozy Sigur Ros don't sound like anything or anyone else so much as a classic-rock band bewitched by white magic.
    • 70 Metascore
    • 80 Critic Score
    The summer's most brilliantly demented party record.
    • 65 Metascore
    • 80 Critic Score
    No matter how good your new favorite band is, the Stratford 4 are better.
    • 89 Metascore
    • 80 Critic Score
    Miss E is a mess, of course, and not all the experiments work as brilliantly as the single. But if you prefer risky messes to tidy formula, tracks like "Scream a.k.a. Itchin' " and "Step Off" will freak you up something fierce.
    • 81 Metascore
    • 80 Critic Score
    Under Construction, uninhibited and unpredictable, is her best yet.
    • 67 Metascore
    • 80 Critic Score
    The most pleasingly direct yet musically adventurous hip-hop long-player you're likely to hear all year.
    • 72 Metascore
    • 80 Critic Score
    It is the sound of apocalypse now.
    • 79 Metascore
    • 80 Critic Score
    Zwan are more straightforward (and much less histrionic) than the Smashing Pumpkins, so a few of the songs in the middle are pretty but not very dramatic.
    • 78 Metascore
    • 80 Critic Score
    Revelling/Reckoning is both an accomplished album complimented by a loose-jam of ensemble players and a bare sketchbook where DiFranco sits alone in her room, creating a private universe accessible to anyone with the will to listen.
    • 74 Metascore
    • 80 Critic Score
    Typically sunny Fanclub, yet more nuanced and colorful than anything the band has done before.
    • 77 Metascore
    • 80 Critic Score
    A ramshackle, art-damaged mess, but it's also one of the most bone-rattlingly ferocious records you'll hear all year.
    • 85 Metascore
    • 80 Critic Score
    The energy never sags and ideas never flag.
    • 75 Metascore
    • 80 Critic Score
    Jane's Addiction have finally come up with music that can stand alongside their previous albums.
    • 77 Metascore
    • 80 Critic Score
    Like Stereolab and Beck, Yo La Tengo liberate their listeners by downplaying language and logic in favor of our bodies' hazy dreams.
    • 68 Metascore
    • 80 Critic Score
    If you liked Tragic Kingdom, you should love Return of Saturn. And if you didn't, you should still love it.
    • 75 Metascore
    • 80 Critic Score
    By any standard, jazz or otherwise, it is moving, mighty music - bad in all the right ways.
    • 81 Metascore
    • 80 Critic Score
    Their songbook bravado and grip of extreme dynamics are vividly caught in the poleaxed cover of Nirvana's "Smells Like Teen Spirit."
    • 74 Metascore
    • 80 Critic Score
    The most heartening thing about Feels Like Home is the utter absence of fussiness, or second-album overthink. It extends the Come Away With Me template while never echoing the earlier songs.
    • 69 Metascore
    • 80 Critic Score
    Understandably, Reed's old fascination with sadomasochistic transcendence puts off those who don't swing that way at least a little. But the music on this record, its gorgeous part, could change that.
    • 79 Metascore
    • 80 Critic Score
    McKay mixes pathos and goofiness with egghead glee.
    • 73 Metascore
    • 80 Critic Score
    With appearances from most of the big-name rappers and wall-to-wall Neptunes beats, this should be the world's greatest hip-hop compilation -- and much of the time it is.
    • 78 Metascore
    • 80 Critic Score
    Gold lacks the concise ache of Adams' indie solo prize from last year, Heartbreaker, but it is stronger on naked truth.
    • 83 Metascore
    • 80 Critic Score
    For all its audacity and lyrical cleverness, Search is an album with insecurities as remarkable as its confidence, with desperate measures justified by sincerity of purpose.
    • 83 Metascore
    • 80 Critic Score
    For all Beck lifts from the Seventies, the album never sounds like a period piece; there's always something extra in the mix, stray elements that are both goofy and strangely apropos.
    • 69 Metascore
    • 80 Critic Score
    The Menace, the long-delayed follow-up, finds Elastica in an unrepentant mood, scuffing up their terse, trashy guitar rock with fun-house noise while adding a handful of ambient mood pieces that sound like Aphex Twin castoffs.
    • 68 Metascore
    • 80 Critic Score
    Synth techno filtered through the twenty years of electronic dance music that have unspooled since 1982. [11 Apr 2002, p.132]
    • 82 Metascore
    • 80 Critic Score
    Murray Street achieves that rare thing for any band - real consistency.
    • 69 Metascore
    • 80 Critic Score
    Bobo is a celebratory attack on the canon, not a violation of it.
    • 68 Metascore
    • 80 Critic Score
    Clapton pays broad tribute to Johnson as a composer and public-domain synthesist.
    • 86 Metascore
    • 80 Critic Score
    A widescreen musical masterpiece with a knowing wink. [28 Mar 2002, p.68]
    • 69 Metascore
    • 80 Critic Score
    They don't mess around much outside their tessitura - they like to keep everything light, fast and punchy.
    • 82 Metascore
    • 80 Critic Score
    Free may be her most beautiful album, as well as her cagiest: There are gaunt rock songs and ramshackle ballads, all painted with bold, sure strokes that belie her ambivalence.
    • 82 Metascore
    • 80 Critic Score
    Now comes the sequel, which plays down Guthrie's playful leer in favor of his snarl.
    • 77 Metascore
    • 80 Critic Score
    There is a flow and coherence to these fifteen tracks that make the narrative whole much larger than the sum of its occasionally goofy parts.
    • 66 Metascore
    • 80 Critic Score
    The best bullets here are like excerpts from a fantasy mix tape of classic glam and garage rock.
    • 78 Metascore
    • 80 Critic Score
    A showcase for inventiveness and versatility.
    • 87 Metascore
    • 80 Critic Score
    With their fifth studio record, Phrenology, they finally become what we've always hoped they would be: a hip-hop band that strikes a very funky balance between righteousness and humor, between headbanging grooves and truth-telling.
    • 64 Metascore
    • 80 Critic Score
    There's no denying the over-the-top whomp of his music, the loudest and funniest metal you've heard in ages.
    • 79 Metascore
    • 80 Critic Score
    The Stills' excellent debut album, Logic Will Break Your Heart, is a stunner, a rush of shoegazer guitars and suave lover-boy angst.
    • 76 Metascore
    • 80 Critic Score
    These are familiar tales of lost women and running men, but the sting and color in Malin's language and voice put you right by his side in these noisy bars and deserted bedrooms.
    • 70 Metascore
    • 80 Critic Score
    Giddily adventurous. [8-22 Jul 2004, p.128]
    • 84 Metascore
    • 80 Critic Score
    Vicious is a combination of punk's snottiness, Detroit rock's raw power and the stylized blues freak-outs of bands like Pussy Galore.
    • 81 Metascore
    • 80 Critic Score
    A sweeter, more confident effort. [8-22 Jul 2004, p.124]
    • 88 Metascore
    • 80 Critic Score
    The happiest-sounding album she's ever made.... it may also be the best. While her austere sonic signature remains, the vocals are discernibly more relaxed, the tunes welcoming and even expansive.
    • 87 Metascore
    • 80 Critic Score
    In every skewed guitar note and crackling drum beat, every cello stroke and modulation of MacKaye's malleable voice, there's a passion for rigor - intellectual, political and musical.
    • 89 Metascore
    • 80 Critic Score
    It's an album of tuneful, intimate pop-rock songs...
    • 80 Metascore
    • 80 Critic Score
    Mama's Gun finds Erykah disrobing emotionally, shedding the self-righteousness and goddess posture that marked Baduizm. The new Erykah isn't teaching, she's dealing with regular-person baggage.
    • 78 Metascore
    • 80 Critic Score
    Not only do Rage understand the sweep of rock and rap history, but they had bold and unusual ways of tearing that history up.
    • 73 Metascore
    • 80 Critic Score
    Lighter and more laid-back, with breezy melodies and fuzzy guitar-and-keyboard arrangements that sound built for a summer night's drive.
    • 85 Metascore
    • 80 Critic Score
    Now they just rock out, stripping New Wave and metal and rockabilly down to primal thrust and blare. There are half a dozen songs under three minutes on Fever to Tell, and they sound absolutely complete.
    • 80 Metascore
    • 80 Critic Score
    It is a kind of virtual rock in which the roots have been cut away, and the formal language -- hook, riff, bridge -- has been warped, liquefied and, in some songs, thrown out altogether. If you're looking for instant joy and easy definition, you are swimming in the wrong soup.... Kid A is a work of deliberately inky, often irritating obsession.
    • 85 Metascore
    • 80 Critic Score
    A brilliant leap forward.
    • 83 Metascore
    • 80 Critic Score
    They ratchet up the latent R.E.M.-isms, elevating themselves heads above their musical kin.
    • 80 Metascore
    • 80 Critic Score
    Unlike Ray of Light's pristine inner-ear landscapes, Music is dirty, casually urgent, as if Madonna walked into the studio, got on the mike and let the machines bump.
    • 69 Metascore
    • 80 Critic Score
    [Orbital is] leaving on a high note. [28 Oct 2004, p.100]
    • 80 Metascore
    • 80 Critic Score
    With A Rush of Blood, Coldplay do more than fulfill the promise of "Yellow" -- they surpass everything they've done up to this point, making first-rate guitar rock with some real emotional protein on its bones.
    • 78 Metascore
    • 80 Critic Score
    His most strident work in years.
    • 83 Metascore
    • 80 Critic Score
    Isolation Drills makes the case more persuasively than ever that these indie-pop godfathers should matter to more than just the loyalists.
    • 76 Metascore
    • 80 Critic Score
    An appropriate marriage of industrial clanging and symphonic melodrama... this album, although short, represents a particularly accessible career highlight for Bjork.
    • 88 Metascore
    • 80 Critic Score
    The best solo record of her career... Vespertine is the closest any pop-vocal album has come to the luxuriant Zen of the new minimalist techno, even beating Radiohead's nervy Kid A. Where Kid A sounded like a record of risk, the work of a band on unfamiliar ground, Bjork sings here as if she owns and knows every inch of space and shadow in these songs.
    • 77 Metascore
    • 80 Critic Score
    The variety of classic Rocket elements are evident, even more finely honed: bits of soul revue energy (Spector-esque backing vocals, tambourines and tight horn arrangements), songwriterly anthemic release, nods to classic punk auteurs, sexy South-of-the-Border flirtations with danger wrapped in a dynamic, snaky musical package and other frenetic new gems.
    • 73 Metascore
    • 80 Critic Score
    G.O.A.T. glows with the heat of his rhymes.... LL's delivery is so sly and seductive, he can be as nasty as he wants to be. And he has the beats to back it up...
    • 77 Metascore
    • 80 Critic Score
    Both old-school and totally original, both literate and full of unpretentious New Yawk sass, both deeply catchy and underground in spirit.
    • 75 Metascore
    • 80 Critic Score
    It's rock that draws power from its determination to struggle onward.
    • 76 Metascore
    • 80 Critic Score
    When I Was Cruel is a collection of tough tunes and textures that recalls -- but doesn't recycle -- the records that endeared him to his earliest admirers.
    • 75 Metascore
    • 80 Critic Score
    The group's secret weapon is the way it so vividly captures the storms of confusion, anger and self-recrimination that swirl around inside a boy.
    • 71 Metascore
    • 80 Critic Score
    Maturity suits these guys: Five albums into their career, it sounds like they're just getting warmed up.
    • 72 Metascore
    • 80 Critic Score
    The music's shift from trivial to memorable dominates Maladroit; this is Cuomo's attempt to make his voice and guitar move as quick as his mind.
    • 73 Metascore
    • 80 Critic Score
    They actually took the time to make a totally crunk geek-punk record, buzzing through ten excellent tunes in less than half an hour with zero filler and enough psychosexual contortions to buy Cuomo's shrink another hot tub.
    • 72 Metascore
    • 80 Critic Score
    Black Cherry is both retro and futuristic, like vintage synth pop heard through a wall of distortion. [15 May 2003, p.134]
    • 74 Metascore
    • 80 Critic Score
    Just when new metal seemed utterly played out, Deftones blows open the possibilities.