Rolling Stone's Scores

For 4,298 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 7.1 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 To The 5 Boroughs
Lowest review score: 0 Know Your Enemy
Score distribution:
4,298 music reviews
    • 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]
    • Rolling Stone
    • 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]
    • Rolling Stone
    • 74 Metascore
    • 80 Critic Score
    Just when new metal seemed utterly played out, Deftones blows open the possibilities.
    • 77 Metascore
    • 80 Critic Score
    In the face of hysterical expectation, the Strokes have resisted the temptation to hit the brakes, grow up and screw around with a sound that doesn't need fixing -- yet.
    • 79 Metascore
    • 80 Critic Score
    Kweli smoothly bridges the physical and the political.
    • 72 Metascore
    • 80 Critic Score
    It's not that Come With Us doesn't rock like a jet engine in a jewel case - it does - but it's more striking for the moments when a warped loveliness, like the icy, phased harpsichord gusts of "Pioneer Skies," wafts up and out from among the roar of the sirens and sequencers.
    • 91 Metascore
    • 80 Critic Score
    For now, the Strokes have mastered their style; they have yet to come up with the substance to match it.... But the music leaves no doubts - more joyful and intense than anything else I've heard this year.
    • 79 Metascore
    • 80 Critic Score
    The evidence here suggests the Sleepy Jackson could make a great punk album, or a great country album, or a great psychedelic album. Instead, they've simply made a great album, and one of the best debuts of the year.
    • 79 Metascore
    • 80 Critic Score
    The songwriting marries the band's penchant for recalling its wide-ranging influences (Neil Young, CCR, Mission of Burma) with a casual, off-the-cuff air that belies the meticulous craft underneath.
    • 90 Metascore
    • 80 Critic Score
    Waits' ravaged voice surrendered all pretensions to melody ages ago; his throat is now pure theater, a weapon of pictorial emphasis and raw honesty.
    • 70 Metascore
    • 80 Critic Score
    A near-perfect balance of gutter grime and high-art aspiration, the Rick Rubin-produced By the Way continues the Peppers' slow-motion makeover.
    • 85 Metascore
    • 80 Critic Score
    Despite the anger and bitterness, Hail to the Thief is more musically inviting than Radiohead's last two outings.
    • 77 Metascore
    • 80 Critic Score
    A Mark is the first time he's let the musical intensity match the lyrics.
    • 89 Metascore
    • 80 Critic Score
    A luxuriant union of black-ice electronics and chamber-pop instrumentation. [14 Oct 2004, p.98]
    • Rolling Stone
    • 71 Metascore
    • 80 Critic Score
    3D
    The album isn't the romp it might have been had Lopes survived, but 3D solidly embodies black pop in a year in which it has lacked a center.
    • 64 Metascore
    • 80 Critic Score
    Greendale has a tattered, buzzing, demolike sound, rude as any Young has put out.
    • 71 Metascore
    • 80 Critic Score
    Most of the collaborators turn up only as backup vocalists or orchestra members, enabling Lightbody's heartbreaking ballads and sublime baritone to soar.
    • 76 Metascore
    • 80 Critic Score
    Ten New Songs manages to sustain loss's fragile beauty like never before and might just be the Cohen's most exquisite ode yet to the midnight hour.
    • 71 Metascore
    • 80 Critic Score
    Where the album truly shines though is in the way Armstrong gets the most of his vocalists.
    • 80 Metascore
    • 80 Critic Score
    It feels like one big loft party, even when it veers into psychotic, dissonant No Wave by DNA and Mars.
    • 69 Metascore
    • 80 Critic Score
    The album's wanton schizophonia results in such a switched-on pileup of styles that Groove Armada have earned their own rubric -- call it electrocrash, and consider it great.
    • 84 Metascore
    • 80 Critic Score
    The ebb and flow of eighteen concise, contrasting cuts writes a story about Moby's beautifully conflicted interior world while giving the outside planet beats and tunes on which to groove.
    • 87 Metascore
    • 80 Critic Score
    An earthy, moving psychedelia, eleven iridescent-country songs about surviving a blown mind and a broken heart.
    • 90 Metascore
    • 80 Critic Score
    Somehow, the Primals' fury never seems misguided: This is one ball of aggression that hangs together, thanks to the band's smarts and funk.
    • 59 Metascore
    • 80 Critic Score
    Earthy, impressively diverse. [28 Oct 2004, p.101]
    • Rolling Stone
    • 80 Metascore
    • 80 Critic Score
    Let Go is an excellent rainy-afternoon album, full of gentle and melancholic beauty, with echoes of Love and the Beach Boys.
    • 81 Metascore
    • 80 Critic Score
    Sing the Sorrow is not exactly a concept album, but it does have a singleness of dark purpose that builds in momentum as the disc progresses.
    • 93 Metascore
    • 80 Critic Score
    In the 1977-79 half of Name, nearly every song beats the studio version. But the 1980-81 disc is the prize, as the Heads take their lofty concepts to the stage with a ten-piece band. [2 Sep 2004, p.147]
    • Rolling Stone
    • 84 Metascore
    • 80 Critic Score
    Given one last chance to make an impact, Jay-Z has come up with one of the better albums of his career, though perhaps a shade lesser than his very best, Reasonable Doubt and The Blueprint.
    • 71 Metascore
    • 80 Critic Score
    Even the ballads... bristle with force. [28 Oct 2004, p.99]
    • Rolling Stone
    • 83 Metascore
    • 80 Critic Score
    An album so disjointed that it seems to artfully fall apart as it plays.
    • 72 Metascore
    • 80 Critic Score
    Up!
    Up! would be a knockout even if it were limited to its one disc of country music.... But the second, relentlessly kinetic pop disc is a revelation.
    • 90 Metascore
    • 80 Critic Score
    On the evidence of this excellent debut, few people can challenge Skinner right now except himself.
    • 84 Metascore
    • 80 Critic Score
    Yoshimi isn't the end-to-end triumph that was 1999's The Soft Bulletin.... But the production is equally ambitious, with burbling electrobeats underpinning sci-fi orchestrations that sound like the brainchild of Esquivel and the Orb.
    • 68 Metascore
    • 80 Critic Score
    Iowa is not just the first great record of the nu-metal era - it's better than that.
    • 76 Metascore
    • 80 Critic Score
    But if you go back to Up after hearing Reveal, you get the idea that this is the album they were trying to make then, and that this time they got all the way there and found a parking spot. The Eno-style keyboard textures have more room to breathe amid the largely acoustic guitars, with the arcane sound effects intricately woven into the songs.
    • 65 Metascore
    • 80 Critic Score
    This is loud, expansive, unrepentant Metallica.
    • 83 Metascore
    • 80 Critic Score
    Kaplan and Hubley sing their most confessional, intimate lyrics ever, over whispery guitars, brushed percussion, vibes and organ drones. It's a spell of blissful, psychedelic make-out music... these songs are great - heartfelt, rugged, melodically sumptuous enough to keep unfolding after dozens of spins, full of folk-rock flesh and blood.
    • 92 Metascore
    • 80 Critic Score
    If you want a vision of the future of hip-hop and techno, get this record.
    • 71 Metascore
    • 80 Critic Score
    It's one of the best hard-rock CDs you'll hear this year, carrying on the shitkicking tradition of Hank Williams Jr., ZZ Top, Guns n' Roses and Bad Company.
    • 73 Metascore
    • 80 Critic Score
    Recalls Janet Jackson at her best.
    • 65 Metascore
    • 80 Critic Score
    It is a rare, fine thing: the sound of the perfect A&R sales pitch turning into a real band.
    • 90 Metascore
    • 80 Critic Score
    Funeral aches with elegiac intensity.
    • 83 Metascore
    • 80 Critic Score
    On the group's fourth proper album, a mightier Mouse refine their weirdness and become a pop band while grasping at dark truths that pop ordinarily denies.
    • 79 Metascore
    • 80 Critic Score
    This is grandiose music from grandiose men, sweatlessly confident in the execution of their duties.
    • 75 Metascore
    • 80 Critic Score
    So much of Tool's third full-length studio album makes so little sense at first. But that is one of Lateralus' most endearing qualities: It rolls out its pleasures and coherence slowly, even stubbornly.
    • 86 Metascore
    • 80 Critic Score
    The Futureheads reclaim pop punk from the Warped Tour crowd -- and revive it in the process.
    • 74 Metascore
    • 80 Critic Score
    The rugged guitar tunes resemble a cow-punk update of the Clash, and Earle's song-to-song perspective shifts dazzle. [2 Sep 2004, p.142]
    • Rolling Stone
    • 68 Metascore
    • 80 Critic Score
    The Neptunes' brilliant, impertinent, full-body funk is, for the most part, what stays with you from Justified; their songs, spacious and shot through with ecstatic aaahs, outshine their neighbors on the album.
    • 65 Metascore
    • 80 Critic Score
    Up All Night is a brilliant mod explosion of scruffy pub punk.
    • 71 Metascore
    • 80 Critic Score
    It's an irresistible party: trashy, hedonistic and deeply weird.
    • 78 Metascore
    • 80 Critic Score
    Eventually every song will kick in from a slightly different angle, including faux folk and cracked ballad.
    • 78 Metascore
    • 80 Critic Score
    Wainwright's fanciful songs about love and faith place him in the rarefied company of Bjork and Brian Wilson, whose audacious Medulla and SMiLE his album most resembles.
    • 80 Metascore
    • 80 Critic Score
    A far more refined and finessed record than its predecessor. [14 Oct 2004, p.96]
    • Rolling Stone
    • 64 Metascore
    • 80 Critic Score
    Encore isn't as astonishing as The Marshall Mathers LP. Few albums by anyone ever will be. But in the time-honored manner of mature work, it showcases a phenomenally gifted musician and lyricist doing all the things he does best.
    • 78 Metascore
    • 80 Critic Score
    He is, simply, better than any other MC in hip-hop except for Jay-Z.... The Marshall Mathers LP is a car-crash record: loud, wild, dangerous, out of control, grotesque, unsettling. It's also impossible to pull your ears away from.
    • 75 Metascore
    • 80 Critic Score
    Eminem just may have made the best rap-rock album in history
    • 86 Metascore
    • 80 Critic Score
    Thunder, Lightning, Strike was hailed as a pop masterpiece when it came out in the U.K. late last year, but clearing all the samples held up its U.S. release until now. Wait no longer.
    • 76 Metascore
    • 80 Critic Score
    If you think you want it, you do. [9 Dec 2004, p.184]
    • Rolling Stone
    • 79 Metascore
    • 80 Critic Score
    They come on like old-school greasers who've been around long enough to know how to savor a moment.
    • 85 Metascore
    • 80 Critic Score
    Their riotous manifesto remains the same, but their musical dialect has expanded to include blues, soul and even traces of pristine Led Zeppelin-era metal.
    • 76 Metascore
    • 80 Critic Score
    "Somewhere in a burst of glory/Sound becomes a song/I'm bound to tell a story/That's where I belong," Simon sings on the new album's opening track, and the comfort and command he displays throughout You're the One demonstrate that he's right.
    • 67 Metascore
    • 80 Critic Score
    George throws a bit of himself into most of these tracks, reworking some of the beats and grooves, adding a few instrumental licks, even the odd vocal, but mostly he just programs a dynamic set that proves he's no dance music dilettante.
    • 71 Metascore
    • 80 Critic Score
    The slow stuff might be a bit ponderous, but the first six or seven songs manage a rare trick: They're incandescent enough to jump out at you on the radio, yet are steeped in a type of introspective inquiry that was once integral to rock & roll, and has nearly vanished.
    • 78 Metascore
    • 80 Critic Score
    Burnside and Co. play with a perfect recklessness, as though no one was listening.
    • 68 Metascore
    • 80 Critic Score
    With its preponderance of loping beats and funk-infused grooves, the album does little to update the Stereos' sound, but no matter: The band sounds as vital as ever.
    • 80 Metascore
    • 80 Critic Score
    The warm strumming and sparse beats make for an aching melancholy that stirs memories of Radiohead.
    • 88 Metascore
    • 80 Critic Score
    Even in duets with [Wainwright and Boy George], Antony is the dominant voice of solitude and agonized waiting. [10 Feb 2005, p.84]
    • Rolling Stone
    • 86 Metascore
    • 80 Critic Score
    LCD have managed to be both underground hitmakers and bona fide album artists as easily as Murphy splices guitar noise and machine thump.
    • 75 Metascore
    • 80 Critic Score
    The Mars Volta's second album is an exhilarating transgression: concussive, nonlinear rhythms; mad-dog guitar algebra; bloody-nightmare suites sung in bilingual free verse. In short, the beastly spawn of Radiohead's OK Computer and Rush's 2112.
    • 66 Metascore
    • 80 Critic Score
    Not all of Massacre is as immediately catchy as Get Rich, but it's close.
    • 81 Metascore
    • 80 Critic Score
    Stars sound confident enough to set anything on fire.
    • 78 Metascore
    • 80 Critic Score
    The Kaiser Chiefs make you want to sing along with practically every song by the second chorus.
    • 76 Metascore
    • 80 Critic Score
    Everything's OK is much more than OK -- it's one more righteous, red-hot reason to treasure this surviving genius of soul.
    • 82 Metascore
    • 80 Critic Score
    Silent Alarm is dance rock, but highly caffeinated.
    • 78 Metascore
    • 80 Critic Score
    His liveliest and jumpiest music in years.
    • 63 Metascore
    • 80 Critic Score
    Their best since Technique.
    • 74 Metascore
    • 80 Critic Score
    Pretty in Black is virtually fuzz-free, highlighting the exquisite detail in the Raveonettes' gift for pastiche.
    • 52 Metascore
    • 80 Critic Score
    A breakthrough for Weezer... Cuomo's songs are his most plaintive and brilliant since Pinkerton. [19 May 2005, p.74]
    • Rolling Stone
    • 88 Metascore
    • 80 Critic Score
    Some of the best and heaviest music of its career. [2 Jun 2005, p.70]
    • Rolling Stone
    • 83 Metascore
    • 80 Critic Score
    Be
    West is the producer Common has been waiting for all of his career: He makes Common both catchier and edgier at the same time.