Rolling Stone's Scores

For 5,918 reviews, this publication has graded:
  • 34% higher than the average critic
  • 4% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 6.1 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Magic
Lowest review score: 0 Know Your Enemy
Score distribution:
5918 music reviews
    • 71 Metascore
    • 40 Critic Score
    Kind of a drag.
    • 65 Metascore
    • 40 Critic Score
    [Alex] Ebert's voice is the most polarizing set of pipes this side of the Darkness' Justin Hawkins, and most listeners won't be able to get past it.
    • Rolling Stone
    • 48 Metascore
    • 40 Critic Score
    Enjoy the band's extraterrestrial makeover; it's far more amusing than the music.
    • tbd Metascore
    • 40 Critic Score
    Ho-hum singer-songwriterly tunes packed with sentimental poetry. [1 May 2003, p.56]
    • Rolling Stone
    • 67 Metascore
    • 40 Critic Score
    Long on verbosity but short on personality. [19 Aug 2004, p.123]
    • Rolling Stone
    • 62 Metascore
    • 40 Critic Score
    Its fakeness comes to the fore. [28 Oct 2004, p.99]
    • Rolling Stone
    • 58 Metascore
    • 40 Critic Score
    With On and On, this Hawaiian surfer's croon evokes the mellow-yellow moan of Donovan but without the weirdness that made that psychedelic folkie compelling.
    • 48 Metascore
    • 40 Critic Score
    Radio 4 show a real lack of gusto. [28 Oct 2004, p.98]
    • Rolling Stone
    • 65 Metascore
    • 40 Critic Score
    Espinoza's melodies evaporate in a way Smith's never did. [9 Dec 2004, p.180]
    • Rolling Stone
    • 60 Metascore
    • 40 Critic Score
    City is so drab that the cameos from the Libertines' frontmen get lost in the darkness.
    • 69 Metascore
    • 40 Critic Score
    Overbaked synth funk...Golden Greats cries out for a hotshot guitarist to take charge of the music -- somebody like John Squire.
    • Rolling Stone
    • 53 Metascore
    • 40 Critic Score
    The album equivalent of a Civil War reenactment. [30 Sep 2004, p.190]
    • Rolling Stone
    • 66 Metascore
    • 40 Critic Score
    Would've been far more compelling had he been limited to forty minutes max. [5 Aug 2004, p.109]
    • Rolling Stone
    • 54 Metascore
    • 40 Critic Score
    Ultimately, the inspirational message... gets lost in uninspired rhymes.
    • 57 Metascore
    • 40 Critic Score
    Five years at the pulpit have dimmed his flow. [30 Sep 2004, p.190]
    • Rolling Stone
    • 66 Metascore
    • 40 Critic Score
    Much of the time it sounds like Clinic are just playing around with their noisemakers and not having much fun. [2 Sep 2004, p.141]
    • Rolling Stone
    • 41 Metascore
    • 40 Critic Score
    If Enya were a Pokemon, she'd be Jigglypuff, the little pink monster who renders her opponents powerless by singing them to sleep.... The Irish multi-instrumentalist-singer-composer's skill at ephemeral sonic watercolors has grown wearisome, like a relative who tells the same stories every holiday.
    • 59 Metascore
    • 40 Critic Score
    For people who enjoy watching celebrities fall apart, America's Sweetheart should be more fun than an Osbournes marathon.
    • 60 Metascore
    • 40 Critic Score
    Punky but sloppy, as if the band were denied rehearsal time before the tape started rolling.
    • 53 Metascore
    • 40 Critic Score
    [Bemberger's] annoyingly wordy yelp carries only a few memorable lines and fewer melodies. [14 Oct 2004, p.98]
    • Rolling Stone
    • 74 Metascore
    • 40 Critic Score
    The tempos and melodies drag throughout; it's as though we've heard Mann sing these songs before, only here her understated passion comes off more like overstated indifference.
    • 59 Metascore
    • 40 Critic Score
    Third Eye Blind are as earnest and energetic as ever but sadly uncatchy.
    • 76 Metascore
    • 40 Critic Score
    The combination often proves too bleak.
    • 70 Metascore
    • 40 Critic Score
    Pryor delivers wounded-boy bromides that are so shopworn, they sound indifferent.
    • 52 Metascore
    • 40 Critic Score
    The sludge is so overbearing that anyone born during the Eighties will wonder what once made them special. [28 Oct 2004, p.103]
    • Rolling Stone
    • 53 Metascore
    • 40 Critic Score
    Sounds like Coldplay covering Barry Manilow.
    • 69 Metascore
    • 40 Critic Score
    When Stacy Jones moans, "I've been getting by on nothing" halfway through The Art of Losing, he achieves the album's one honest moment.
    • 58 Metascore
    • 40 Critic Score
    This album could easily have been released in the mid-Nineties, when Size and his V Records crew pointed the way forward. Ten years later, it is just a skittery nostalgia trip.
    • 60 Metascore
    • 40 Critic Score
    Folklore is a Whoa, Nelly! redux, without a single as good as "I'm Like a Bird."
    • 59 Metascore
    • 40 Critic Score
    Chingy is charming in presence and in singsong flow, but not particularly engaging. [25 Nov 2004, p.91]
    • Rolling Stone
    • 54 Metascore
    • 40 Critic Score
    Though Carlton's a better lyricist than faded contemporaries such as Michelle Branch, that fussy piano tends to muscle her out of her own songs.
    • 71 Metascore
    • 40 Critic Score
    Unfortunately, they don't have enough good musical ideas to pick up the slack.
    • 47 Metascore
    • 40 Critic Score
    Ondrasik's self-pitying ballads overflow with dewy-eyed dreaminess, as his vocals swoon and swoop - think of a more annoying Chris Martin.
    • 80 Metascore
    • 40 Critic Score
    There's little personality and no surprises here.
    • 57 Metascore
    • 40 Critic Score
    Too much of Welcome to the North sounds like emo on Ecstasy -- all hot and bothered without much to say.
    • 65 Metascore
    • 40 Critic Score
    There isn't much substance to the band's secondhand dance rock.
    • 62 Metascore
    • 40 Critic Score
    Rote emo-core, all predictable quiet-loud shifts and overwrought vocal melodies. [5 Aug 2004, p.108]
    • Rolling Stone
    • 58 Metascore
    • 40 Critic Score
    [A] mundane melange of Avril-ish brat pop and Sheryl Crow cod rock.
    • 43 Metascore
    • 40 Critic Score
    Tempos plod, and hooks are few.
    • 52 Metascore
    • 40 Critic Score
    Despite a handful of strong cuts, Destiny Fulfilled sounds like the kind of album you make when you're saving your best material for your next solo album.
    • 51 Metascore
    • 40 Critic Score
    Dull missteps such as "Sickalicious" and "Into You" show a lack of creative vision that stunts him when the hot beats run dry.
    • 53 Metascore
    • 40 Critic Score
    They falter by attempting to stray from the formula they've mastered. [28 Oct 2004, p.100]
    • Rolling Stone
    • 50 Metascore
    • 40 Critic Score
    Birds of Pray, their sixth album, sounds a lot like the previous five.
    • 59 Metascore
    • 40 Critic Score
    Cry
    Cry remains contrived, an album of crocodile tears from an entertainer who can sing anything but often means nothing.
    • 52 Metascore
    • 40 Critic Score
    Only a handful of tracks -- including "No Phone" and the surprisingly sweet "She'll Hang the Baskets" -- push pleasure buttons like they ought to.
    • 71 Metascore
    • 40 Critic Score
    A handful of pleasant, tuneful pop songs guaranteed not to disturb the peace.
    • 47 Metascore
    • 40 Critic Score
    She still can't project any personality of her own. [27 Jan 2005, p.58]
    • Rolling Stone
    • 63 Metascore
    • 40 Critic Score
    Be As You Are is plenty pretty, but aside from the mildly Caribbean-flavored "Guitars and Tiki Bars," it sounds like Chesney's drummer never got back from fetching the Coronas.
    • 49 Metascore
    • 40 Critic Score
    Kitschy lyrics spin out of control here.
    • 66 Metascore
    • 40 Critic Score
    Room Noises has some encouraging, lovely moments, but Eisley have yet to prove that they're anything more than a killer talent-show entry.
    • 65 Metascore
    • 40 Critic Score
    While Garnier's trickling melodies and spare snares hint at mystery, mostly they leave you longing for a beat.
    • 57 Metascore
    • 40 Critic Score
    Awake has the occasional spiffy tune... but it's padded with pop-rock toss-offs and an unlistenable, ten-minute instrumental noise jam.
    • 52 Metascore
    • 40 Critic Score
    Long on rote melodies and slickly produced SoCal stomp.
    • 52 Metascore
    • 40 Critic Score
    How did such a glam movie star turn into such a rinky-dink pop singer?
    • 64 Metascore
    • 40 Critic Score
    For all their songcraft, Robbers haven't yet filched enough ideas to fill an album. [10 Mar 2005, p.115]
    • Rolling Stone
    • 50 Metascore
    • 40 Critic Score
    His nice-guy-with-a-retrograde-flow shtick is fast running out of steam.
    • 57 Metascore
    • 40 Critic Score
    They sound like a marginally smarter American modern-rock act, screaming their pain over raw-boned riffs that could sure use some technicolor pizazz.
    • 46 Metascore
    • 40 Critic Score
    Syncopated sludge that will connect only with aging burnouts and the angriest of young 'uns.
    • 68 Metascore
    • 40 Critic Score
    The most downbeat record he's ever made, with none of his usual humor. [19 May 2005, p.81]
    • Rolling Stone
    • 76 Metascore
    • 40 Critic Score
    Veers close to self-parody.
    • 44 Metascore
    • 40 Critic Score
    Flaccid beats mean that his solo debut -- despite guest spots from Eminem and Big Boi -- too often falls flat.
    • 66 Metascore
    • 40 Critic Score
    Many of these sketches are too diffuse.
    • 63 Metascore
    • 40 Critic Score
    Despite a few arresting moments, such as the big-muscled title track, the band never stumbles on much that's recognizably its own.
    • 63 Metascore
    • 40 Critic Score
    Made In China soon disintegrates into demo-quality slackness. [8 Sep 2005, p.116]
    • Rolling Stone
    • 57 Metascore
    • 40 Critic Score
    As blandly charming as Hill's all-American drawl. [11 Aug 2005, p.74]
    • Rolling Stone
    • 48 Metascore
    • 40 Critic Score
    It's when Staind crank down the sludge and slacken the tempos that things get heavy in a bad way. [11 Aug 2005, p.72]
    • Rolling Stone
    • 51 Metascore
    • 40 Critic Score
    Dragged down by radio-courting melodies and ready-made rhymes, this album's first half is particularly calculated.
    • 51 Metascore
    • 40 Critic Score
    Instead of seeming angry or inspired, 311 just end up sounding like the pop world has passed them by.
    • 78 Metascore
    • 40 Critic Score
    What it lacks are top-quality tunes.
    • 70 Metascore
    • 40 Critic Score
    A mediocre follow-up with nothing as great as "Redneck Woman" or "Here for the Party."
    • 54 Metascore
    • 40 Critic Score
    On Somebody's Miracle, she goes for a folksy, acoustic style, but she still oversings, holding notes too long and tackling pop choruses she doesn't have half the voice for.
    • 53 Metascore
    • 40 Critic Score
    Although spunky cuties Julia Volkova and Lena Katina have improved their English-pronunciation skills, the hooks they're handed this second time around are decidedly duller.
    • 41 Metascore
    • 40 Critic Score
    All the Right Reasons is so depressing, you're almost glad Kurt's not around to hear it.
    • 61 Metascore
    • 40 Critic Score
    A CD of biblical rap would have been vastly more interesting than just tepid updates of the Run-DMC sound. [3 Nov 2005, p.96]
    • Rolling Stone
    • 69 Metascore
    • 40 Critic Score
    Feels predictable and unexceptional. [3 Nov 2005, p.96]
    • Rolling Stone
    • 28 Metascore
    • 40 Critic Score
    Hefty Fine proves only marginally more welcome than a Jerky Boys reunion.
    • 50 Metascore
    • 40 Critic Score
    The album de-emphasizes the (very) guilty pop pleasures of her 2004 debut in favor of leaden I-hate-you-Daddy laments.
    • 44 Metascore
    • 40 Critic Score
    A largely vocals-free mishmash of brittle beats, buzzy sound effects and hipster ambience that sounds great when Dizzee Rascal is rhyming over it but cold and tinny on its own.
    • 52 Metascore
    • 40 Critic Score
    In trying to wrest profundity from simplicity, Keys to the World is only profoundly disappointing.
    • 55 Metascore
    • 40 Critic Score
    The most notable aspect of Testify, in fact, is how little P.O.D., or their guitars, have to say.
    • 67 Metascore
    • 40 Critic Score
    Overrun with bland, airbrushed introspection.
    • 73 Metascore
    • 40 Critic Score
    There are a couple of decent Brit-pop numbers... but the rest is utterly forgettable, shoddily produced retro rock that at its worst sounds like a Brighton-accented version of the Spin Doctors, minus the hit songs and amusing facial hair.
    • 71 Metascore
    • 40 Critic Score
    Much of Flat-Pack Philosophy is mired in a muddle. [9 Mar 2006, p.94]
    • Rolling Stone
    • 67 Metascore
    • 40 Critic Score
    Gilmour sounds like his own man here, but you wish he had someone--anyone--to push him beyond these new adventures in tedium. [9 Mar 2006, p.92]
    • Rolling Stone
    • 66 Metascore
    • 40 Critic Score
    Sparxxx appears only able to follow for now. [6 Apr 2006, p.69]
    • Rolling Stone
    • 64 Metascore
    • 40 Critic Score
    The real problem with coffeehouse stuff like "We Could Go and Start Again" isn't that it's corny--it's just tofu-bland. [6 Apr 2006, p.69]
    • Rolling Stone
    • 77 Metascore
    • 40 Critic Score
    An absence of memorable narratives, punch lines and wordplay makes the songs pass without distinction.
    • 57 Metascore
    • 40 Critic Score
    A handful of songs... work up some palatable L.A. pop, but those moments are surrounded by singer-songwriter cliches and painfully precious asides. [4 May 2006, p.59]
    • Rolling Stone
    • 65 Metascore
    • 40 Critic Score
    The middling tempos of plodding tracks like "Halo the Harpoons" and "It Takes Time" underscore the new lineup's shortcomings.
    • 64 Metascore
    • 40 Critic Score
    In the end... The Big Bang feels as hollow as a CGI-fueled Hollywood blockbuster.
    • 50 Metascore
    • 40 Critic Score
    Kowalczyk is revisiting themes he's been mining for years. The band's signature sound of slowly rising choruses punctuated by Kowalczyk's rumbling wail has also grown quite stale.
    • 60 Metascore
    • 40 Critic Score
    The tight arrangements are impressive in their guitar-bass-drums spareness, but the overall feel still falls somewhere between sterile and silly. [7 Sep 2006, p.107]
    • Rolling Stone
    • 48 Metascore
    • 40 Critic Score
    Second Round is wholly lacking in the playfulness that made his debut, Cheers, a varied delight. [21 Sep 2006, p.88]
    • Rolling Stone
    • 52 Metascore
    • 40 Critic Score
    Almost all of the tunes here (particularly "So Excited") try to replicate Jackson's early work, with diminishing returns.
    • 64 Metascore
    • 40 Critic Score
    On Sam's Town they seem like they're trying to make a big statement, except they have nothing to say.
    • 54 Metascore
    • 40 Critic Score
    Seemingly every track... contains nothing but raw bile toward those who have wronged Alexakis. [21 Sep 2006, p.88]
    • Rolling Stone
    • 76 Metascore
    • 40 Critic Score
    Unfortunately, Blood Brothers don't actually make you scared, which any good noise band should.
    • 52 Metascore
    • 40 Critic Score
    For the most part, the old magical feeling sure ain't coming back. [2 Nov 2006, p.78]
    • Rolling Stone
    • 85 Metascore
    • 40 Critic Score
    Ys
    Hard to stomach. [19 Oct 2006, p.134]
    • Rolling Stone
    • 58 Metascore
    • 40 Critic Score
    She's doing the same thing she did last time, except it's not as much fun.