Rolling Stone's Scores

Select another publication »
For 5,917 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:
  1. Positive: 3,632 out of 5917
  2. Mixed: 2,245 out of 5917
  3. Negative: 40 out of 5917
5917 music reviews
view
per page
    • 57 Metascore
    • 40 Critic Score
    Indestructible
    Problem is, much of Indestructible, banks on the same old angst-mongering that has fueled a zillion rock-radio hits in the past 10 years.
    • 53 Metascore
    • 40 Critic Score
    Boomslang
    It's got all the atmosphere of a great rock record, but not the guts of one.
    • 56 Metascore
    • 40 Critic Score
    At The End Of Paths Taken
    Even when the Junkies rock out a little... they're pretty bland. [19 Apr 2007, p.63]
    • Rolling Stone
    • 54 Metascore
    • 40 Critic Score
    No Fixed Address
    They're masters of generality, packaging all the bland blue-collar fantasies and unrequited nostalgia of an According to Jim rerun into formulaic head-nodders. The Canadian rockers' latest set is no exception, though they've cast a wider net this time.
    • 62 Metascore
    • 40 Critic Score
    Someday World
    "When I Built This World," a minimalist suite that feels like it's made for strings and Nintendo, is weirdly gorgeous, but otherwise this just sounds like two electronic greats e-mailing dorm-room demos.
    • 58 Metascore
    • 40 Critic Score
    Autobiography
    [A] mundane melange of Avril-ish brat pop and Sheryl Crow cod rock.
    • 66 Metascore
    • 40 Critic Score
    Dear Miss Lonelyhearts
    All the literary ambitions and drama-rock gestures fall in a ponderous heap--like CWK are losing an arms race with their own pretensions.
    • 54 Metascore
    • 40 Critic Score
    Payable On Death
    Ultimately, the inspirational message... gets lost in uninspired rhymes.
    • 71 Metascore
    • 40 Critic Score
    Passion, Pain & Pleasure
    Notwithstanding a brassy, helium-voiced cameo from Nicki Minaj on the catchy, booze-celebrating "Bottoms Up." Otherwise it's just steady mackin' over dull, airbrushed slow-jams.
    • 67 Metascore
    • 40 Critic Score
    We Are Science
    When these songs keep the pretense to a minimum, her melancholy mood can be affecting. But much of the rest is dreadfully muddy, lacking in both substance and texture.
    • 55 Metascore
    • 40 Critic Score
    New Earth Mud
    With too many half-baked songs, he ultimately comes off like a generic amalgam of a bunch of Seventies singer-songwriters.
    • 54 Metascore
    • 40 Critic Score
    Wild Ones
    Here he largely defers to producers (including Dr. Luke) and guest stars (Sia, J. Lo), and watches the cash roll in.
    • 44 Metascore
    • 40 Critic Score
    Hannicap Circus
    Flaccid beats mean that his solo debut -- despite guest spots from Eminem and Big Boi -- too often falls flat.
    • 65 Metascore
    • 40 Critic Score
    Kiss Land
    Kiss Land follows in the lethargic steps of 2012's Trilogy, but the pace is slower, songwriting thinner and vision more bloodshot.
    • 57 Metascore
    • 40 Critic Score
    Hotel Paper
    In the course of the album, it's hard not to notice that all the songs sound the same, and for that matter, they all sound the same as that Avril Lavigne song about the damn cold night, even if Michelle technically got there before Avril.
    • 58 Metascore
    • 40 Critic Score
    On And On
    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.
    • 60 Metascore
    • 40 Critic Score
    City
    City is so drab that the cameos from the Libertines' frontmen get lost in the darkness.
    • 41 Metascore
    • 40 Critic Score
    All The Right Reasons
    All the Right Reasons is so depressing, you're almost glad Kurt's not around to hear it.
    • 63 Metascore
    • 40 Critic Score
    The Speed of Things
    They tentatively attempt lounge-y jazz ("Dark Water") and falsetto disco ("War Zone"), but their real energy goes into harmonies so fussily layered and childlike that all their lonely yearning can't help but come off as precious.
    • 38 Metascore
    • 40 Critic Score
    DUMMY BOY
    His blend of garish Day-Glo net art and brawling homage to the glory years of DMX and Onyx may be a commercially effective millennial update of Rotten Apple thug rap. But aesthetically, his distinct lack of lyrical talent and annoyingly hyperactive presence often undermines the whole thing.
    • 60 Metascore
    • 40 Critic Score
    In a World Like This
    The resulting LP is roughly 100 times less fun than the Boys' cameo in This Is the End.
    • 52 Metascore
    • 40 Critic Score
    The Declaration
    On her fourth album, she's still doing the diva-by-numbers thing, alternating between angry-at-her-man anthems and lovey pleasantry.
    • 67 Metascore
    • 40 Critic Score
    The 1975
    The LP mostly forces unconvincing emo lyrics into a bloopy 1980s package.
    • 60 Metascore
    • 40 Critic Score
    Be OK
    While the title track is a bright, finger-snapping highlight, most of Michaelson's ditties are fit for kindergarten teachers.
    • 43 Metascore
    • 40 Critic Score
    Charmbracelet
    Tempos plod, and hooks are few.
    • 63 Metascore
    • 40 Critic Score
    Let It Rain
    It's a harrowing trip, and while clearly heartfelt, one is left with the impression that Let It Rain isn't so much meant to be enjoyed as pitied.
    • 75 Metascore
    • 40 Critic Score
    Songs for the General Public
    Full of shiny seventies pop rock simulations, but you would be much better off putting on an old Todd Rundgren or Raspberries record. [Aug 2020, p.73]
    • Rolling Stone
      • Posted Aug 18, 2020
    • 52 Metascore
    • 40 Critic Score
    The Midsummer Station
    His fluency with pop forms only makes things worse; Young spoils everything he touches. The Carly Rae Jepsen duet "Good Time" is grating enough to make you hate Jepsen, "Call Me Maybe" and also good times in general.
    • 57 Metascore
    • 40 Critic Score
    The New Folk Implosion
    All too mundane.
    • 69 Metascore
    • 40 Critic Score
    The Art Of Losing
    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.
Page: