Rolling Stone's Scores

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For 5,910 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: 3,628 out of 5910
  2. Mixed: 2,242 out of 5910
  3. Negative: 40 out of 5910
5910 music reviews
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    • 70 Metascore
    • 60 Critic Score
    The Orchard
    With dubby beats, choral vocals and signature strings, it's the most haunted song on the group's second LP, a set of genteel indie pop swinging between Dirty Projectors' ornate chamber music and the prep-school dance party of Vampire Weekend.
    • 59 Metascore
    • 60 Critic Score
    Trinity (Past, Present and Future)
    By combining the cinematic ambition of Massive Attack with A Tribe Called Quest's soul-clap minimalism, Slum Village step forward on Trinity -- even if, at sixty-nine sprawling minutes, it could have used some serious pruning.
    • 91 Metascore
    • 60 Critic Score
    Speakerboxxx/The Love Below
    Each of these albums is as noteworthy for what's missing as for what's there.
    • 76 Metascore
    • 60 Critic Score
    Ghetto Bells
    Proves alluring even when the tunes are undercooked.
    • 74 Metascore
    • 60 Critic Score
    Stars Of CCTV
    Their Clash-inspired punk funk bites music ideas from the Specials and the Happy Mondays, but singer Richard Archer gets his songs from street life, dead-end jobs, run-ins with the law.
    • 69 Metascore
    • 60 Critic Score
    So Familiar
    That's the vibe of the rootsy music they make, too: smart and stately, full of detailed craft and unfussy intimacy.
    • 69 Metascore
    • 60 Critic Score
    Lace Up
    In Machine Gun Kelly, Cleveland finally gets its very own Eminem: a clever, working-class white kid who fires nail-gun rhymes in dense clusters.
    • 71 Metascore
    • 60 Critic Score
    Tron: Legacy
    Whether Daft Punk have created a worthy soundtrack is for filmgoers to decide. As for the album they've made - it's so-so mood music, full of dramatic, string-suffused sounds that are sometimes moving and sometimes just there.
    • 65 Metascore
    • 60 Critic Score
    Potato Hole
    The originals feel like old standards. But the cover of OutKast's 'Hey Ya' is the zinger: It's Southern race-mixing party music come full circle.
    • 68 Metascore
    • 60 Critic Score
    Hands
    What the Brit singer does have is a bunch of shiny, propulsive electro-pop songs.
    • 73 Metascore
    • 60 Critic Score
    Simple Math
    Simple Math is more intimate and more massive than Manchester's previous sets, as the Atlanta group supersizes the kitchen-sink approach of fellow Georgians in the Elephant 6 collective to depict a panoply of crises: spiritual, marital, chemical, whaddya got?
    • 80 Metascore
    • 60 Critic Score
    Hate
    These four Scots sound like the depressed cousins of the Flaming Lips. [6 Feb 2003, p.62]
    • Rolling Stone
    • 67 Metascore
    • 60 Critic Score
    The Voice of the Heroes
    Some cuts have strong hooks and others don’t, though the duo’s chant of “I need medical” on “Medical” stands out. Eventually, it starts to sound like an 18-track blowout that’s taking a bit too long to wrap up. All in all, The Voice of the Heroes isn’t bad.
    • 62 Metascore
    • 60 Critic Score
    This Is What the Truth Feels Like
    The album has a rushed feel--a likable but low-personality version of her familiar bubble-pop solo mode, alternating between miffed breakup plaints (the Amy Winehouse tribute "Naughty") and gushy new-boyfriend songs.
    • 81 Metascore
    • 60 Critic Score
    New Multitudes
    Four singer-songwriters tag-team in a folk-rock vein, and the high points are when voices unite.
    • 66 Metascore
    • 60 Critic Score
    White Knight
    Inconsistency is like a muse here, but he seems to work best with Seventies peers like Joe Walsh, Daryl Hall and Donald Fagen, whose smooth Donald Trump parody "Tin Foil Hat" is a timely highlight.
    • 69 Metascore
    • 60 Critic Score
    Lex Hives
    They lose steam at times, but by the LP's end, their toga party is back pogo'ing and the neighbors are knocking.
    • 72 Metascore
    • 60 Critic Score
    Oceania
    [Oceania] is a good stand-alone record, a bong-prog take on the alt-rock grandeur of Gish and Siamese Dream.
    • 70 Metascore
    • 60 Critic Score
    Slow Gum
    Slow Gum is a promising beginning.
    • 68 Metascore
    • 60 Critic Score
    Trigga
    Trey Songz's sixth LP skates on the edges of modern hip-hop while remaining true to his R&B Lothario roots.
    • 68 Metascore
    • 60 Critic Score
    One Of The Boys
    None of this feels revelatory, but sometimes it sounds pretty fine.
    • 53 Metascore
    • 60 Critic Score
    Weezer [Black Album]
    Even if he primarily composed on pan flute, it’d still be what it is--another edition of their signature precise, poker-faced California pop-rock. ... Though this time out the sense of irony is somewhat less blanched and the music a great deal more fun.
    • 74 Metascore
    • 60 Critic Score
    Somewhere Under Wonderland
    On the seventh Counting Crows album, Adam Duritz is still the same dreadlocked dreamer you remember from the Nineties, channeling Van Morrison, R.E.M. and Bruce Springsteen into word-zonked ballads that reference Jackie O., Elvis, Johnny Appleseed and more.
    • 70 Metascore
    • 60 Critic Score
    Food & Liquor, Vol. 2: the Great American Rap Album, Pt. 1
    Food & Liquor II has the usual Lupe deficiencies: a hectoring tone ("Bitch Bad") and bombastic beats that pile-drive messages home. He's better when he relaxes a little: Songs like "Hood Now," a celebration of black cultural takeover, have a lighter touch, and hit twice as hard.
    • 73 Metascore
    • 60 Critic Score
    Dancing with the Devil... The Art of Starting Over
    Ultimately Dancing with the Devil… The Art of Starting Over delivers on the promise of the first half of its title, and skimps on the second. She’s been through hell, it’s clear. But her music isn’t clear about how she wants to begin again.
    • 77 Metascore
    • 60 Critic Score
    Gliss Riffer
    His latest features his own zonked singing on tracks like the loopy, Tom Petty-referencing elegy "Feel the Lightning" and the head-spinning backwoods goof "When I Was Done Dying."
    • 59 Metascore
    • 60 Critic Score
    Rolling Papers
    On Rolling Papers, Khalifa, the 23-year-old Pittsburgh rhymer responsible for the jersey-waving hit "Black and Yellow," manages to give life to those kinds of cash-gorged perma-baked cliches by warmly luxuriating in the space between pop's fresh-faced exuberance and hip-hop's easy arrogance--between skater and playa, Bieber and Biggie.
    • 67 Metascore
    • 60 Critic Score
    Darlings
    Drew's songs still zone out, but the focus here is on a stripped-down luster somewhere between occasional bandmate Feist and the National.
    • 58 Metascore
    • 60 Critic Score
    Beat 'Em Up
    His loudest, most adolescent and downright unwholesome album since the Stooges imploded nearly thirty years ago.
    • 64 Metascore
    • 60 Critic Score
    Disco and The Half Way To Discontent
    The unabashedly crude results suggest a lackadaisical slant on the Beastie Boys' garage-funk jams.
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