Rolling Stone's Scores

For 4,752 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 6.8 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 A Boy From Tupelo: The Complete 1953-1955 Recordings [Box Set]
Lowest review score: 0 Scream
Score distribution:
4752 music reviews
    • 88 Metascore
    • 80 Critic Score
    Ellison makes the boldest, most fully engaged fusion of the hip-hop-laptop era.
    • 79 Metascore
    • 80 Critic Score
    The Black Parade... is the best mid-Seventies record of 2006, a rabid, ingenious paraphrasing of echoes and kitsch from rock's golden age of bombast.
    • 77 Metascore
    • 80 Critic Score
    Legend and the Roots capture the old feeling of protest and uplift while updating the sound. They're not imitators - they're heirs.
    • 86 Metascore
    • 80 Critic Score
    Her magnificent fourth LP grows her trademark examinations of romantic decay to cathedral-like scale.
    • 79 Metascore
    • 80 Critic Score
    It's the best classic-rock record anyone under 50 is likely to make this year.
    • 59 Metascore
    • 80 Critic Score
    The best thing about Zeitgeist is that Corgan is back to what he does best: hard-rock architecture.
    • 79 Metascore
    • 80 Critic Score
    Over nine songs and 42 minutes--old-school LP length--they [producer Josh Homme and Dean Fertita] juggle tight and loose, conjuring a ravaged cadaver in a sharp funeral suit.
    • 75 Metascore
    • 80 Critic Score
    Jane's Addiction have finally come up with music that can stand alongside their previous albums.
    • 92 Metascore
    • 80 Critic Score
    Following a string of records that have each felt like a swan song, You Want It Darker may be Cohen's most haunting LP.
    • 82 Metascore
    • 80 Critic Score
    Rather Ripped is an excellent record, one of the strongest to emerge from Sonic Youth's amazing late period.
    • 78 Metascore
    • 80 Critic Score
    For listeners who like their music loud and fierce and pissed off at just about everything, there aren't too many better options than The Slip. Plus, the price is right.
    • 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.
    • 80 Metascore
    • 80 Critic Score
    These Montreal post-punks write harsh songs for harsh times on their excellent second album, building on last year's debut More Than Any Other Day.
    • 52 Metascore
    • 80 Critic Score
    If the songs sometimes feel a bit undercooked, the spirit is dazzling.
    • 77 Metascore
    • 80 Critic Score
    Supported by an A-list cast including brother Rufus, Pete Townshend and Steely Dan keyboardist Donald Fagen, she's collected some impressive endorsements. But they're just a backdrop to a riveting one-woman show.
    • 77 Metascore
    • 80 Critic Score
    The beauty is fleeting but piquant.
    • 70 Metascore
    • 80 Critic Score
    Peachtree highlights once again just how soulful John's music can be. [25 Nov 2004, p.92]
    • Rolling Stone
    • 69 Metascore
    • 80 Critic Score
    As on Musicology, the beats get pretty wicked here... But while 3121 is no funkier than Musicology, it does emphasize speedier tempos and, two nods to Zapp aside, more conventional sonics. [6 Apr 2006, p.60]
    • Rolling Stone
    • 90 Metascore
    • 80 Critic Score
    The album holds up as one of the Eighties' smartest megapop statements, full of passion and surefire hooks.
    • 77 Metascore
    • 80 Critic Score
    His latest, the five-song EP Add Violence, contains all the aggression, abjection and self-loathing that solidified his position as alt-rock's Original Angster but with the measured restraint of a man his age.
    • 76 Metascore
    • 80 Critic Score
    Recorded in a Louisville church gymnasium, Circuital is just as adventurous, yet more organic and focused.
    • 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.
    • 81 Metascore
    • 80 Critic Score
    Most of the originals are strong enough to pass as covers of classic jams. The actual covers, meanwhile, are spot on.
    • 73 Metascore
    • 80 Critic Score
    The mostly epic-length tracks--almost entirely written by drummer Lars Ulrich and singer-guitarist James Hetfield--are melodically assured furies of serial riffing and tempo shocks.
    • 64 Metascore
    • 80 Critic Score
    ¡Tré! picks up where its predecessor, ¡Dos!, left off.
    • 83 Metascore
    • 80 Critic Score
    Just a classic power trio lineup in the spirit of Midwest post-punk juggernaut Husker Du and its barely-sweetened antecedent Sugar, with Bob Mould conjuring the ecstatic rage of his earlier bands for a grim new era, apparently still convinced that the best way to meet crushing hopelessness is by barreling head first through it with a throat-shredding howl and all amps cranked.
    • 58 Metascore
    • 80 Critic Score
    The emo godfather's sixth album proves he's also gotten better in that span.
    • 72 Metascore
    • 80 Critic Score
    But the haunting horns under Horace Andy's vocal on "Girl I Love You" and mind-tickling thump of closer "Atlas Air" are pure genius from the minds of Grantley Marshall and Robert Del Naja: creepy and danceable.
    • 75 Metascore
    • 80 Critic Score
    This 21-track set plays like a crash course in the history of international club style.
    • 80 Metascore
    • 80 Critic Score
    Hitchcock has a knockout gift for Beatlesque melodicism, and the Venus 3 rev it up here with a beat-combo drive and star-shine twang that sound like Murmur in space.