Rolling Stone's Scores

For 3,975 reviews, this publication has graded:
  • 34% higher than the average critic
  • 3% same as the average critic
  • 63% 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: 64
Highest review score: 100 Wrecking Ball
Lowest review score: 0 Know Your Enemy
Score distribution:
3,975 music reviews
    • 75 Metascore
    • 80 Critic Score
    McCartney has embraced the small-combo spirit that made Run Devil Run, his 1999 album of rock & roll covers, such a triumph.
    • 70 Metascore
    • 80 Critic Score
    Orton delivers some gooey pop complete with sticky tunes and honey-dipped ear candy - yet it's heavy, disturbing, recondite.
    • 82 Metascore
    • 80 Critic Score
    Despite Poses' multiple producers, there are more clean, clever ideas of arrangement here than on Wainwright's cluttered debut.
    • 74 Metascore
    • 80 Critic Score
    OST
    Eminem contributes three new songs, all self-produced, which happen to be three of the most ferocious hip-hop songs ever recorded.
    • 79 Metascore
    • 80 Critic Score
    U2's tenth studio album and third masterpiece, All That You Can't Leave Behind, is all about the simple melding of craft and song.... The album represents the most uninterrupted collection of strong melodies U2 have ever mounted, a record where tunefulness plays as central a role as on any Backstreet Boys hit.... Every track -- whether reflective but swinging, like "Wild Honey," or poised, then pouncing, like "Beautiful Day" -- honors a tune so refined that each seems like some durable old number. Because this is U2, there's a quick impact to these melodies, yet each song has a resonance that doesn't fade with repeated listening.
    • 75 Metascore
    • 80 Critic Score
    The new album is their most adventurous and passionate since Disintegration.
    • 85 Metascore
    • 80 Critic Score
    Virtually all of these songs and recordings have held up beautifully. [28 Oct 2004, p.104]
    • Rolling Stone
    • 67 Metascore
    • 80 Critic Score
    An equally available yet more sophisticated album.
    • 72 Metascore
    • 80 Critic Score
    As appealing, focused and straight-up satisfying an album as Prince has made since who can remember when.
    • 70 Metascore
    • 80 Critic Score
    Peachtree highlights once again just how soulful John's music can be. [25 Nov 2004, p.92]
    • Rolling Stone
    • 95 Metascore
    • 80 Critic Score
    One of the best albums of the year.
    • 87 Metascore
    • 80 Critic Score
    The ambiguity in the songs adds to their haunting quality.
    • 81 Metascore
    • 80 Critic Score
    Over subdued soul loops and improbably mellow piano work, The Lost Tapes displays Nas' gifts for tightly stitched narrative and stunningly precise detail.
    • 81 Metascore
    • 80 Critic Score
    Where Yankee Hotel Foxtrot sounded dense and surreal, the bulk of Ghost is spare and earthy, with streaks of Crazy Horse, the Band, the Beatles and the Replacements.
    • 76 Metascore
    • 80 Critic Score
    Aaliyah is Control, Velvet Rope and Jagged Little Pill all rolled into one. It's the album Janet should have made with All for You, the manifesto that Beyonce thought she was penning with Survivor.
    • 71 Metascore
    • 80 Critic Score
    A series of punk songs that balance throat-shredding, brain-rattling intensity with an undercurrent of sadness and vulnerability.
    • 87 Metascore
    • 80 Critic Score
    They evoke folks as diverse as Led Zeppelin and My Bloody Valentine, but the gently woozy Sigur Ros don't sound like anything or anyone else so much as a classic-rock band bewitched by white magic.
    • 70 Metascore
    • 80 Critic Score
    The summer's most brilliantly demented party record.
    • 65 Metascore
    • 80 Critic Score
    No matter how good your new favorite band is, the Stratford 4 are better.
    • 89 Metascore
    • 80 Critic Score
    Miss E is a mess, of course, and not all the experiments work as brilliantly as the single. But if you prefer risky messes to tidy formula, tracks like "Scream a.k.a. Itchin' " and "Step Off" will freak you up something fierce.
    • 81 Metascore
    • 80 Critic Score
    Under Construction, uninhibited and unpredictable, is her best yet.
    • 67 Metascore
    • 80 Critic Score
    The most pleasingly direct yet musically adventurous hip-hop long-player you're likely to hear all year.
    • 72 Metascore
    • 80 Critic Score
    It is the sound of apocalypse now.
    • 79 Metascore
    • 80 Critic Score
    Zwan are more straightforward (and much less histrionic) than the Smashing Pumpkins, so a few of the songs in the middle are pretty but not very dramatic.
    • 78 Metascore
    • 80 Critic Score
    Revelling/Reckoning is both an accomplished album complimented by a loose-jam of ensemble players and a bare sketchbook where DiFranco sits alone in her room, creating a private universe accessible to anyone with the will to listen.
    • 74 Metascore
    • 80 Critic Score
    Typically sunny Fanclub, yet more nuanced and colorful than anything the band has done before.
    • 77 Metascore
    • 80 Critic Score
    A ramshackle, art-damaged mess, but it's also one of the most bone-rattlingly ferocious records you'll hear all year.
    • 85 Metascore
    • 80 Critic Score
    The energy never sags and ideas never flag.
    • 75 Metascore
    • 80 Critic Score
    Jane's Addiction have finally come up with music that can stand alongside their previous albums.
    • 77 Metascore
    • 80 Critic Score
    Like Stereolab and Beck, Yo La Tengo liberate their listeners by downplaying language and logic in favor of our bodies' hazy dreams.