Rolling Stone's Scores

For 4,207 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 7.1 points lower than other critics. (0-100 point scale)
Average Music review score: 64
Highest review score: 100 Physical Graffiti [Remastered]
Lowest review score: 0 Scream
Score distribution:
4,207 music reviews
    • 52 Metascore
    • 80 Critic Score
    Hearing twenty-one Lynch-penned songs back to back gets exhausting.
    • 77 Metascore
    • 80 Critic Score
    As a final statement from one of the most important artists of the last decade, it's not exactly earth-shattering. But this eclectic, personal and heartfelt Scarecrow is still outstanding in its field.
    • 73 Metascore
    • 80 Critic Score
    There isn't much music on your radio dial that sounds so quintessentially bittersweet; the Jayhawks' old-fashioned gift is that they can make being lost sound sort of nice.
    • 71 Metascore
    • 80 Critic Score
    Gray's pipes aren't for everyone, but if you can't stomach them, I feel for you. You're missing some of the best soul on the planet.
    • 82 Metascore
    • 80 Critic Score
    Angry, bold, pointed and eclectic as hell, Stag suggests that Nirvana and Sleater-Kinney are just as important to Ray as Simon and Garfunkel.
    • 77 Metascore
    • 80 Critic Score
    A hit album without any obvious hit songs.
    • 80 Metascore
    • 80 Critic Score
    The W is a sonic gestalt that exists somewhere between the Queensbridge projects and OutKast's Stankonia, down the block from Lee Perry's Black Ark studios, two floors below A Tribe Called Quest's Low End Theory.
    • 75 Metascore
    • 80 Critic Score
    Inside Out is the kind of recording God created Nashville for.
    • 75 Metascore
    • 80 Critic Score
    Some of the best baby-making music since Barry White.
    • 74 Metascore
    • 80 Critic Score
    He's supported by the most accomplished set of beats in recent hip-hop memory.
    • 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.