Rolling Stone's Scores

For 4,454 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 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Modern Times
Lowest review score: 0 Scream
Score distribution:
4454 music reviews
    • 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.
    • 68 Metascore
    • 80 Critic Score
    If you liked Tragic Kingdom, you should love Return of Saturn. And if you didn't, you should still love it.
    • 75 Metascore
    • 80 Critic Score
    By any standard, jazz or otherwise, it is moving, mighty music - bad in all the right ways.
    • 81 Metascore
    • 80 Critic Score
    Their songbook bravado and grip of extreme dynamics are vividly caught in the poleaxed cover of Nirvana's "Smells Like Teen Spirit."
    • 74 Metascore
    • 80 Critic Score
    The most heartening thing about Feels Like Home is the utter absence of fussiness, or second-album overthink. It extends the Come Away With Me template while never echoing the earlier songs.
    • 69 Metascore
    • 80 Critic Score
    Understandably, Reed's old fascination with sadomasochistic transcendence puts off those who don't swing that way at least a little. But the music on this record, its gorgeous part, could change that.
    • 79 Metascore
    • 80 Critic Score
    McKay mixes pathos and goofiness with egghead glee.
    • 73 Metascore
    • 80 Critic Score
    With appearances from most of the big-name rappers and wall-to-wall Neptunes beats, this should be the world's greatest hip-hop compilation -- and much of the time it is.
    • 78 Metascore
    • 80 Critic Score
    Gold lacks the concise ache of Adams' indie solo prize from last year, Heartbreaker, but it is stronger on naked truth.
    • 83 Metascore
    • 80 Critic Score
    For all its audacity and lyrical cleverness, Search is an album with insecurities as remarkable as its confidence, with desperate measures justified by sincerity of purpose.
    • 83 Metascore
    • 80 Critic Score
    For all Beck lifts from the Seventies, the album never sounds like a period piece; there's always something extra in the mix, stray elements that are both goofy and strangely apropos.
    • 69 Metascore
    • 80 Critic Score
    The Menace, the long-delayed follow-up, finds Elastica in an unrepentant mood, scuffing up their terse, trashy guitar rock with fun-house noise while adding a handful of ambient mood pieces that sound like Aphex Twin castoffs.
    • 68 Metascore
    • 80 Critic Score
    Synth techno filtered through the twenty years of electronic dance music that have unspooled since 1982. [11 Apr 2002, p.132]
    • Rolling Stone
    • 82 Metascore
    • 80 Critic Score
    Murray Street achieves that rare thing for any band - real consistency.