Rolling Stone's Scores

For 3,956 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 Rumours [35th Anniversary Deluxe Edition]
Lowest review score: 0 Scream
Score distribution:
3,956 music reviews
    • 88 Metascore
    • 80 Critic Score
    Even in duets with [Wainwright and Boy George], Antony is the dominant voice of solitude and agonized waiting. [10 Feb 2005, p.84]
    • Rolling Stone
    • 86 Metascore
    • 80 Critic Score
    LCD have managed to be both underground hitmakers and bona fide album artists as easily as Murphy splices guitar noise and machine thump.
    • 75 Metascore
    • 80 Critic Score
    The Mars Volta's second album is an exhilarating transgression: concussive, nonlinear rhythms; mad-dog guitar algebra; bloody-nightmare suites sung in bilingual free verse. In short, the beastly spawn of Radiohead's OK Computer and Rush's 2112.
    • 66 Metascore
    • 80 Critic Score
    Not all of Massacre is as immediately catchy as Get Rich, but it's close.
    • 81 Metascore
    • 80 Critic Score
    Stars sound confident enough to set anything on fire.
    • 78 Metascore
    • 80 Critic Score
    The Kaiser Chiefs make you want to sing along with practically every song by the second chorus.
    • 76 Metascore
    • 80 Critic Score
    Everything's OK is much more than OK -- it's one more righteous, red-hot reason to treasure this surviving genius of soul.
    • 82 Metascore
    • 80 Critic Score
    Silent Alarm is dance rock, but highly caffeinated.
    • 78 Metascore
    • 80 Critic Score
    His liveliest and jumpiest music in years.
    • 63 Metascore
    • 80 Critic Score
    Their best since Technique.
    • 74 Metascore
    • 80 Critic Score
    Pretty in Black is virtually fuzz-free, highlighting the exquisite detail in the Raveonettes' gift for pastiche.
    • 52 Metascore
    • 80 Critic Score
    A breakthrough for Weezer... Cuomo's songs are his most plaintive and brilliant since Pinkerton. [19 May 2005, p.74]
    • Rolling Stone
    • 88 Metascore
    • 80 Critic Score
    Some of the best and heaviest music of its career. [2 Jun 2005, p.70]
    • Rolling Stone
    • 83 Metascore
    • 80 Critic Score
    Be
    West is the producer Common has been waiting for all of his career: He makes Common both catchier and edgier at the same time.
    • 89 Metascore
    • 80 Critic Score
    It's two discs of steady brilliance.
    • 90 Metascore
    • 80 Critic Score
    For a musician like Stevens, going too far and trying too hard is the point, the way to get beyond where a more austere songwriter could get with a more naturalistic pose. So the most pleasurable music here is the most ambitious.
    • 78 Metascore
    • 80 Critic Score
    Chaos and Creation in the Backyard is the freshest-sounding McCartney album in years.
    • 84 Metascore
    • 80 Critic Score
    Apple's strongest and most detailed batch of songs yet.
    • 90 Metascore
    • 80 Critic Score
    Z
    There is an emphasis on keyboards, in pulse and architecture, that adds buoyancy and color to James' writing and flatters his keening, stratospheric tenor.
    • 72 Metascore
    • 80 Critic Score
    The first thing that hits you about the songs is their intelligent design, from the metallic-Cars echo of "Bombs Below" to the son-of-Nirvana charge in "On All Fours." But without the hell-bent revolutionary zeal, Ahead of the Lions would sound like empty victory.
    • 76 Metascore
    • 80 Critic Score
    What ultimately differentiates Blige's seventh studio album from previous discs is that its ballads truly matter.
    • 84 Metascore
    • 80 Critic Score
    At every turn -- high-mountain balladry, brassy R&B, near-metallic blues rock -- Rosanne sings of coming through loss with a poise and confessional will that are utterly country and absolutely in the family tradition.
    • 82 Metascore
    • 80 Critic Score
    A start-to-finish rush of invigorating riffs and pointed narratives that heightens with repeated exposure.
    • 69 Metascore
    • 80 Critic Score
    The rap on Ben Harper's music up to this point has been that it's been too derivative. This could be the album where he finally transcends that. [23 Mar 2006, p.61]
    • 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
    • 79 Metascore
    • 80 Critic Score
    This album is, above all, a textural triumph, a quantum bounce from the brittle jitter and insect-chatter fuzz of the band's 2001 Yeah Yeah Yeahs EP and 2003's full-length Fever to Tell. It's as if the Velvet Underground had gone from the black-crusted minimalism of their first album right to the pop bloom of their fourth, Loaded.
    • 88 Metascore
    • 80 Critic Score
    Ghostface's emotionally charged stream-of-consciousness flow is as off-the-wall and amazing as it's ever been.
    • 82 Metascore
    • 80 Critic Score
    His most jubilant disc since Born in the U.S.A. and more fun than a tribute to Pete Seeger has any right to be.
    • 74 Metascore
    • 80 Critic Score
    As immediate and despairing as breaking news from Baghdad... Pearl Jam is also as big and brash in fuzz and backbone as Led Zeppelin's Presence. [4 May 2006, p.55]
    • Rolling Stone