Rolling Stone's Scores

For 5,918 reviews, this publication has graded:
  • 34% higher than the average critic
  • 4% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 6.1 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Magic
Lowest review score: 0 Know Your Enemy
Score distribution:
5918 music reviews
    • 67 Metascore
    • 60 Critic Score
    Swift came out of the gate sounding bright-eyed but remarkably seasoned. [December 5, 2012]
    • Rolling Stone
    • 81 Metascore
    • 60 Critic Score
    While we await her next album of new material, due next winter, The Covers Record provides a stopgap fix of her unnerving, coldblooded voice and shaky acoustic guitar.
    • 71 Metascore
    • 60 Critic Score
    Bromberg still makes every track shine, like the A-list session man he's always been.
    • 75 Metascore
    • 60 Critic Score
    Titles aren't exactly subtle ("Murderess," "Last Mistress"), even if the twin-guitar jams are opaque.
    • 67 Metascore
    • 60 Critic Score
    Campbell is not going to escape the "twee" label anytime soon, but at least she's putting new twists on her familiar sweetness.
    • 75 Metascore
    • 60 Critic Score
    Frontman Stuart Murdoch entreats over a soul groove on B&S' eighth disc, which loads up on Sixties-pop goodies without diluting the group's willowy kink.
    • 64 Metascore
    • 60 Critic Score
    Stretches further into his trademark laid-back R&B. [Jul/Aug 2021, p.133]
    • Rolling Stone
    • 59 Metascore
    • 60 Critic Score
    It's unclear if the sentiments are intended as poignant or as punch lines. But on a set wired with this much sonic wit, the sincerity question may be moot.
    • 68 Metascore
    • 60 Critic Score
    Like Arthur Russell, the late disco visionary whose work his music recalls, Andy Butler makes club jams that transcend the club.
    • 74 Metascore
    • 60 Critic Score
    Elliott's least cohesive, most conventional album yet.
    • 65 Metascore
    • 60 Critic Score
    Lovato has chops and spunk akin to a fellow Texas pop singer, though her voice doesn't churn with Kelly Clarkson's gutsy heart yet.
    • 57 Metascore
    • 60 Critic Score
    Will it provide decent accompaniment for a Gene Simmons blood-belching performance in a packed arena? This big, dumb, catchy record passes that test.
    • 72 Metascore
    • 60 Critic Score
    Only a slight improvement [over Want Two]. [14 Jun 2007, p.102]
    • Rolling Stone
    • 76 Metascore
    • 60 Critic Score
    Urban radiates psyched-ness - about his awesome marriage or the gathering power of crossover country - on summer jams and magnolia-scented ballads.
    • 53 Metascore
    • 60 Critic Score
    Throughout, Perry is less like the so-unusual, candy-coated Cyndi Lauper of "Teenage Dream," and is more an anonymous disco crooner, a breathy moderator leading us through passionate but muted songs of longing and empowerment.
    • 64 Metascore
    • 60 Critic Score
    As on her last album, tasteful retro organs and wah-wah dominate this batch of originals. [28 Oct 2004, p.99]
    • Rolling Stone
    • 56 Metascore
    • 60 Critic Score
    Dirty Vegas' earnest lyrics can get in the way, but they make up for that by rejecting the desultory repetition of much electro.
    • 68 Metascore
    • 60 Critic Score
    When It Falls is akin to a fabulous one-night stand: It feels great, it's very easy, and it requires absolutely no love or commitment at all.
    • 65 Metascore
    • 60 Critic Score
    Sure, this album gains depth from his film history - these laid-back country-rock songs suggest a cleaned-up Bad Blake, or a Dude with ambitions beyond the bowling lanes.
    • 64 Metascore
    • 60 Critic Score
    Until the band fully embraces their ping-pong guitars and surly one-liners ("I wish I saw myself the way you see me now"), Grouplove will likely remain a singles band rather than the new-R.E.M. their ambition hints at.
    • 67 Metascore
    • 60 Critic Score
    Sometimes his hydrant flow of ideas reveals a lack of good ones (see the proggy slog "Monolithic Egress"). But when Barnes figures out how to focus his brain dumps, dude gets more with less.
    • 71 Metascore
    • 60 Critic Score
    Gutter Rainbows is unabashed conscious-rap classicism, with a luscious, string-swamped soul sound and rhymes that tout the MC's left-of-center cred.
    • 71 Metascore
    • 60 Critic Score
    Every song is rooted in some long-gone Seventies AM-radio hit... doing for disco what the New Pornographers do for rock & roll.
    • 70 Metascore
    • 60 Critic Score
    There's nothing quite as sharp here as, well, "Here."
    • 60 Metascore
    • 60 Critic Score
    More color than meaning, but seductive enough to lure you in and keep you there.
    • 47 Metascore
    • 60 Critic Score
    This much serotonin in four humans can only mean they'll get carried away all over the place, and Beginning bubbles with the kind of slobbering excess that drives Peas haters bonkers.
    • 77 Metascore
    • 60 Critic Score
    The darker moments like 'Contemplate,' where he explores insecurity against an elegiac Rihanna sample, prove he's best as a doubter, not a hater.
    • 53 Metascore
    • 60 Critic Score
    It's all catchy enough to keep you listening, slack-jawed.
    • 67 Metascore
    • 60 Critic Score
    The songs aren't as urgent or as memorable as the cracked gems he used to write, but his voice is wonderfully ragged. [13 Nov 2003, p.99]
    • Rolling Stone
    • 73 Metascore
    • 60 Critic Score
    Childlike and catchy. [28 Oct 2004, p.103]
    • Rolling Stone