Rolling Stone's Scores

For 4,074 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 Magic
Lowest review score: 0 Scream
Score distribution:
4,074 music reviews
    • 79 Metascore
    • 100 Critic Score
    A perfect treasure of soft, spangled woe sung with a heavy open heart.... It's the best album Beck has ever made.
    • 62 Metascore
    • 100 Critic Score
    In terms of consistency, craftsmanship and musical experimentation, Goddess in the Doorway surpasses all his solo work and any Rolling Stones album since Some Girls.
    • 71 Metascore
    • 100 Critic Score
    To the 5 Boroughs is an exciting, astonishing balancing act: fast, funny and sobering.
    • 92 Metascore
    • 100 Critic Score
    It is a glorious thing to hear. It will be one of the best things you hear all year.
    • 93 Metascore
    • 100 Critic Score
    The remarkable achievement of Love and Theft is that Dylan makes the past sound as strange, haunted and alluring as the future...
    • 82 Metascore
    • 100 Critic Score
    Even for him, though, The Rising, with its bold thematic concentration and penetrating emotional focus, is a singular triumph.
    • 100 Metascore
    • 100 Critic Score
    A serious, ridiculously ambitious punk album. [14 Oct 2004, p.100]
    • Rolling Stone
    • 97 Metascore
    • 100 Critic Score
    It's looser and messier than Sgt. Pepper and, one suspects, always would have been. But its sui generis Americanism counterbalances its paucity of classic pop songs.
    • 85 Metascore
    • 100 Critic Score
    Late Registration is an undeniable triumph, packed front to back, so expansive it makes the debut sound like a rough draft.
    • 89 Metascore
    • 100 Critic Score
    His third straight masterwork. [7 Sep 2006, p.99]
    • Rolling Stone
    • 73 Metascore
    • 100 Critic Score
    Magic is, in one way, the most openly nostalgic record Springsteen has ever made.
    • 88 Metascore
    • 100 Critic Score
    Rarely does an act so flatteringly curate its own brilliance.
    • 72 Metascore
    • 100 Critic Score
    Working on a Dream is the richest of the three great rock albums Springsteen has made this decade with the E Street Band--and moment for moment, song for song, there are more musical surprises than on any Bruce album you could name.
    • 72 Metascore
    • 100 Critic Score
    He is still singing about singing, all over No Line on the Horizon, U2's first album in nearly five years and their best, in its textural exploration and tenacious melodic grip, since 1991's "Achtung Baby."
    • 93 Metascore
    • 100 Critic Score
    The sound quality is astonishing.
    • 81 Metascore
    • 100 Critic Score
    This three-disc remastered Ya-Ya's includes the original in all its gritty glory. Disc Two is a five-song EP from the same shows, with acoustic performances--"Prodigal Son" and "You Gotta Move"--from Richards (playing a resonator guitar) and Jagger. The third disc is an unexpected treat: blistering sets by openers B.B. King plus Ike and Tina Turner (doing an outrageously steamy take on Otis Redding's "I've Been Loving You Too Long").
    • 92 Metascore
    • 100 Critic Score
    Finally, the third and most brutal album from these Detroit legends gets both the rawness and the power it deserves.
    • 100 Metascore
    • 100 Critic Score
    It was a long haul to that nasty perfection — "Loving Cup" was first recorded in 1969; "Sweet Virginia" was a salty-country leftover from Sticky Fingers — and the outtakes unearthed and, in some cases, retouched for this reissue reveal more (not a lot but enough to be grateful for) about the process and detours
    • 76 Metascore
    • 100 Critic Score
    On The Union, produced by T Bone Burnett, John and Russell share the resurrection. Each goes back to what he first did best. Then they do it together.
    • 94 Metascore
    • 100 Critic Score
    My Beautiful Dark Twisted Fantasy is his most maniacally inspired music yet, coasting on heroic levels of dementia, pimping on top of Mount Olympus.
    • 100 Metascore
    • 100 Critic Score
    Greatest protest album ever made? Most stirring soul-music symphony? Yes and yes. And then some.
    • 89 Metascore
    • 100 Critic Score
    It's a museum piece, a record that merits a display in the Smithsonian.
    • 93 Metascore
    • 100 Critic Score
    The bonus material is not essential listening, but since U2 rarely pull back the curtain on their creative process, it's fascinating to hear this rough draft of history.
    • 93 Metascore
    • 100 Critic Score
    This edition has 12 outtakes, most of which have been hoarded on bootlegs by Stones fanatics for years. Some of the bonus tracks are nearly as hot as the originals.
    • 78 Metascore
    • 100 Critic Score
    The most despairing, confrontational and musically turbulent album Bruce Springsteen has ever made.
    • 98 Metascore
    • 100 Critic Score
    Reminds us that, for all of Simon's genius with tunes and lyrics, it's his rhythmic searching and sophistication that sets him apart.
    • 83 Metascore
    • 100 Critic Score
    [Tempest is] a thing to behold.
    • 99 Metascore
    • 100 Critic Score
    The real revelations are recordings that part the curtains on the making of Rumours, like Christine McVie's solo-piano-demo rendition of "Songbird."
    • 71 Metascore
    • 100 Critic Score
    Wrote a Song for Everyone does not replace anything Fogerty did the first time around. It affirms the living history in his greatest hits--that of a great nation still being born.
    • 97 Metascore
    • 100 Critic Score
    It takes a band as myth-saturated as the Clash to live up to a career-summing box as ambitious as this one. But Joe Strummer and his crew of London gutter-punk romantics fit the bill.
    • 92 Metascore
    • 100 Critic Score
    All totaled: a trunkload of what at this point are barroom folk standards, played so vividly you'll be bellowing along.
    • 92 Metascore
    • 100 Critic Score
    This welcome five-CD-plus-DVD expansion adds several non-LP singles; a new, nine-cut tribute set featuring contemporary fans from Miguel to Fall Out Boy (John Grant's sighing "Sweet Painted Lady" is the highlight); a vintage documentary about the album's creation; and, best of all, an explosive London concert that demonstrates how hard John and his kickass band could rock between eloquent ballads.
    • 98 Metascore
    • 100 Critic Score
    III was a masterful union of ballads and bruising, and a giant step in the songwriting ascent toward, later, "No Quarter" and "Kashmir."
    • 64 Metascore
    • 100 Critic Score
    U2's first studio album in five years--is a triumph of dynamic, focused renaissance.
    • 99 Metascore
    • 100 Critic Score
    The trunk of treasure he and the Band made in their short season of hiding keeps on giving.
    • 100 Metascore
    • 100 Critic Score
    The latest reissue of the album spotlights its sonic depth, thanks to illuminative remastering by guitarist-producer Jimmy Page, and, on the deluxe edition, alternate mixes of each track.
    • 98 Metascore
    • 100 Critic Score
    Alongside alternate LP mixes are early versions of "Andy's Chest," "The Ocean," and "Rock'n'Roll"; fascinating abandoned outtakes slated for a supposed "lost" fourth LP ("Coney Island Steeplechase," "Ferryboat Bill"); and some of the most exciting live VU recordings ever.
    • 85 Metascore
    • 90 Critic Score
    Austin's favorite trio dishes out eleven helpings of diverse alt-pop on what may wind up being the finest record of its ilk all year. Charged by song sculptor/frontman Britt Daniel, this start-to-finish triumph never underachieves even if it has an effortless aura at times.
    • 73 Metascore
    • 90 Critic Score
    This record demands a room full of quiet and your undivided attention. Listen to it any other way and you may be disappointed, even bored, by it. And that will be your hard luck, because Silver and Gold is Neil Young at his hushed, acoustic best: simple, romantic, direct.
    • 88 Metascore
    • 90 Critic Score
    His album of Waits' penned-and-produced songs may be the masterwork of Hammond's long career, as well as further testament to Waits' unique genius.
    • 72 Metascore
    • 90 Critic Score
    This is a record of breathtaking, eccentric opulence.
    • 79 Metascore
    • 90 Critic Score
    Why anybody would choose to spend their life without a copy of This Is Not a Test! is a mystery.
    • 73 Metascore
    • 90 Critic Score
    The album's producer, Gil Norton (whose crescendos for the Pixies were an alternative-rock cornerstone), has subtly filled out the sound of the Patti Smith Group without losing its handmade, jamming essence. Guitar tones resonate through the mix, and new lines snake through what used to be hollow space.
    • 86 Metascore
    • 90 Critic Score
    In somebody else's defiance of death, we in the audience get an intense affirmation of life, not to mention some of the best jokes in rock & roll history.
    • 71 Metascore
    • 90 Critic Score
    Produced by Ken Nelson, who was also responsible for Badly Drawn Boy's Bewilderbeast, Quiet Is the New Loud is equally praiseworthy, as the band conjures up the spirit of Nick Drake with eerie precision.
    • 97 Metascore
    • 90 Critic Score
    Captures Zep in prime swagger.
    • 73 Metascore
    • 90 Critic Score
    If this combination of big-name backers, undeniable skills, radio-ready tracks and a marketable thug persona make Get Rich or Die Tryin' a sure-shot smash hit, it also makes it a great record.
    • 97 Metascore
    • 90 Critic Score
    Lynn and White weren't straining to make history, just a damn good Loretta Lynn album. But it sure sounds classic anyway.
    • 85 Metascore
    • 90 Critic Score
    It comes down to the songs, and these are the most intense he's ever written, one instant classic after another.
    • 88 Metascore
    • 90 Critic Score
    Weird, playful, unclassifiable, sexy, brilliantly addictive.
    • 81 Metascore
    • 90 Critic Score
    Devils and Dust is also as immediate and troubling as this morning's paper.
    • 81 Metascore
    • 90 Critic Score
    If you happen to be a rock band, and you don't happen to be either of the White Stripes, it so sucks to be you right now.
    • 85 Metascore
    • 90 Critic Score
    Like the other two [albums], it's speaker-blowingly brilliant. [11 Aug 2005, p.70]
    • Rolling Stone
    • 73 Metascore
    • 90 Critic Score
    A Bigger Bang is just a straight-up, damn fine Rolling Stones album, with no qualifiers or apologies necessary for the first time in a few decades.
    • 88 Metascore
    • 90 Critic Score
    Might be the most oddly beautiful, psychedelic and ambitious [album] of the year. [21 Sep 2006, p.84]
    • Rolling Stone
    • 87 Metascore
    • 90 Critic Score
    Kala strikes deep. There's a resolute sarcasm, a weariness and defiant determination, a sense of pleasure carved out of work--articulated by the lyrics, embodied by the music.
    • 79 Metascore
    • 90 Critic Score
    On Graduation, West tries hard to address the problems on his first two albums, and succeeds: The new disc is tighter than "Late Registration" (fifty-one minutes long), with no skits (thank heavens) and less ornate production.
    • 88 Metascore
    • 90 Critic Score
    All of it rocks; none of it sounds like any other band on earth; it delivers an emotional punch that proves all other rock stars owe us an apology.
    • 76 Metascore
    • 90 Critic Score
    All he [Malkmus] wants to do is surrender to the lightheaded rush of the music, and the results are downright glorious.
    • 84 Metascore
    • 90 Critic Score
    This isn't a mixtape, it's a suite of songs, paced and sequenced for maxaqimum impact.
    • 86 Metascore
    • 90 Critic Score
    Tell Tale Signs makes plain that Dylan knows the caprices of the world he lives in, now more than ever.
    • 92 Metascore
    • 90 Critic Score
    Just as exuberant is the part of Disc Two dominated by the jazz-infused playing of pianist Rubén González, whose spiraling solos bring roars from the crowd.
    • 92 Metascore
    • 90 Critic Score
    This reissue bonanza shows the Nineties' premier indie band turning reflective and joyfully screwing around at the same time.
    • 83 Metascore
    • 90 Critic Score
    There isn't a weak song on Money; most of them are unforgettable.
    • 70 Metascore
    • 90 Critic Score
    21st Century Breakdown is even better, so masterful and confident it makes Idiot seem like a warm-up.
    • 92 Metascore
    • 90 Critic Score
    It's built for fanatics, yet the goods could make a fanatic out of anyone.
    • 76 Metascore
    • 90 Critic Score
    There are bum notes (musicians were high, burnt or both) and bumpy mixes (recording conditions were just shy of wartime). But the result, combined with the full-length performances in the Woodstock Experience packages, is the most comprehensive and satisfying account so far of the main reason why Yasgur's acres became an instant city of freaks, including me: the music.
    • 96 Metascore
    • 90 Critic Score
    Barring the discovery of more golden eggs, the four CDs of Keep an Eye on the Sky are the last word on Big Star's first, ultimately glorious lifetime.
    • 90 Metascore
    • 90 Critic Score
    The Live Anthology redresses that wrong with a panoramic picture of the Heartbreakers' indestructible groove.
    • 91 Metascore
    • 90 Critic Score
    It rings true to one man's unshakable vision.
    • 100 Metascore
    • 90 Critic Score
    Pinkerton became a cult classic, all raw guitars and self-loathing wit - it's the In Utero of sexual frustration.
    • 74 Metascore
    • 90 Critic Score
    There are jailhouse weepers, lullabies and gallows humor like "Five Minutes to Live" – a jaw-dropping testament to the depth of the man's songbook.
    • 94 Metascore
    • 90 Critic Score
    They perfected the genre moves: bracing attack, two-guitar blurs of dissonance and beauty, a sympathetic barker wringing emotion from lyrics about the insular rock scene and girls who stalked it.
    • 96 Metascore
    • 90 Critic Score
    There is a moment in this five-CD ocean of music when you agree with its creator, the Beach Boys composer-producer Brian Wilson, that the greatest pop album ever made is still within reach.
    • 87 Metascore
    • 90 Critic Score
    Chronological evenhandedness short-shrifts their vaunted 1980s but shows that their confused past 15 years did produce some Georgia peaches.
    • 90 Metascore
    • 90 Critic Score
    Quadrophenia, as delivered the first time, is still one of his, and the Who's, greatest albums--and the better opera.
    • 85 Metascore
    • 90 Critic Score
    The lyrics on Old Ideas reach for the stark power of prayers, hymns and religious riddles.
    • 93 Metascore
    • 90 Critic Score
    The alternate takes are all lesser versions interspersed with studio chatter and other audio vérité--the sound of a band enjoying its work, unaware its time was nearly up.
    • 84 Metascore
    • 90 Critic Score
    Immersion is a good way to characterize the grip and whirl of construction recounted on the two CDs of demos in this seven-disc box, which includes a previously released recording of the 1980-81 stage show.
    • 83 Metascore
    • 90 Critic Score
    Blunderbuss gets stranger and more fascinating the closer you listen.
    • 86 Metascore
    • 90 Critic Score
    Ram sounds ahead of its time.
    • 92 Metascore
    • 90 Critic Score
    This sumptuous birthday celebration of America's greatest folk singer is really a present to us: two CDs of his greatest songs and recordings, mostly from the mid-1940s, and a disc of illuminating rarities, including what is thought to be Guthrie's first studio session in 1939.
    • 90 Metascore
    • 90 Critic Score
    This five-CD box set features the band's three great studio albums, plus terrific bonus tracks and dub versions, and a slew of live recordings in which the Beat unleash their dance-floor fury and their Thatcher-era protest politics.
    • 82 Metascore
    • 90 Critic Score
    As a 50th-anniversary souvenir, the Stones have assembled a three-disc, 50-track compilation that is the best and most comprehensive collection of the band's high points available.
    • 87 Metascore
    • 90 Critic Score
    Rage Against the Machine's 1992 debut is a grenade that keeps exploding.... Remastered to museum-clean standards, the reissued album comes with DVDs of holy-shit live shows and music videos, plus demos that prove just how down and detailed the group had every song (even if Morello still couldn't resist changing solos).
    • 84 Metascore
    • 90 Critic Score
    Vampire Weekend have gotten better at just about everything they do.
    • 84 Metascore
    • 90 Critic Score
    Yeezus is the darkest, most extreme music Kanye has ever cooked up, an extravagantly abrasive album full of grinding electro, pummeling minimalist hip-hop, drone-y wooz and industrial gear-grind. Every mad genius has to make a record like this at least once in his career--at its nastiest, his makes Kid A or In Utero or Trans all look like Bruno Mars.
    • 81 Metascore
    • 90 Critic Score
    Despite the vintage, or maybe because it's all been hidden for so long, everything here feels like new music, busy being born and put to tape with crisp impatience.
    • 91 Metascore
    • 90 Critic Score
    The richest overview yet of maybe the most visionary funk operation in pop history.
    • 90 Metascore
    • 90 Critic Score
    The LP remains corrosively beautiful.
    • 80 Metascore
    • 90 Critic Score
    Reflektor is closer to turning-point classics such as U2's Achtung Baby and Radiohead's Kid A--a thrilling act of risk and renewal by a band with established commercial appeal and a greater fear of the average, of merely being liked.
    • 89 Metascore
    • 90 Critic Score
    "Here we go to the main course!" ad-libs Van Morrison on an extended "Caravan," one of the shaggy outtakes on this five-disc unpacking of the Belfast bard's 1970 jazzy-pop masterpiece. That LP is nearly all main course, and if the numerous alternate takes here often feel incomplete without their sublime, brassy final arrangements, they compensate with intimacy.
    • 67 Metascore
    • 90 Critic Score
    The cumulative effect of this mass of old, borrowed, blue and renewed – covers, recent outtakes and redefining takes on two classics--is retrospect with a cutting edge, running like one of the singer's epic look-ma-no-set-list gigs: full of surprises, all with a reason for being there.
    • 81 Metascore
    • 90 Critic Score
    The result is a set that feels like an instant folk-rock classic.
    • 72 Metascore
    • 90 Critic Score
    Turn Blue is a genuine turning point--into a decisively original rock, with a deeper shade of blues.
    • 95 Metascore
    • 90 Critic Score
    Oasis' debut remains one of the most gloriously loutish odes to cigarettes, alcohol and dumb guitar solos that the British Isles have ever coughed up. This deluxe three-disc reissue captures the madness of the Gallagher brothers' early days.
    • 97 Metascore
    • 90 Critic Score
    Made and issued between the falls of 1968 and 1970, the original LPs mark Zeppelin's rapid progression out of British R&B and psychedelia into a crushing-riff rock of unprecedented dynamic range, embedded with details from Fifties rockabilly and Celtic and Appalachian folk, blown open with volcanic improvising.
    • 95 Metascore
    • 90 Critic Score
    II was still tied to straight-blues sources (the Willie Dixon elements in "Whole Lotta Love"). But the alternate takes highlight Robert Plant's ripening vocal poise and, in a rough mix of "Ramble On," the decisive, melodic force of John Paul Jones' bass and John Bonham's drumming.
    • 87 Metascore
    • 90 Critic Score
    CSNY 1974 may be the closest we'll come to hearing a mid-Seventies reunion album from this band.
    • 98 Metascore
    • 90 Critic Score
    As with the reissue of the group's fourth album, Page has impeccably restored the glimmer of Houses of the Holy and uncovered an LP's worth of fascinating outtakes that show the band's headspace at the time.