Rolling Stone's Scores

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For 5,913 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:
  1. Positive: 3,629 out of 5913
  2. Mixed: 2,244 out of 5913
  3. Negative: 40 out of 5913
5913 music reviews
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    • 79 Metascore
    • 60 Critic Score
    On Your Own Love Again
    Pratt's jazz-steeped singing and rich guitar harmonies can recall early Joni Mitchell, or a nimble, less overbearing twist on the psychedelic folk of 21st-century artists like Joanna Newsom.
    • 69 Metascore
    • 60 Critic Score
    Remember Me
    Three-quarters of Remember Me, which is mainly produced by Gemini or his like-minded associate P-Lo, sounds great on iPhone speakers. But the rest of the album is too slow and soggy.
    • 64 Metascore
    • 60 Critic Score
    The Harsh Light of Day
    The only significant change from their breakthrough effort, 1998's All the Pain Money Can Buy, is more expensive, expansive-sounding production and an increasingly overt Beatles influence in both the songs and sonics.
    • 74 Metascore
    • 60 Critic Score
    Rendezvous
    It's a fitting, if slightly sleepy, send-off.
    • 66 Metascore
    • 60 Critic Score
    A Time To Love
    Almost half of the fifteen songs recall Wonder at his prime.
    • 78 Metascore
    • 60 Critic Score
    The Breaker
    At the top of their game, Little Big Town are taking an unlikely path: respectable, mid-career album artist.
    • 75 Metascore
    • 60 Critic Score
    I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It
    Despite opening big, bright and airtight, I Like It When You Sleep... gets boring-melty during dream-gaze reveries like "Please Be Naked" and "Lostmyhead." Even so, when they hit the right kind of moody sheen ("Somebody Else," "Loving Someone"), the 1975 are an enjoyable balance of desire and distraction.
    • 82 Metascore
    • 60 Critic Score
    A Steady Drip, Drip, Drip
    Can be madcap and zany, darkly hilarious, and just plain weird. [May 2020, p.89]
    • Rolling Stone
      • Posted May 12, 2020
    • 74 Metascore
    • 60 Critic Score
    Do To the Beast
    The stylishly sleazy intensity is still there on their first record since 1998's excellent 1965, only with a wider palette.
    • 81 Metascore
    • 60 Critic Score
    The Glowing Man
    While their long, drawn-out, circling dark clouds remain potent, ultimately The Glowing Man is the weakest of the three powerful epics they've released since 2012. It can be muted and jammy, the build-ups are not as dramatic and it brings little in new ideas for Gira's dead-eyed yowl.
    • 79 Metascore
    • 60 Critic Score
    Is A Woman
    With repeated listens, what feels at first like unmelodic obduracy reveals some hidden charms.
    • 53 Metascore
    • 60 Critic Score
    Anthem of the Peaceful Army
    There’s an element of the ridiculous in this. But there’s also a charm to their guileless, retro-fetishist conviction. And dudes have chops.
    • 63 Metascore
    • 60 Critic Score
    SZNZ: Spring [EP]
    Grading on a curve, the composition, “Opening Night,” deserves a solid B. It’s dorky, catchy, and whimsical. ... The rest of their springtime retreat sounds generally more Weezerish. ... As with the corniness of “Opening Night,” Cuomo’s strong knack for vocal melodies throughout saves a lot of otherwise half-baked or cliched lyrics.
    • 59 Metascore
    • 60 Critic Score
    So Amazin'
    The beats and some sharp songwriting keep Milian's unremarkably airy voice from having to stand on its own. [18 May 2006, p.229]
    • Rolling Stone
    • 59 Metascore
    • 60 Critic Score
    Title
    While the 21-year-old singer rocks more sass and self-empowerment on her full-length major-label debut (which, confusingly, shares a name with the four-song EP she released in September), she's also charmingly old-fashioned.
    • 73 Metascore
    • 60 Critic Score
    Demons: The Nomad Series, Vol. 2
    The music of the late Vic Chesnutt radiated black humor, ragged charm and a vulnerability that was often alarming. Cowboy Junkies successfully retain those qualities on Demons, a collection of Chesnutt covers that sets his striking lyrics against coiled guitars and baleful church organs.
    • 54 Metascore
    • 60 Critic Score
    Prophets of Rage
    12 hardrocking lefty diatribes against government conspiracies ("Drones – they got ya tapped, they got ya phone," Chuck D raps in "Take Me Higher"), civil injustice ("We fuckin' matter," he declares on "Who Owns Who") and, in the case of B-Real's rhymes, restrictive weed laws ("Legalize Me").
    • 76 Metascore
    • 60 Critic Score
    Time Skiffs
    Time Skiffs splits the difference between the pop and the avant, spaced-out family-pad music with solid drumming, deep-distance percussion, wobbly melodies, and harmonies somehow more blissed out than anything else.
    • 74 Metascore
    • 60 Critic Score
    After the End
    Crescendoing tracks like "True Monument" sound positively lush--at least if you ignore the dopey lyrics about "the cruelty of kindness" and other clichés.
    • 63 Metascore
    • 60 Critic Score
    Version
    An audacious set of... left-field covers (Radiohead's "Just," the Jam's "Pretty Green") turned into dance-soul tracks.
    • 64 Metascore
    • 60 Critic Score
    My December
    The tunes come up seriously short on choruses and heavy on the Alanis Morissette references.
    • 66 Metascore
    • 60 Critic Score
    A Thousand Suns
    With Rick Rubin co-producing, the band embraces not just synth-pop clamor but also dancehall-style chants and U2's grandiosity. It's the sound of Linkin Park feeling their way toward a new identity, but their skill for melody is obvious.
    • 54 Metascore
    • 60 Critic Score
    Saints Of Los Angeles
    The trip down memory lane helps the Crüe connect to their old sound: Much of Saints rocks with the same raucous fun as their Eighties albums, delivering glam guitars and arena-size choruses on cuts like the wickedly catchy 'Down at the Whisky.'
    • 56 Metascore
    • 60 Critic Score
    The Time Of The Assassins
    The Strokes-ish quality is in the music's rigor: Assassins combines groove and melody with the same machinelike precision that sets Fraiture's other outfit apart.
    • 80 Metascore
    • 60 Critic Score
    American III: Solitary Man
    The onus here lies on the production... Rick Rubin's work is too timid; mostly, the shy combos of guitar, fiddle and accordion, or Benmont Tench's subliminal contributions on keyboards, make up the kind of severe meal that one is forced to think of as "tasteful."
    • 71 Metascore
    • 60 Critic Score
    End Times
    Everett keeps these ballads and rockers short, spare and pretty; his sad reportage is straightforward to the point of being guileless.
    • 68 Metascore
    • 60 Critic Score
    Drums Between the Bells
    An album of poetry set to music might not be what the world wants from Brian Eno.
    • 69 Metascore
    • 60 Critic Score
    Going Way Out With Heavy Trash
    Like his fellow goth-punk godfather Nick Cave, Spencer is a master of the offhandedly irreverent blues move, turning riffs like 'Crazy Pritty Baby' into prime perversion.
    • 78 Metascore
    • 60 Critic Score
    You & Me
    The songwriting has never been stronger or more eclectic.
    • 80 Metascore
    • 60 Critic Score
    Blue Neighbourhood
    The relentless lightness can get predictable after a while, as one plush ballad blurs into another, but Blue Neighbourhood, like all the best young loves, is full of promise.
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