Rolling Stone's Scores

For 4,570 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 6.9 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 SMiLE
Lowest review score: 0 Scream
Score distribution:
4570 music reviews
    • 67 Metascore
    • 80 Critic Score
    A smart, breezy album that deftly fuses his love for old-school blues and R&B with his natural gift for sharp melodies and well-constructed songs. [21 Sep 2006, p.81]
    • Rolling Stone
    • 74 Metascore
    • 80 Critic Score
    Lots of cowbell, lots of bass. [21 Sep 2006, p.82]
    • Rolling Stone
    • 85 Metascore
    • 80 Critic Score
    Twenty years after their debut, Yo La Tengo are in full command.
    • Rolling Stone
    • 73 Metascore
    • 80 Critic Score
    One of the best albums Beck has ever made.
    • 82 Metascore
    • 80 Critic Score
    Yes, sometimes more is better. [21 Sep 2006, p.82]
    • Rolling Stone
    • 69 Metascore
    • 80 Critic Score
    More than just a gift to fans, it shows Elton's gifts haven't deserted him. [5 Oct 2006, p.68]
    • Rolling Stone
    • 83 Metascore
    • 80 Critic Score
    It's full of surprising, creative moments that recall Nas and Kanye West.
    • 80 Metascore
    • 80 Critic Score
    Hitchcock has a knockout gift for Beatlesque melodicism, and the Venus 3 rev it up here with a beat-combo drive and star-shine twang that sound like Murmur in space.
    • 68 Metascore
    • 80 Critic Score
    An album of angry, guilty, sad -- and often stunningly pretty -- songs. [5 Oct 2006, p.68]
    • Rolling Stone
    • 87 Metascore
    • 80 Critic Score
    Los Lobos' best album since 1996's Colossal Head.
    • 79 Metascore
    • 80 Critic Score
    The Black Parade... is the best mid-Seventies record of 2006, a rabid, ingenious paraphrasing of echoes and kitsch from rock's golden age of bombast.
    • 64 Metascore
    • 80 Critic Score
    Daltrey and Townshend have made a record as brazen in its way and right for its day as The Who Sell Out and Tommy were in theirs.
    • 82 Metascore
    • 80 Critic Score
    His finest batch of songs since This Is Hardcore.
    • 92 Metascore
    • 80 Critic Score
    A definitive album.
    • 89 Metascore
    • 80 Critic Score
    So why is it one of the best hip-hop albums of the year? For one, nobody gets the beats -- dry, hard and evil -- that Clipse get from Pharrell Williams and Chad Hugo.
    • 79 Metascore
    • 80 Critic Score
    Nas has always sounded older than his years, but there are moments on his eighth album when he sounds like the lead in the hood version of Grumpy Old Men.
    • 78 Metascore
    • 80 Critic Score
    Most of Friend Opportunity... sounds like a pure expression of musical joy.
    • 76 Metascore
    • 80 Critic Score
    The eclectic elements combine for dark, muted balladry a la Syd Barrett or the Beatles' White Album, with a touch of dub.
    • 78 Metascore
    • 80 Critic Score
    No great departure from earlier stuff, New Magnetic Wonder is full of bright melodies that veer between the Beach Boys and the Kinks, and a guitar-keyboards-drums sound that bounces between hard-rocking, bubbly and lush.
    • 69 Metascore
    • 80 Critic Score
    Williams remains a premier artist. [22 Feb 2007, p.73]
    • Rolling Stone
    • 80 Metascore
    • 80 Critic Score
    Explosions in the Sky... are like the Kronos Quartet with big amps and John Bonham in the back, exploring the composed details in their music before blowing 'em up.
    • 68 Metascore
    • 80 Critic Score
    Here they fail to provide the elusive novelty follow-up to "Stacy's Mom" but nonetheless invent many dandy new ways not to be in love.
    • 79 Metascore
    • 80 Critic Score
    The band doesn't fuss with any sort of rootsy purism, which is why it gets away with retro moves that would sound soft from anybody else.
    • 78 Metascore
    • 80 Critic Score
    Musically, Cassadaga is fully formed, a considered synthesis of the catch-as-catch-can expansiveness of Oberst's Lifted-era bands with the country tendencies that have always undergirded his Middle American vocals.
    • 76 Metascore
    • 80 Critic Score
    On Year Zero, Reznor doesn't exactly sound like he's having fun -- does he ever? But he runs out of disc space before he runs out of ideas, and it's the first time that's happened in quite a while.
    • 85 Metascore
    • 80 Critic Score
    As a whole, the collection is as indispensable as Either/Or. [31 May 2007, p.96]
    • Rolling Stone
    • 73 Metascore
    • 80 Critic Score
    Sky Blue Sky is understated, erratic, often beautiful, disarmingly simple music; it really sounds like six guys playing in a room, and no doubt that's how they wanted it.
    • 56 Metascore
    • 80 Critic Score
    Most of Minutes is honed, metallic pop with a hip-hop stride and a wake-up kick.
    • 86 Metascore
    • 80 Critic Score
    The songs are subtler, statelier, with Matt Berninger's baritone exuding lonesome warmth. [31 May 2007, p.93]
    • Rolling Stone
    • 85 Metascore
    • 80 Critic Score
    [It] will likely remain the country album of the year. [14 Jun 2007, p.98]]
    • Rolling Stone