Rolling Stone's Scores

For 4,730 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 6.8 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Working On A Dream
Lowest review score: 0 Scream
Score distribution:
4730 music reviews
    • 85 Metascore
    • 80 Critic Score
    Twenty years after their debut, Yo La Tengo are in full command.
    • Rolling Stone
    • 78 Metascore
    • 80 Critic Score
    When Homme hums that "words are weightless here on Earth because they're free" over dense space swirl, you hope gravity never takes hold.
    • 76 Metascore
    • 80 Critic Score
    Rarely is postmodern art such bloody good fun.
    • 69 Metascore
    • 80 Critic Score
    Understandably, Reed's old fascination with sadomasochistic transcendence puts off those who don't swing that way at least a little. But the music on this record, its gorgeous part, could change that.
    • 83 Metascore
    • 80 Critic Score
    Kaplan and Hubley sing their most confessional, intimate lyrics ever, over whispery guitars, brushed percussion, vibes and organ drones. It's a spell of blissful, psychedelic make-out music... these songs are great - heartfelt, rugged, melodically sumptuous enough to keep unfolding after dozens of spins, full of folk-rock flesh and blood.
    • 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
    You could argue that the Truckers should have revved up this Skynyrd side more often. But instead they let the songwriting speak for itself, and it sings loud and clear.
    • 94 Metascore
    • 80 Critic Score
    It’s the sound of longing unbound.
    • 86 Metascore
    • 80 Critic Score
    The Futureheads reclaim pop punk from the Warped Tour crowd -- and revive it in the process.
    • 77 Metascore
    • 80 Critic Score
    Knopfler's sueded voice has changed little since his 1980s heyday, and his elegant electric-guitar work sounds better than ever.
    • 56 Metascore
    • 80 Critic Score
    Most of Minutes is honed, metallic pop with a hip-hop stride and a wake-up kick.
    • 97 Metascore
    • 80 Critic Score
    Finally back in print, every song burns hot as ever.
    • 77 Metascore
    • 80 Critic Score
    Election Special is protest music delivered with a patriot's gifts – the American-roots beauty and expert fire in Ry Cooder's playing – and long memory.
    • 84 Metascore
    • 80 Critic Score
    Full Circle is a homey set, with few new songs and no May-December duets or hotshot young rockers, Elvis Costello notwithstanding.
    • 67 Metascore
    • 80 Critic Score
    The most pleasingly direct yet musically adventurous hip-hop long-player you're likely to hear all year.
    • 68 Metascore
    • 80 Critic Score
    The Neptunes' brilliant, impertinent, full-body funk is, for the most part, what stays with you from Justified; their songs, spacious and shot through with ecstatic aaahs, outshine their neighbors on the album.
    • 86 Metascore
    • 80 Critic Score
    With Shields, they still sound like Radiohead at a Buddhist retreat, but the songs are more muscular, increasingly driven by drummer Christopher Bear's innate swing.
    • 79 Metascore
    • 80 Critic Score
    The 28-year-old singer-songwriter says his latest collection of heartfelt love songs is a tribute to the Rat Pack's pressed-suit style, but it's actually a superb concept album about what a great boyfriend he can be.
    • 62 Metascore
    • 80 Critic Score
    But like everything here, it documents the unlikely transformation of an emotive indie rocker into a bona fide soul singer.
    • 82 Metascore
    • 80 Critic Score
    Human Performance is the first album you could describe as your typical Parquet Courts record--it gathers their best tricks in one place, along with new ones you wouldn't see coming.
    • 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.
    • 62 Metascore
    • 80 Critic Score
    His good-hearted faith in rock & roll delivers a powerful kick. As he well knows--and Rock N Roll Jesus proves--roaring guitars, truckloads of attitude and an unquenchable lust for life make up for a multitude of sins.
    • 71 Metascore
    • 80 Critic Score
    Gray's pipes aren't for everyone, but if you can't stomach them, I feel for you. You're missing some of the best soul on the planet.
    • 84 Metascore
    • 80 Critic Score
    These 12 songs map out a concise history of American soul, with a heavy dose of New Orleans strut.
    • 81 Metascore
    • 80 Critic Score
    Live at Shea Stadium has its flaws: Devotees will rightly quibble with the set list, which is light on rarities and cuts from the Clash's brilliant debut. But the album captures a rousing, crystalline-sounding Clash show.
    • 72 Metascore
    • 80 Critic Score
    Shakira's trademark warble is gauche, but whether boasting about sex on 'Why Wait' or wailing on the guitar-propelled 'Mon Amour,' she's a charmer--a globe-straddling star you can cuddle up to.
    • 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.
    • 84 Metascore
    • 80 Critic Score
    Parquet Courts are especially versed in the clipped, repetitive buzz of Wire's '77 classic Pink Flag, but, like Pavement, they soften post-punk's cranky edge with the glazed, lonely wonderment of fresh, wide-eyed New York transplants.
    • 91 Metascore
    • 80 Critic Score
    A record rooted in anxiety and mourning, We Got It From Here remains musically as dark and electrically relaxed as 1996's Beats, Rhymes and Life and 1998's The Love Movement.
    • 70 Metascore
    • 80 Critic Score
    The music brings out the terser side of one of pop's most prolix lyricists, with some spectacular results.