Rolling Stone's Scores

For 4,752 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 To The 5 Boroughs
Lowest review score: 0 Know Your Enemy
Score distribution:
4752 music reviews
    • 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.
    • 86 Metascore
    • 80 Critic Score
    With or without artfully-cribbed melodies, the music is undeniable.
    • 80 Metascore
    • 80 Critic Score
    Everyone shines--although James, whose lead vocals open and close the set, beams brightest, the eclecticism of My Morning Jacket's 2008 opus, Evil Urges, brought into sharper focus by the company. Sometimes too many cooks are precisely enough.
    • 95 Metascore
    • 80 Critic Score
    One of the best albums of the year.
    • 90 Metascore
    • 80 Critic Score
    This Texas native (1940-2002) was a one-man song factory in the late Sixties, writing hits for Nashville royalty. But Newbury's hurt and searching, draped in chamber-country silk, bloomed best on the solo LPs in this box.
    • 74 Metascore
    • 80 Critic Score
    It's mood music with a razor edge, pain fronting as bliss, delivered by a vet who understands that the blues are often about just that.
    • 96 Metascore
    • 80 Critic Score
    Corgan built a monument to art rock and OCD.
    • 84 Metascore
    • 80 Critic Score
    It's a dizzying, nonchronological spin through the Madonna years, years it makes you feel lucky to be living through.
    • 68 Metascore
    • 80 Critic Score
    Can the silliest album of the year also be the smartest and the sexiest?
    • 77 Metascore
    • 80 Critic Score
    A ramshackle, art-damaged mess, but it's also one of the most bone-rattlingly ferocious records you'll hear all year.
    • 82 Metascore
    • 80 Critic Score
    On Vile's fourth LP, the stoner haze lifts a bit, and he settles on a mood: chilled-out but guarded, and wrapped in gorgeous folk-blues guitar-picking.
    • 79 Metascore
    • 80 Critic Score
    The evidence here suggests the Sleepy Jackson could make a great punk album, or a great country album, or a great psychedelic album. Instead, they've simply made a great album, and one of the best debuts of the year.
    • 76 Metascore
    • 80 Critic Score
    Ten New Songs manages to sustain loss's fragile beauty like never before and might just be the Cohen's most exquisite ode yet to the midnight hour.
    • 88 Metascore
    • 80 Critic Score
    Basement Jaxx refine their broad influences into a creative energy you can feel: The art of their noise supples as much dance motivation as their beats.
    • 68 Metascore
    • 80 Critic Score
    If you liked Tragic Kingdom, you should love Return of Saturn. And if you didn't, you should still love it.
    • 75 Metascore
    • 80 Critic Score
    A sumptuous immersion in Seventies California folk pop, it is the most immediately charming album he has ever made.
    • 91 Metascore
    • 80 Critic Score
    The plush production of tracks like the Neptunes-produced centerpiece "good kid" hearkens back to Seventies blaxploitation soundtracks and Nineties gangsta-rap blaxploitation revivals, and good kid warrants a place in that storied lineage.
    • 77 Metascore
    • 80 Critic Score
    She's in a class by herself when it comes to turning all that romantic turmoil into great songs. At this point, she's like the new Morrissey, except with even more eyeliner.
    • 78 Metascore
    • 80 Critic Score
    The 17 tracks that Drake released at midnight on a recent Thursday hit harder and hold together more cohesively than most big-budget event albums.
    • 66 Metascore
    • 80 Critic Score
    Not all of Massacre is as immediately catchy as Get Rich, but it's close.
    • 77 Metascore
    • 80 Critic Score
    Molina pulls off the most out-there material with melodies nearly as accessible as conventional pop.
    • 67 Metascore
    • 80 Critic Score
    Big Whiskey, though, is a lot like a New Orleans funeral parade--mourning and zest balled into big, brawny music.
    • 85 Metascore
    • 80 Critic Score
    [It] will likely remain the country album of the year. [14 Jun 2007, p.98]]
    • Rolling Stone
    • 80 Metascore
    • 80 Critic Score
    It flows better than 2002's double-disc anthology, Land. It also does a better job contextualizing her later stuff as personal and pop-culture history
    • 63 Metascore
    • 80 Critic Score
    The heart of the action in most of these songs is a chunky update of the guitar-bass-drums charge of Origin's "New Born" and "Stockholm Syndrome" on 2003's Absolution. It's what Muse do best; it's good to hear a lot more of it.
    • 86 Metascore
    • 80 Critic Score
    Barlow's new approach made for one of the best indie-rock albums in a year full of stellar ones--and Sebadoh's greatest work.
    • 75 Metascore
    • 80 Critic Score
    The 13 songs here average just 2:30 in length, but they cram a lot in.
    • 75 Metascore
    • 80 Critic Score
    With Raconteurs bassist Jack Lawrence and guitarist-organist Dean Fertita helping out, the pair cut Horehound in three weeks, but these are all top-notch songs, rooted in Seventies dirtbag rock.
    • 79 Metascore
    • 80 Critic Score
    Even with just 10 tracks and no session details, this companion to Martin Scorsese's 2011 documentary deserves a brass–band welcome.