Rolling Stone's Scores

For 5,903 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:
5903 music reviews
    • 92 Metascore
    • 100 Critic Score
    Some of Beyoncé’s best vocal work on record, produced flawlessly and at the forefront of each track. Her voice as an instrument is wielded superbly across the entire album but most strikingly at the top of it, as she glides across country and R&B inflections effortlessly.
    • 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.