Rolling Stone's Scores

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For 5,921 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: 3,636 out of 5921
  2. Mixed: 2,245 out of 5921
  3. Negative: 40 out of 5921
5921 music reviews
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    • 53 Metascore
    • 50 Critic Score
    The Illusion Of Progress
    Most of the time, though, the band sticks to its comfort zone, with songs that proceed through a sequence of genre clichés as Lewis howls out woe-is-me's and lists of grievances.
    • 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.
    • 53 Metascore
    • 60 Critic Score
    Witness
    Throughout, Perry is less like the so-unusual, candy-coated Cyndi Lauper of "Teenage Dream," and is more an anonymous disco crooner, a breathy moderator leading us through passionate but muted songs of longing and empowerment.
    • 53 Metascore
    • 50 Critic Score
    Testimony: Vol. 1, Life & Relationship
    The sentiments are so genuine and earnest, it's hard to fault Arie for this gauzy blend of New Age-y self-help babble and sunny, plucky folk. [10 Aug 2006, p.98]
    • Rolling Stone
    • 53 Metascore
    • 50 Critic Score
    Light
    On bright pleasures like the New Wave-y 'We Will Walk,' Light comes close to becoming an attention-holding pop album. But it's dragged into earnest tedium by good-natured platitudes hippie-soul moments like 'Thunder,' on which Matisyeezy sounds like a self-serious indie rapper with a major vegan bent.
    • 53 Metascore
    • 40 Critic Score
    Silence Is Easy
    Sounds like Coldplay covering Barry Manilow.
    • 53 Metascore
    • 60 Critic Score
    Nightbird
    One could easily mistake Nightbird for something the duo made in the Eighties -- and if you love Erasure, you won't care.
    • 53 Metascore
    • 40 Critic Score
    Dangerous And Moving
    Although spunky cuties Julia Volkova and Lena Katina have improved their English-pronunciation skills, the hooks they're handed this second time around are decidedly duller.
    • 53 Metascore
    • 50 Critic Score
    We Don't Need To Whisper
    DeLonge yanks heartstrings with so-so results.
    • 53 Metascore
    • 60 Critic Score
    Hollywood: A Story of a Dozen Roses
    His fifth album balances bumptious party fare (the Pharrell-produced "Tease," the Eighties R&B glide "Baby's in Love") with dark-tinted slow jams.
    • 53 Metascore
    • 40 Critic Score
    Business Casual
    [Bemberger's] annoyingly wordy yelp carries only a few memorable lines and fewer melodies. [14 Oct 2004, p.98]
    • Rolling Stone
    • 53 Metascore
    • 50 Critic Score
    All The Lost Souls
    Too much of All the Lost Souls is just pleasant ether, with Blunt showing a gift for drabness on forgettable ballads that make Coldplay seem like the Arctic Monkeys.
    • 53 Metascore
    • 60 Critic Score
    Escapology
    While 2000's Sing When You're Winning was a trashy masterpiece that the States ignored, Escapology sounds like a more self-conscious effort to craft a pop-rock blockbuster.
    • 53 Metascore
    • 60 Critic Score
    California 37
    It's all catchy enough to keep you listening, slack-jawed.
    • 53 Metascore
    • 40 Critic Score
    Fly from Here
    Unfortunately, the band gets drowned out by weak vocals and synth goop – Steve Howe takes only a few disappointingly brief guitar solos, beyond his acoustic "Solitaire."
    • 53 Metascore
    • 60 Critic Score
    Faith
    Faith consists of audio files recombined by producers and record executives into something coherent, listenable, and at times even enjoyable, but not quite dazzling. Maybe it’s not an Anthony Bourdain doc constructed with artificial intelligence, but it still feels a bit weird.
    • 53 Metascore
    • 40 Critic Score
    Palookaville
    Fatboy hasn't stopped pandering to his core crowd of fun-loving jalapeno-poppers. [14 Oct 2004, p.99]
    • Rolling Stone
    • 53 Metascore
    • 40 Critic Score
    Donda
    Donda occasionally gestures toward the truly shapeless writing on that LP [Playboi Carti’s Whole Lotta Red] but stops short of sounding as if West is truly articulating his id.
    • 53 Metascore
    • 40 Critic Score
    For All The Dogs
    Drake meanders through yet another collection of superlong streaming bait. For All the Dogs may have its sparks. But too often, he settles for subliminal bars aimed at rivals like Kanye West and Pusha T, keeping it “gangsta” by putting down women and, of course, filling up the piggy bank.
    • 53 Metascore
    • 50 Critic Score
    Walls
    It’s fair to say Louis can break free as well. That doesn’t happen enough on Walls.
    • 53 Metascore
    • 50 Critic Score
    Horrorscope
    It's an almost perfectly consistent follow-up to the band's successful 1998 debut - perhaps a tad too consistent.
    • 53 Metascore
    • 40 Critic Score
    Always Outnumbered, Never Outgunned
    The album equivalent of a Civil War reenactment. [30 Sep 2004, p.190]
    • Rolling Stone
    • 53 Metascore
    • 40 Critic Score
    The DeAndre Way
    A shaky stab at Soulja manhood, the third disc from the Crank That cutie finds him hitting drinking age, torn between pup and pit bull.
    • 53 Metascore
    • 60 Critic Score
    Bring on the Comets
    Comets sounds best when Craig Pfunder trains his fake English accent on a chorus with a hot melody.
    • 53 Metascore
    • 60 Critic Score
    Universal Mind Control
    Huh? A Common album without a soul-jazz opener? Well, rap's deep thinker wanted to make club bangers. So he got the Neptunes to shape this sexed-up set.
    • 53 Metascore
    • 40 Critic Score
    Boomslang
    It's got all the atmosphere of a great rock record, but not the guts of one.
    • 53 Metascore
    • 40 Critic Score
    Just Whitney
    Lacks any fire whatsoever.
    • 52 Metascore
    • 60 Critic Score
    Wake Up!
    Usually, the music--some of which is quite lovely--veers closer to the New Age neoclassicism of Vangelis or Kitaro, a warm fit for Francis' tender, elegant speaking voice.
    • 52 Metascore
    • 40 Critic Score
    Kris Allen
    The likability that helped Allen win last season is so carefully low-key here that it's nearly lost.
    • 52 Metascore
    • 40 Critic Score
    The Midsummer Station
    His fluency with pop forms only makes things worse; Young spoils everything he touches. The Carly Rae Jepsen duet "Good Time" is grating enough to make you hate Jepsen, "Call Me Maybe" and also good times in general.
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