Rolling Stone's Scores

Select another publication »
For 5,917 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: 3,632 out of 5917
  2. Mixed: 2,245 out of 5917
  3. Negative: 40 out of 5917
5917 music reviews
view
per page
    • 74 Metascore
    • 70 Critic Score
    Magic Time
    Some seriously astral blues poetry... and a lot of mellow, easy-rolling folk-jazz numbers about the evils of the modern world and the struggle of the poet. [19 May 2005, p.76]
    • Rolling Stone
    • 74 Metascore
    • 80 Critic Score
    In/Out/In
    In/Out/In feels less like a random collection of toss-offs and more like a lost Sonic Youth album before everyone figured out who would sing each track.
    • 74 Metascore
    • 80 Critic Score
    Got to Be Tough
    The ska-reggae legend sounds stronger than ever on Got to Be Tough, his first album in more than a decade.
    • 74 Metascore
    • 70 Critic Score
    Dear Heather
    What makes Dear Heather tick are the ladies who look back: longtime co-composer/producer Sharon Robinson and producer-engineer Leanne Ungar, as well as occasional co-lead vocalist Anjani Thomas, who open up the arrangements from the often repetitive Casio-lounge feel of 2001's Ten New Songs.
    • 74 Metascore
    • 70 Critic Score
    Trouble
    The Brooklyn trio's second album is a little more worry-worn and a little tougher-sounding--and it's all the better for it.
    • 74 Metascore
    • 80 Critic Score
    Egypt Station
    Egypt Station flows as a unit, structured like a long ride on a cosmic train, beginning and ending with ambient railway-station noise.
    • 74 Metascore
    • 80 Critic Score
    Little Red
    Little Red showcases her vivid R&B songwriting over chic, chilly electro beats.
    • 74 Metascore
    • 80 Critic Score
    Break Up The Concrete
    The result is the best Pretenders record in years, a mix of galloping rockabilly and country & western songs, delivered in Hynde's trademark snarl.
    • 74 Metascore
    • 70 Critic Score
    Confident
    Demi Lovato's fifth studio LP is the album she was born to make: a brassy, sleek, dynamic pop production that lets her powerful voice soar to new emotional highs.
    • 74 Metascore
    • 80 Critic Score
    Hard II Love
    He’s paid just enough attention to pop’s new ideas to come out with an album that looks forward while remaining true to what's made him one of R&B's most reliable stars.
    • 74 Metascore
    • 70 Critic Score
    Aha Shake Heartbreak
    Heartbreak is an instance when that hoary music-biz cliche -- "They're better onstage" -- rings true; ironically so, since the Kings and producer Ethan Johns recorded Aha Shake Heartbreak live in the studio, with no overdubs.
    • 74 Metascore
    • 80 Critic Score
    Far
    Far matches "Kitsch's" rococo flow with the follow-up's pop smarts.
    • 74 Metascore
    • 70 Critic Score
    Ultraviolence
    The album wraps desire, violence and sadness into a tight bundle that Del Rey doesn't always seem sure how to unpack.
    • 74 Metascore
    • 70 Critic Score
    Let's Go Eat the Factory
    Robert Pollard and Tobin Sprout toss off minute-long power-pop goofs that make intermittent blasts of real-rock transcendence... feel all the more striking.
    • 74 Metascore
    • 70 Critic Score
    Warpaint
    Warpaint starts off strong--the first third of the album reveals some of the best range and craft of the band's career--but songs like 'We Who See the Deep' are just too unfocused to be memorable.
    • 74 Metascore
    • 80 Critic Score
    KIRK
    DaBaby’s regular invocation of vehicular speed makes KIRK feel like one continuous, relentless flex.
    • 74 Metascore
    • 70 Critic Score
    Mr. Beast
    With its plodding tempo, slow-woven guitars, melancholy piano chords and moments of crushing loudness, "Friend of the Night" is representative of much of the album, but Mr. Beast's best bits are those that dare to be different.
    • 74 Metascore
    • 70 Critic Score
    Eagulls
    The Eags are at their best when they bump into a memorable melody.
    • 74 Metascore
    • 70 Critic Score
    Plain Spoken
    He’s never inhabited traditional folk and blues-imbued settings as personally as on his 22nd album.
    • 74 Metascore
    • 70 Critic Score
    Terra Firma
    Tones down the guitar wizardry of previous releases to show off her formidable pop chops. [Mar 2021, p.73]
    • Rolling Stone
      • Posted Mar 4, 2021
    • 74 Metascore
    • 70 Critic Score
    False Priest
    This time, frontman Kevin Barnes is putting more flesh on his fantasies, camping up a Prince falsetto over psychedelic soul and New Wave disco.
    • 74 Metascore
    • 70 Critic Score
    Country, God or the Girl
    A well-meaning guy who's as pop-savvy as he is pompous, and duller than he is pop-savvy.
    • 74 Metascore
    • 80 Critic Score
    For The Recently Found Innocent
    The ample guilt Presley purges from his heart and head unfurls into an excellent set of songs that are equally suited for an aimless afternoon drive or a night of serious life contemplation.
    • 74 Metascore
    • 80 Critic Score
    War Child Presents Heroes
    Beck bounces through Dylan's "Leopard-Skin Pill-Box Hat" with blazing distortion, while Peaches strips the Stooges' "Search and Destroy" down to sexy bass and krautrock beats.
    • 74 Metascore
    • 70 Critic Score
    Coal Miner's Daughter: A Tribute to Loretta Lynn
    A tribute to the toughest Nashville queen ever, this record has a steely spine.
    • 74 Metascore
    • 70 Critic Score
    Leave Me Alone
    This great garage-rock crew from Madrid folds decades of naïf-rock history into its craftily shambling tunes.
    • 74 Metascore
    • 70 Critic Score
    It's Frightening
    The only instruments that aren't slaves to the beat are Gregory Roberts and Stephen Patterson's vocals, which mingle into perfectly messy harmonies.
    • 74 Metascore
    • 70 Critic Score
    The Bird And The Bee
    Very likable.
    • 74 Metascore
    • 70 Critic Score
    Encore
    With signpost singers Terry Hall and Lynval Golding in place, and Horace Panter holding down the bass lines, the classic sound is fairly intact, as is the spirit.
    • 74 Metascore
    • 70 Critic Score
    Cults
    Cults are excellent songcrafters, expert at boosting drama with dynamics and unexpected sounds. But what sets their music apart is feeling: the mood of wistful romance that hovers over the songs, the idea that love is an insoluble mystery.
Page: