Select's Scores

  • Music
For 41 reviews, this publication has graded:
  • 31% higher than the average critic
  • 0% same as the average critic
  • 69% lower than the average critic
On average, this publication grades 12.1 points lower than other critics. (0-100 point scale)
Average Music review score: 60
Highest review score: 100 The Hour of Bewilderbeast
Lowest review score: 20 Binaural
Score distribution:
  1. Positive: 10 out of 41
  2. Negative: 4 out of 41
41 music reviews
    • 78 Metascore
    • 100 Critic Score
    A work of warm-hearted ambition, embracing ragtime, disco beats, melodic Johnny Marr-isms... and echoes of Bacharach.... A classic debut LP with a lifetime's worth of triumphs and tragedies packed into it. [July 2000, p.112]
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    • 84 Metascore
    • 100 Critic Score
    Will quite necessarily go Top Five in any sensible end-of-year poll. [July 2000, p.102]
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    • 77 Metascore
    • 80 Critic Score
    An album that sits together with silken cohesion... (Oct 2000, p.108)
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    • 68 Metascore
    • 80 Critic Score
    With only the occasional flawed moment and the cast list up a definite notch or two from previous 6ths album 'Wasp's Nest,' this is a delicate jewel. (Oct 2000, p.104)
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    • 95 Metascore
    • 80 Critic Score
    The best tracks here are quite unlike anything else in hip hop. [Jan 2001, p.107]
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    • 80 Metascore
    • 80 Critic Score
    'Music'... sees Madonna cast as a nu disco diva taking a taxi ride through a world which is definitely hers. Much of it sounds like Daft Punk. It's fun. (Oct 2000, p.100)
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    • 76 Metascore
    • 80 Critic Score
    It's the violently romantic finale 'New World,' though, that should see doubts finally stifled. Rivalling Massive Attack's 'Teardrop' in its breathtaking loveliness, it's among the best things she's done. (Oct. 2000, p.102)
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    • 77 Metascore
    • 80 Critic Score
    Like most live LPs, this is ultimately an artefact for fans rather than newcomers, but it's quite some arefact. (Oct 2000, p.112)
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    • 75 Metascore
    • 80 Critic Score
    The immediate impression of 'Art Official Intelligence' is of one big party. [Sep 2000, p.104]
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    • 82 Metascore
    • 80 Critic Score
    Big choppy riffs and plaintive vocals recall Pavement in non-quirky mode. [Sep 2000, p.105]
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    • 73 Metascore
    • 60 Critic Score
    It's no great leap forward. [Nov. 2000, p.117]
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    • 61 Metascore
    • 60 Critic Score
    With 35 other albums to choose from, this is hardly a good starting point. But for diehards there's further proof that Young has neither burned out nor faded. [Jan 2001, p.101]
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    • 80 Metascore
    • 60 Critic Score
    More accesible than ever, but more fallible too, The W is the album that brings the Wu-Tang Clan down to earth. [Jan 2001, p.98]
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    • 77 Metascore
    • 60 Critic Score
    Quality Control' finds them treading water with a set of technically crisp but strangely uptight tracks that neither appeal nor enthrall. [July 2000, p.108]
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    • 67 Metascore
    • 60 Critic Score
    The Mary J. Blige duet '911' and dope ode 'Homegrown' confirm his knack for reggae-inflected hits. [Sep 2000, p.108]
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    • 59 Metascore
    • 60 Critic Score
    This is more a return to formula than a step forward. [July 2000, p.111]
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    • 67 Metascore
    • 60 Critic Score
    Bravado and roleplay being the essence of rock, problems only arise when the real Everlast, a Grammy-winning crossover artiste, rears his head. [Nov. 2000, p.116]
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    • 69 Metascore
    • 60 Critic Score
    DJ Babu's sample wizardry and scratching are impeccable, as are Rakaa and Evidence's agile rhymes, but their rigorous insistence on old-skool B-boy values leaves little room for risk-taking. [July 2000, p.106]
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    • 72 Metascore
    • 60 Critic Score
    Another case of 'Technique' revisted. Again. (Oct 2000, p.108)
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    • 56 Metascore
    • 60 Critic Score
    The Golden D is unconcerned with hanging together with any particularly musical coherence. [July 2000, p.102]
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    • 74 Metascore
    • 60 Critic Score
    ASTH emphasizes the group's commitment to eclecticism. (Oct. 2000, p.102)
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    • 80 Metascore
    • 60 Critic Score
    Intermittently successful... [July 2000, p.107]
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    • 70 Metascore
    • 60 Critic Score
    In all seriousness, it's often closer to Elton John than The Verve.
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    • 78 Metascore
    • 60 Critic Score
    Renegades is Rage's most satisfying record since their debut. [Jan 2001, p.104]
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    • 80 Metascore
    • 60 Critic Score
    Like its most obvious forebear, David Bowie's 'Low,' what's not present is as important as what's actually here. The main absentees, then, are choruses, coherent lyrics, crescendos, and guitars.... But, really, what do you want for sounding like Aphex Twin circa 1993? A medal? [Nov. 2000, p.108]
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    • 72 Metascore
    • 60 Critic Score
    Green Day remain the ultimate big-shorts party band. [Nov. 2000, p.116]
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    • 66 Metascore
    • 60 Critic Score
    They've previously assaulted all genres from country to reggae but on White Pepper return to their favourite stomping ground of '70s AOR. [July 2000, p.102]
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    • 78 Metascore
    • 60 Critic Score
    If punk must survive, it could sound worse than this. (Oct 2000, p.114)
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    • 79 Metascore
    • 60 Critic Score
    Roni Size has abandoned his grooves for a tougher hip-hop-oriented approach. The results are hit and miss... [Nov. 2000, p.122]
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    • 66 Metascore
    • 60 Critic Score
    They don't seem entirely sure what to do with their creation.... This isn't a bad record, but it needed to be a much better one. [July 2000, p.103]
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