The Guardian's Scores

  • Music
For 3,060 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Pull Up Some Dust and Sit Down
Lowest review score: 10 Unpredictable
Score distribution:
3,060 music reviews
    • 93 Metascore
    • 100 Critic Score
    There's a theory that REM were never the same after their lyrics became audible, but Lifes Rich Pageant is packed with songs on which the new clarity of Stipe's vocals bears dividends.
    • 94 Metascore
    • 100 Critic Score
    Brimming with character and endlessly relistenable, Icky Mettle is something of a touchstone for one of US indie's purplest patches.
    • 92 Metascore
    • 100 Critic Score
    Magnificent.
    • 74 Metascore
    • 100 Critic Score
    A 19-track behemoth of (mainly) Sun Records covers, executed so faithfully that they could have been mouldering in a Memphis vault for 50 years.
    • 96 Metascore
    • 100 Critic Score
    What's beyond doubt is the quality of the music he made.
    • 85 Metascore
    • 100 Critic Score
    50 Words for Snow is extraordinary business as usual for Bush, meaning it's packed with the kind of ideas you can't imagine anyone else in rock having.
    • 91 Metascore
    • 100 Critic Score
    This is a gloriously brave and vibrant piece of work and the most significant metal album of 2011 by some distance.
    • 84 Metascore
    • 100 Critic Score
    They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.
    • 90 Metascore
    • 100 Critic Score
    For old Jarrett fans and prospective new ones, it's a must.
    • 80 Metascore
    • 100 Critic Score
    The songwriting here is routinely top-notch, the album gaining impact as it plays and the moods shift imperceptibly.
    • 80 Metascore
    • 100 Critic Score
    Fin
    Talabot has a knack for capturing the very specific kind of bliss associated with dancing on Mediterranean beaches at the height of summer.
    • 83 Metascore
    • 100 Critic Score
    This is easily the equal of, if not superior to, its illustrious companion.
    • 80 Metascore
    • 100 Critic Score
    It's the perfect album: tender without being sentimental, experimental yet accessible, utterly unique to its maker.
    • 86 Metascore
    • 100 Critic Score
    No one makes music like this: the Night Tripper rampages inimitably through swamp blues, voodoo funk and Afrobeat, with his trademark piano.
    • 83 Metascore
    • 100 Critic Score
    Blunderbuss is White at his most strange, contradictory and unfathomable, and therefore at his best.
    • 77 Metascore
    • 100 Critic Score
    Despite the guitars crashing and howling around him, and the presence of a rather West End-sounding chorus of backing vocalists, he sounds exactly like Richard Hawley. The same, but different: a tough trick, pulled off in style.
    • 77 Metascore
    • 100 Critic Score
    This was Fela on classic form.
    • 86 Metascore
    • 100 Critic Score
    This is metal taken to a higher plane of brilliance.
    • 75 Metascore
    • 100 Critic Score
    As with Graceland, it's not scared to be too pop... plus the lyrics are of a sounder political hue than anything Simon essayed.
    • 92 Metascore
    • 100 Critic Score
    For now, the best tribute you can pay Channel Orange is that, while it plays, you forget about the chatter and just luxuriate in a wildly original talent.
    • 85 Metascore
    • 100 Critic Score
    For all the 40-year-old reference points, Big Inner never feels like a pastiche; it's audibly more than the sum of its influences, in the same manner as Lambchop's Nixon.
    • 87 Metascore
    • 100 Critic Score
    Beautifully realised, immaculately recorded, and one of the year's loveliest vinyl artefacts to boot.
    • 88 Metascore
    • 100 Critic Score
    It feels digital, alien, the sound of modern machines going wrong. All this is underpinned by genuinely great songwriting
    • 81 Metascore
    • 100 Critic Score
    The Godspeed ethos of wordlessly eliciting universal truths is remains as devastatingly effective as ever.
    • 98 Metascore
    • 100 Critic Score
    Now, 21 years on, beautifully remastered, Blue Lines still sounds unique.
    • 82 Metascore
    • 100 Critic Score
    Desertshore/The Final Report ends up a perfect epitaph, not merely for Peter Christopherson, but for the band whose name isn't on the cover.
    • 84 Metascore
    • 100 Critic Score
    Parquet Courts have produced a debut that's both instantly addictive and lastingly rewarding: a smart, snappy concoction of worldly wisdom and garage-rock gratification.
    • 81 Metascore
    • 100 Critic Score
    Goldenheart is dazzling and imperious.
    • 71 Metascore
    • 100 Critic Score
    What an unexpected and wonderful treat this album is.
    • 87 Metascore
    • 100 Critic Score
    The songs on m b v, however, are more melodically complex, intriguing and often pleasing than anything he has written before.