For 2,073 reviews, this publication has graded:
-
55% higher than the average critic
-
4% same as the average critic
-
41% lower than the average critic
On average, this publication grades 2.2 points lower than other critics.
(0-100 point scale)
Average Music review score: 71
| Highest review score: | Live in Europe 1967: Best of the Bootleg, Vol. 1 | |
|---|---|---|
| Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
-
Positive: 1,595 out of 2073
-
Mixed: 443 out of 2073
-
Negative: 35 out of 2073
2073
music
reviews
- By Date
- By Critic Score
-
- The New York Times
- Read full review
-
- Critic Score
Janet is as crafty and poised as ever. Her flirtations are still a pleasure, but an overly familiar one.- The New York Times
- Read full review
-
- The New York Times
-
- Critic Score
A few too many of these songs sound like Snoop-by-the-numbers. [20 Nov 2006]- The New York Times
-
- Critic Score
He’s worth your $13.98 even when he’s only offering a grab bag like this one. [11 Dec 2006]- The New York Times
-
- Critic Score
Mood music doesn’t get any moodier than the Good, the Bad & the Queen. [29 Jan 2007]- The New York Times
-
- Critic Score
Clap Your Hands Say Yeah demands a new, irksome level of indulgence on "Some Loud Thunder." But it finds a new richness in the songs it doesn’t sabotage. [29 Jan 2007]- The New York Times
-
- Critic Score
Claustrophobic with multitracked vocals and baroque effects, the album lacks the wiry catchiness of hits like “Banquet.” [5 Feb 2007]- The New York Times
-
- Critic Score
Fall Out Boy hasn’t turned into a band of rock-star blowhards yet; it’s still too hyperactive and catchy. But the songs were more fun when it was a band of underdogs. [5 Feb 2007]- The New York Times
-
- Critic Score
Young Buck’s brusque appeal has its limits: his phrasing isn’t very inventive and his lyrics aren’t very stylish, and on this album he spends way too much time simply trudging through 16-bar verses. [26 Mar 2007]- The New York Times
-
- Critic Score
After a while, the surfeit of ideas starts to sound like a lack. But the choruses are as effective as ever.- The New York Times
- Read full review
-
- Critic Score
The group’s gospel-gangsta fusion sounds as weird and as inevitable as ever. [7 May 2007]- The New York Times
-
- The New York Times
- Read full review
-
- Critic Score
The acoustic songs are pretty but tend to run together, waltz after waltz. The London versions are more individualized, and they let Ms. O’Connor push toward extremes.- The New York Times
- Read full review
-
- Critic Score
The disappointment of La Radiolina is that Manu Chao’s music isn’t as arrestingly odd as it used to be. Too often his band’s ska-punk gets uncomfortably close to dull rock, and the repetition doesn’t communicate we are all singing the same song- The New York Times
- Read full review
-
- Critic Score
Though X doesn’t raise Ms. Minogue’s own high standards, it does sometimes meet them.- The New York Times
- Read full review
-
- Critic Score
A little something for everyone, in other words, though it probably won’t hold anyone’s focus all the way through.- The New York Times
- Read full review
-
- Critic Score
Considering all that [has happened], it’s easy to be grateful for a quirky, uneven album like 8 Diagrams.- The New York Times
- Read full review
-
- Critic Score
Beyond that lead single, produced by Ryan Tedder of OneRepublic, the results start to feel uneven.- The New York Times
- Read full review
-
- Critic Score
Strangely, given the unified palette and temperament, the album feels disjointed: one track doesn’t pull you to the next.- The New York Times
- Read full review
-
- Critic Score
For all its craftsmanship, Pretty. Odd. comes across as mannered and overbearing, more studied than exuberant, the magnum opus of a talented band charging wholeheartedly down a blind alley.- The New York Times
- Read full review
-
- Critic Score
The album includes one unreasonably lovely song, 'The Blue Room,' along with two instrumental tracks and several concussive punk-rock tunes.- The New York Times
- Read full review
-
- Critic Score
He makes a concerted effort to fill out and roughen up his sound, enlisting the modern-rock producer Howard Benson and an accompanying coterie of seasoned studio musicians. The results don’t suggest reinvention so much as a slight twist.- The New York Times
- Read full review
-
- Critic Score
It’s effortfully tossed off; it’s a middling record battling against his built-in high standards.- The New York Times
- Read full review
-
- Critic Score
As workarounds go, Scarlett Johansson’s collection of Tom Waits songs, Anywhere I Lay My Head verges on the heroic.- The New York Times
- Read full review
-
- The New York Times
- Read full review
-
- The New York Times
- Read full review
-
- Critic Score
For every moment of clarity on this album, there’s an eyebrow-archer to match.- The New York Times
- Read full review
-
- Critic Score
Unlike its predecessor, which gave Lloyd’s tender alto room to breathe, much of the production here is gooey and distracting, too dense for Lloyd to make a dent in.- The New York Times
- Read full review
-
- Critic Score
For all its determined optimism That Lucky Old Sun ends up as more an affirmation of Mr. Wilson’s legacy than an expansion of it.- The New York Times
- Read full review