The New York Times' Scores

For 2,074 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
Score distribution:
2074 music reviews
    • 73 Metascore
    • 50 Critic Score
    For about half of “Highway Companion” Mr. Petty’s reticence opens the songs to a sense of mystery. For the rest, he just sounds reserved and cagey, singing about restlessness but sounding all too settled. [24 Jul 2006]
    • The New York Times
    • 69 Metascore
    • 50 Critic Score
    Contains a roughly even number of great songs and lousy ones.
    • 60 Metascore
    • 50 Critic Score
    Despite Mr. Cornell’s budding outrage, and the band’s attempts to funk up its sound, “Revelations” has a tentative, unfinished air.
    • 62 Metascore
    • 50 Critic Score
    It’s hard to imagine anyone going for the whole album, because it doesn’t hold together. [18 Sep 2006]
    • 71 Metascore
    • 50 Critic Score
    It’s neat but slight, and a good deal less freakish than its predecessor.
    • 61 Metascore
    • 50 Critic Score
    Many of these theatrical, midtempo songs run together.
    • 65 Metascore
    • 50 Critic Score
    The old Cat Stevens, who pondered earthly loves and sorrows and spiritual yearning, has been replaced by a songwriter who finds all his answers in faith. [13 Nov 2006]
    • The New York Times
    • 67 Metascore
    • 50 Critic Score
    “Kingdom Come,” then, captures the sound of a grown-up rapper trying to make a grown-up album -- whatever that means. It’s a fascinating experiment, and a halfway successful one.
    • 44 Metascore
    • 50 Critic Score
    The spirit is there, even when, in some cases, the songwriting is not. [25 Feb 2007]
    • 76 Metascore
    • 50 Critic Score
    The first half of “My Name Is Buddy” may not be for those who get their news from sources other than old social-realist novels, aren’t serious cat-fanciers or are older than 12. [5 Mar 2007]
    • 78 Metascore
    • 50 Critic Score
    He is clearly searching for a more mature style. But the musical and rhetorical convolutions of “Cassadaga” are no substitute, yet, for the way he used to blurt things out. [9 Apr 2007]
    • 76 Metascore
    • 50 Critic Score
    There are times when Mr. Callahan’s deliberate, word-centric approach seems merely perverse instead of brave, and somehow the album seems much shorter than its 40 minutes, as if it’s only a sketch for what’s next.
    • 66 Metascore
    • 50 Critic Score
    As an album “The Best Damn Thing” is too relentless to be heard end to end. Its songs are expected to bring occasional jolts to a playlist. [16 Apr 2007]
    • 56 Metascore
    • 50 Critic Score
    As you might imagine, the band’s emo makeover doesn’t always go smoothly.
    • 63 Metascore
    • 50 Critic Score
    Despite some spooky background noises, the music leans toward a glam-gone-grim style, reverting to a sound that predates Marilyn Manson’s past industrial-rock stomps.
    • 64 Metascore
    • 50 Critic Score
    The results are mixed.
    • 64 Metascore
    • 50 Critic Score
    Over all, this new CD relies on familiar formulas: twitchy, singalong choruses, lyrical and musical in-jokes and affable vocal harmonies. But it also feels disjointed and indulgent, packed with stylistic U-turns.
    • 47 Metascore
    • 50 Critic Score
    Ms. Perry is curiously blank on her major-label debut album (in 2001 she released a moody, eclectic collection of Christian contemporary music).
    • 57 Metascore
    • 50 Critic Score
    But much of The Greatest Story Ever Told might as well be running down a familiar checklist--guns, rough sex, big cars, club brawls, anti-snitching--and Mr. Banner is running out of variations.
    • 66 Metascore
    • 50 Critic Score
    It’s a lackluster album, floated by two or three strong singles.
    • 55 Metascore
    • 50 Critic Score
    He’s likeable but dull, rapping with nursery-rhyme cadence and simplicity. When he attempts intricacy, his words fall all over one another, scrambling for dry ground.
    • 72 Metascore
    • 50 Critic Score
    Produced by Andy Chase of the indie-pop band Ivy, the record pairs Ms. Hatfield’s compact songs with an unabashedly commercial sound, a strategy that works about half the time.
    • 63 Metascore
    • 50 Critic Score
    The emotional density lurking in Mr. Skinner’s early work is mostly absent. Worse still, he’s tightened up his rapping, largely sticking to simple patterns that when paired with simple ideas, are numbing.
    • 58 Metascore
    • 50 Critic Score
    We Global is an orchestra of favor collecting, though slightly dimmer than the two albums that preceded it.
    • 51 Metascore
    • 50 Critic Score
    "If those girls were being honest and have been where you’re at. I bet they tell you they wish they had their innocence back." But this is what passes for wisdom on Ms. Pickler’s tepid and forgettable new record.
    • 72 Metascore
    • 50 Critic Score
    When she’s hurting, she can still sear. [But] too often here, though, Ms. Williams gets bogged down turning her magnifying glass back on music making.
    • 69 Metascore
    • 50 Critic Score
    Even though Pink oozes disappointment in herself and others, her music mostly fails to keep up.
    • 60 Metascore
    • 50 Critic Score
    The riffs are tight, but not so fresh.
    • 62 Metascore
    • 50 Critic Score
    Mr. Bentley still never colors far outside the lines, and his already smooth voice has been polished to a sheen here.
    • 65 Metascore
    • 50 Critic Score
    Ms. Hilson is clobbered on all sides by ornate production.