For 2,075 reviews, this publication has graded:
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55% higher than the average critic
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4% same as the average critic
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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 | |
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Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,597 out of 2075
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Mixed: 443 out of 2075
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Negative: 35 out of 2075
2075
music
reviews
- By Date
- By Critic Score
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- Critic Score
“What You See Is What You Get” challenges him less than his debut album did. It is mundanely forceful, laden with chunky guitars and hard-snap drums, and just barely ambitious. Which is to say, in the current country ecosystem, reasonably effective. Where Combs shows the most promise is in his emergent desire to restore the genre to the high-octane pep of the 1990s.- The New York Times
- Posted Nov 8, 2019
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He’s an objectively strong rapper who makes work with a moral valence — just like Cordae, just like Chance, just like Lamar or Logic or J. Cole. Where NF falls short is that he mostly works in one gear.- The New York Times
- Posted Aug 16, 2019
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Too many of the new songs sound diligent and derivative, as if Sleater-Kinney were working through a pop apprenticeship. It’s good to know that the group doesn’t want to repeat itself, that the band is also out to master 21st-century digital tools. But on “The Center Won’t Hold,” Sleater-Kinney hasn’t found its version 2.0.- The New York Times
- Posted Aug 14, 2019
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It feels no more fleshed out than “Coloring Book,” from 2016 (which was nominated for a best rap album Grammy), and is less sonically consistent than “Acid Rap,” from 2013. And it’s less impressive than either of them. At 22 tracks, it’s overlong and scattered.- The New York Times
- Posted Jul 29, 2019
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No one is quite as adept amid a range of styles as Sheeran. ... But right near the top of this album, he stretches too thin. On “South of the Border,” which features Camila Cabello and Cardi B, Sheeran dips into a little Spanish, as has become de rigueur, and leans into the tired trope that going “south of the border” is where real freedom reigns. ... But even though this record presents countless opportunities for Sheeran to fumble, there is something to be said for his choice to release it at all.- The New York Times
- Posted Jul 17, 2019
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The best songs on “Hero” were disarmingly detailed, and sometimes funny. “Girl,” however, tips away from those strengths in favor of self-help bromides broad enough to exclude no one.- The New York Times
- Posted Mar 12, 2019
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Listening to the album as a whole, there are diminishing returns from the certainty that a new gimmick is coming every eight bars. Pop songs live by their hooks; it’s no wonder that Merton’s debut album piles them on, eager to please. But for the follow-up, suspense and spontaneity--even if it’s an illusion--would go a long way.- The New York Times
- Posted Jan 23, 2019
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Refreshingly, Christmas Is Here! is the least antic of its holiday albums, with a patient “Where Are You Christmas?” and non-asphyxiating moments of expanding the holiday canon, including a cover of the Neighbourhood’s “Sweater Weather.” ... It’s jolting when more lustrous, nuanced singers arrive for duets--Maren Morris on “When You Believe” and, most strikingly, Kelly Clarkson, warm and robust on “Grown-Up Christmas List.” But they are a temporary dam: The Casio-preset vocals are an unstoppable torrent, and these eerie, plastic songs may well make Pentatonix the Mannheim Steamroller of the 2030s, the 2050s, maybe even the 2110s.- The New York Times
- Posted Dec 21, 2018
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- The New York Times
- Posted Dec 3, 2018
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Millennials could use a band that can play instruments in real time, that exults in musical possibilities, that wants to make both a ruckus and a difference. On its debut album, Greta Van Fleet isn’t that band.- The New York Times
- Posted Oct 17, 2018
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What’s most notable is how relatively natural and at ease Bhad Bhabie, the nonprofessional of the pair, sounds as compared with Ms. Cyrus. ... On the entertaining if erratic 15, Bhad Bhabie raps like someone who is learning to rap in real time, which to be fair, she is. ... Even though she deviates from her trash-talk flow on a couple of occasions--the faux-Young Thug melodies of “Trust Me” and “No More Love”--Bhad Bhabie otherwise has a honed sense of self-presentation.- The New York Times
- Posted Oct 3, 2018
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Excess was always a part of his proposition, but this album drags and seeps, with long stretches of shrug in between moments of invention.- The New York Times
- Posted Oct 3, 2018
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Shawn Mendes is appealing if not wholly engaging, full of pleasantly anonymous songs that systematically obscure Mr. Mendes’s talents.- The New York Times
- Posted May 25, 2018
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KOD, his fifth album, has the feel of a casual placeholder between bigger ideas--it has neither the grim purpose or intense emotional acuity of his 2016 LP “4 Your Eyez Only,” nor the cohesion of the prior one, “2014 Forest Hills Drive,” the record that set the terms for his new direction.- The New York Times
- Posted Apr 25, 2018
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- The New York Times
- Posted Jan 31, 2018
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What Makes You Country is among his most temperate albums, alternately soothing and fatiguing.- The New York Times
- Posted Dec 18, 2017
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Revival is probably the best of his recent albums, but like much of his post-peak output, it is a mix of the entrancing and the mystifying, full of impressive rapping that’s also disorienting.- The New York Times
- Posted Dec 18, 2017
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The [title] song finds a breezy balance between earnestness and exhilaration. Elsewhere, that balance falters, and Everything Now becomes a slighter album than its predecessors.- The New York Times
- Posted Jul 26, 2017
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There isn’t a flicker of musical edge on this album, only a belief in the crowdsourcing of ideas. Where Halsey sets herself apart is in her subject matter and manner of delivery.- The New York Times
- Posted Jun 7, 2017
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She’s still a strong singer, especially on “Told You So,” but some of her essential grit is lost to the machines.- The New York Times
- Posted May 12, 2017
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Mr. Taggart is a capable but unexciting singer. And he has shockingly few lyrical ideas, less of a concern for performers more adept with melody. ... Two back-to-back songs, the impressive “Honest” and “Wake Up Alone,” parse the weight that fame exacts on emotional relationships--they’re among the most credible on the album.- The New York Times
- Posted Apr 12, 2017
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- The New York Times
- Posted Mar 22, 2017
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When this album whispers, as it does on large swaths of the second half, it neuters Ms. Lambert’s gifts. Even with a voice as signature as hers, there’s little to elevate songs like “Good Ol’ Days” or “Dear Old Sun.”- The New York Times
- Posted Nov 17, 2016
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- The New York Times
- Posted Oct 26, 2016
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While Joanne is elemental, nothing about it is bare. Instead, it’s confused, full of songs that feel like concepts in search of a home, small theater pieces extruded from other imaginary productions and collected in one miscellany bin.- The New York Times
- Posted Oct 19, 2016
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Much of the album comes across as lightweight. Too many of the songs sound like sketches, running out of ideas midway through.- The New York Times
- Posted Sep 7, 2016
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Even with her voice upfront, Ms. Spears isn’t singing anything particularly personal.- The New York Times
- Posted Aug 24, 2016
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On this pleasantly familiar if not especially imaginative new album, the band’s subject matter verges on the bittersweet, or just outright bitter, but still they grin. ... The album is overlong, and full of songs that have achieved their purpose by the halfway mark.- The New York Times
- Posted Jun 30, 2016
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There are a few too many moments--starting with “Mercy,” the opening track--when Mr. Cobb seems fixated on the idea of Ms. Bishop as a new Dusty Springfield. The ghost of “Dusty in Memphis” hovers over much of the album, and while there are worse problems to have, it runs the risk of putting Ms. Bishop in the same corner where a Leon Bridges passes as an acceptable stand-in for Sam Cooke.- The New York Times
- Posted Jun 23, 2016
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It’s an experimental record that often sounds like a meditative one, or vice versa, and it often seems better on paper than through the speakers.- The New York Times
- Posted May 25, 2016
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