The New York Times' Scores

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For 2,072 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: 100 Live in Europe 1967: Best of the Bootleg, Vol. 1
Lowest review score: 0 Shatner Claus: The Christmas Album
Score distribution:
  1. Positive: 1,594 out of 2072
  2. Mixed: 443 out of 2072
  3. Negative: 35 out of 2072
2072 music reviews
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    • 57 Metascore
    • 80 Critic Score
    Ferrari Boyz
    The songs get the gravity and mystery they've earned.
    • 57 Metascore
    • 70 Critic Score
    Changes
    On “Changes,” he finally stakes his claim, honing a vocal approach that’s soothing, tender although maybe slightly tentative, a middle ground between comfort and reluctance. It is an effective album, and also a deliberately unflashy one — Bieber is consistent and confident, and also not drawing too much attention to himself.
    • 57 Metascore
    • 70 Critic Score
    Raditude
    Raditude sounds like a high-stakes game of chicken, and the intellectual gamesmanship becomes more satisfying than the music.
    • 57 Metascore
    • 70 Critic Score
    Happy Xmas
    This set of modestly scaled blues remakings of classics finds dignity in the downtrodden.
    • 57 Metascore
    • 70 Critic Score
    Exit 13
    While this 76-minute album flags near the end, there’s still more than enough smooth-tongued, quick-witted rhyming to justify his boasts.
    • 56 Metascore
    • 70 Critic Score
    Montage Of Heck: The Home Recordings
    This is for completists.
    • 56 Metascore
    • 80 Critic Score
    Down In Albion
    It's a messy, sometimes insane CD... [but it's] mysterious and subtly seductive. [8 Dec 2005]
    • 56 Metascore
    • 70 Critic Score
    Last 2 Walk
    Last 2 Walk, its first album since the excellent “Most Known Unknown,” from 2005, sounds like vintage Three 6 Mafia: bruising production, gloriously foul-natured lyrics, single-minded focus on life’s pleasures
    • 56 Metascore
    • 70 Critic Score
    the JaneDear girls
    Their album, produced by the country modernizer John Rich, is brassy and chipper and fun. And polished too.
    • 55 Metascore
    • 70 Critic Score
    Purple Naked Ladies
    While the production is woozy, stop-start delirious and off kilter, the lyrics, sung by Syd in an appealing, unpolished style, are cutting.
    • 54 Metascore
    • 80 Critic Score
    Excuse My French
    Every word hits hard. The quicker beat turns his lethargy into something of a strategy, and he sounds like no one but himself.
    • 54 Metascore
    • 70 Critic Score
    I Dreamed A Dream
    On an album without humor or melodrama, a devotional spirit reigns.
    • 54 Metascore
    • 70 Critic Score
    Old Boots, New Dirt
    Mr. Aldean’s shtick is effective--his sturdy voice, paired with production that has more in common with sensual 1980s hard rock than modern country, makes for uncommonly brawny country music.
    • 54 Metascore
    • 70 Critic Score
    Music From Another Dimension!
    [On Music] the band aggressively reclaims every last one of its trademarks through the decades.
    • 53 Metascore
    • 70 Critic Score
    Jesus Is King
    A more engaged and vivid album than “Ye,” from last year, though nowhere as robust as “The Life of Pablo” from 2016, it is bare-bones and curiously effective, emotionally forceful and structurally scant.
    • 53 Metascore
    • 70 Critic Score
    Damita Jo
    The album is even sleeker and sexier than its predecessor, "All for You," and in saner times, that would be enough to ensure its success. [28 Mar 2004]
    • 52 Metascore
    • 80 Critic Score
    Dark Light
    The songs are sturdier than ever, and they possess a sneaky sort of power. [10 Oct 2005]
    • The New York Times
    • 51 Metascore
    • 70 Critic Score
    Untitled
    In setting aside its trademark sound, Korn hasn’t yet replaced it with something of its own, but at least the band is working on it.
    • 51 Metascore
    • 70 Critic Score
    Beerbongs & Bentleys
    There are occasional intrusions of other ideas, like the agonized rock on “Over Now,” and when far more formalist artists like Nicki Minaj or G-Eazy arrive, they sound like teachers trying to enforce order in detention. But in total, Beerbongs & Bentleys is admirably committed to form, one long song of the decontextualized now.
    • 51 Metascore
    • 70 Critic Score
    Doll Domination
    Ms. Scherzinger’s small, flexible voice thrives in the programmed, computer-tuned R&B tracks.
    • 49 Metascore
    • 70 Critic Score
    #willpower
    He is not ashamed to bleat out inane proclamations and this album benefits from his shamelessness. It’s frequently catchy and almost always compellingly energetic.
    • 49 Metascore
    • 70 Critic Score
    Dark Horse
    For the first time Nickelback is produced by Mutt Lange (AC/DC, Shania Twain), who has nudged from the band a tougher sound more suited to its inner louse....But he couldn’t fully jolt the band out of its comfort zone.
    • 48 Metascore
    • 70 Critic Score
    Streets Of Gold
    It is a Frankenstein monster built wholly from borrowed pieces, taking the accumulated lessons of years of hip-hop assimilation, the sophomoric attitude of frat-rock and the dense, dance-friendly electro-pop of the moment and grinding them into an oppressive and convincing wall of sounds.
    • tbd Metascore
    • 70 Critic Score
    Christmas
    Mr. Buble's sparkly sincerity commands the spotlight at every turn, but he plays well with others, too.
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