The Observer (UK)'s Scores

  • Music
For 1,666 reviews, this publication has graded:
  • 36% higher than the average critic
  • 3% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 6.6 points lower than other critics. (0-100 point scale)
Average Music review score: 66
Highest review score: 100 Cocoa Sugar
Lowest review score: 20 Weird Kids
Score distribution:
1666 music reviews
    • 67 Metascore
    • 20 Critic Score
    Their second album is a veritable atrocity exhibition of forgettable keyboard riffs, muzzled guitars, inane lyrics and the foghorn-subtle voice of frontwoman Tay Jardine.
    • 66 Metascore
    • 20 Critic Score
    Their fourth album, all formulaic riffs, festival-friendly choruses and timeworn sentiments (Too Young to Feel This Old, Be Who You Are), is corporate alt-rock at its most pedestrian.
    • 64 Metascore
    • 20 Critic Score
    This collection of “edgy” rock numbers (Postcards from the Past, in particular, sounds like a pastiche of his biggest hits) and dreary ballads is a turkey of epic proportions.
    • 63 Metascore
    • 20 Critic Score
    Even by his own standards this is stupefyingly insipid and pedestrian fare.
    • 60 Metascore
    • 20 Critic Score
    Lyrically vapid, auto-tuned and stadium-aspiring choruses like these, with their hands-in-the-air, mugging-with-your-mates quality, are so lacking in imagination that they make "feel-good" feel really, really bad.
    • 60 Metascore
    • 20 Critic Score
    Trainor just isn’t a convincing pop star. While the Britney-lite lead single No has its moments, most of the other songs are identity-free filler.
    • 59 Metascore
    • 20 Critic Score
    Collections, their second effort, mislays what little charm Delphic possessed, tilting at the big pop statement in uneven bursts.
    • 58 Metascore
    • 20 Critic Score
    Its versions of tracks by everyone from Peter Tosh to Gershwin, Taj Mahal to JJ Cale seldom amounting to anything more thrilling than might be heard in the back room of a pub.
    • 56 Metascore
    • 20 Critic Score
    Guetta's trademark union of stadium trance and American R&B is represented in a glittering array of bling-encrusted collaborations (Snoop Dogg, Akon, Chris Brown) but they struggle to impose any distinctive personality on the overall mood of relentless rictus-grin-inducing euphoria.
    • 54 Metascore
    • 20 Critic Score
    Sonic reference points for this, his fourth solo album, include on Let Me Go (no please, really, let me go) banjo-virulent arena folk in the exhausted Mumford vein as well as the tritest and most insipid of musical theatre showtunes.
    • 52 Metascore
    • 20 Critic Score
    The combination of reggae, drivetime rock and Bollywood orchestration may work beautifully elsewhere, but not here--and Stone's soulful noodling only makes matters worse.
    • 51 Metascore
    • 20 Critic Score
    Steve Garrigan’s voice strains with sincerity in perfect imitation of Chris Martin. Less forgivable, though, is the way they emulate and surpass the lyrical cliches of their source material.
    • 49 Metascore
    • 20 Critic Score
    Single Bonfire Heart is very radio-friendly but, like every other song on Moon Landing, essentially drippy.
    • 34 Metascore
    • 20 Critic Score
    Ultimately, Famous First Words sets the cause of resurgent guitar rock back… ooh, a good 20 years.