Billboard.com's Scores

  • Music
For 825 reviews, this publication has graded:
  • 81% higher than the average critic
  • 3% same as the average critic
  • 16% lower than the average critic
On average, this publication grades 3.5 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 The Complete Matrix Tapes [Box Set]
Lowest review score: 40 Jackie
Score distribution:
  1. Negative: 0 out of 825
825 music reviews
    • 89 Metascore
    • 92 Critic Score
    The result is an album that was absolutely worth the seven-year wait, not to mention the mountain of hype atop which Apple has sat since her big comeback at SXSW in March.
    • 68 Metascore
    • 74 Critic Score
    Overall, Believe sinks its tendrils into the listener's brain by riding the dance music phenomenon and offering some whizz-bang production alongside Bieber's sticky-sweet singing voice.
    • 75 Metascore
    • 90 Critic Score
    At its best, a truly next-level soul album. One that has the warm, organic feel of R&B and deep pop hooks, but also the pulsating low-end and shimmering keyboard flourishes of EDM.
    • 78 Metascore
    • 84 Critic Score
    The extent of K.R.I.T.'s achievement on his proper debut can be lost in the consistency of his output, but it is a stirring triumph nonetheless.
    • 73 Metascore
    • 83 Critic Score
    It's one of Mayer's most diverse and exploratory albums yet, trying on a variety of different styles to accompany a set of particularly reflective and soul-searching tunes.
    • 66 Metascore
    • 86 Critic Score
    Trespassing continues the work of the underrated "For Your Entertainment" and allows the singer to keep unveiling his character in broad, colorful strokes.
    • 70 Metascore
    • 89 Critic Score
    In an already impressive, multi-platinum career, Blown Away is a landmark achievement.
    • 59 Metascore
    • 78 Critic Score
    "Born Villain" finds a seemingly refreshed and clear-minded Manson and his band poring through a diverse set of moods and styles in songs that cut a little deeper than the deliberate provocation of many of his previous works.
    • 62 Metascore
    • 68 Critic Score
    Nothing on The Wanted's debut U.S. EP comes close to "Glad You Came," but the extended play contains a number of fine-tuned melodies that could succeed the group's latest radio hit
    • 53 Metascore
    • 75 Critic Score
    A set of tightly crafted, richly arranged pop songs.
    • 63 Metascore
    • 80 Critic Score
    Picture Show should end up as one the year's most tuneful rock releases.
    • 76 Metascore
    • 78 Critic Score
    Those who have witnessed the group's floor-shaking live shows might be a bit disarmed by the deliberately dense and lo-fi production of "Boys & Girls."
    • 75 Metascore
    • 74 Critic Score
    We come to "A Wasteland Companion" with certain expectations. Happily, Ward meets them.
    • 83 Metascore
    • 95 Critic Score
    Blunderbuss isn't just (arguably) the best album of the year so far, it opens up a whole new world for him.
    • 70 Metascore
    • 81 Critic Score
    This is guilt-free bass bliss for a post-genre age.
    • 62 Metascore
    • 70 Critic Score
    Producer Greg Wells (Katy Perry, OneRepublic, Adele) dresses all that [emotional complexity and angst] up with greater sonic sophistication, guiding the All-American Rejects toward a more bombastic brand of pop.
    • 86 Metascore
    • 84 Critic Score
    An album that could've easily come from other Mississippi River stops where horns and funk pump through the bloodstreams-Chicago, Memphis or St. Louis.
    • Billboard.com
    • 75 Metascore
    • 78 Critic Score
    It's indeed better the second time around, no matter who's running her down.
    • 68 Metascore
    • 66 Critic Score
    While Jourgensen seems re-engaged with his music, he's also more disinterested than ever in the wider pop culture.
    • 72 Metascore
    • 78 Critic Score
    Rich organ swells and muscular horn charts mark many of the 10 tracks, with a live, off-the-floor groove that levitates.
    • 78 Metascore
    • 90 Critic Score
    More than anything, Wrecking Ball is a record with heart.
    • 73 Metascore
    • 78 Critic Score
    As comeback albums go, though, this one feels unusually natural.
    • 75 Metascore
    • 84 Critic Score
    How About I Be Me (And You Be You)?, is a slap-upside-the-head reminder, a collection of heartfelt confessionals, evocative insights and provocative position statements.
    • 56 Metascore
    • 76 Critic Score
    Many of the dozen songs achieve the kind of meatiness that the group approached tentatively on The Fray.
    • 80 Metascore
    • 80 Critic Score
    An old-fashioned countrypolitan album-and a really good one at that.
    • 71 Metascore
    • 87 Critic Score
    A playful effort that comes from an ease with pop hooks and power-pop chords, a knowledge of how to employ a steady beat.
    • 85 Metascore
    • 75 Critic Score
    The sparse production recalls Cohen's 1988 release, "I'm Your Man," by throwing the Canadian balladeer's ever-deepening voice and his mix of poetic flair and pitch-black humor into satisfyingly stark relief.
    • 70 Metascore
    • 80 Critic Score
    They never supersede the originals, but hardly suffer in comparison.
    • 72 Metascore
    • 80 Critic Score
    Frontman Randy Blythe still growls his guts out while his bandmates hammer away at economy-sized grooves that suggest an extreme-sports version of Southern rock.
    • 53 Metascore
    • 80 Critic Score
    The band fares better in a handful of frothier cuts.