Rolling Stone's Scores

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For 5,914 reviews, this publication has graded:
  • 34% higher than the average critic
  • 4% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 6.1 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Magic
Lowest review score: 0 Know Your Enemy
Score distribution:
  1. Positive: 3,630 out of 5914
  2. Mixed: 2,244 out of 5914
  3. Negative: 40 out of 5914
5914 music reviews
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    • 77 Metascore
    • 60 Critic Score
    Hot Shots II
    Hot Shots II does its best to return to the epic soundscapes of The Three E.P.'s; the long grooves and easy melodies are back, and the band's tendency toward the diffuse has been reined in.
    • 64 Metascore
    • 60 Critic Score
    Trouble Man: Heavy Is the Head
    His eighth album fuses lordly self-mythologizing with epic self-searching.
    • 78 Metascore
    • 60 Critic Score
    Let Me Get By
    Tedeschi has chops, charm, and a workmanlike style that could at times use some pizzazz.
    • 60 Metascore
    • 60 Critic Score
    Love Hate And Then There's You
    These Detroit rockers emerge with an album that's pop-friendly but raucous enough to park in a Motor City garage.
    • 71 Metascore
    • 60 Critic Score
    The Future Will Come
    After missing the mark with his robotic, soulless 2005 debut, Juan comes to life on this follow–up, giving us stretched–out, club–wrecking grooves.
    • 70 Metascore
    • 60 Critic Score
    The Infamous Mobb Deep
    The duo's mean, scrappy eighth album is the first to truly embrace their underdog status, wrapping itself in the low-fi, Walkman-ready vibe that has dominated the best of founding members Prodigy's and Havoc's solo work on indie labels.
    • 72 Metascore
    • 60 Critic Score
    All Fall Down
    [All Fall Down] is a dark journey lyrically: Good folks fail, lovers betray, salvation is an even bet at best. But the music... heals.
    • 65 Metascore
    • 60 Critic Score
    Sorry 4 the Wait
    Sorry isn't in the same league as those Drought tapes, but it's freewheeling fun--and it makes you look forward to the next Carter.
    • 57 Metascore
    • 60 Critic Score
    YOKOKIMTHURSTON
    [YOKOKIMTHURSTON] distills the kind of audio radicalism these three have channeled into pop music for decades.
    • 74 Metascore
    • 60 Critic Score
    Eating Us
    The like-minded follow-up enlists Flaming Lips producer Dave Fridmann, who highlights the tingly interplay between acoustic and electronic instruments and the processed vocals, which generally sound like T-Pain tripping his balls off.
    • 67 Metascore
    • 60 Critic Score
    From Here to Now to You
    Johnson is back on sunnier acoustic ground here, exploring interesting open tunings on some of the crispest songs he's ever written.
    • 72 Metascore
    • 60 Critic Score
    Voice of Ages
    Indie rock's cult of schlubby singing doesn't always merge with the Chieftains' crystalline professionalism.
    • 70 Metascore
    • 60 Critic Score
    The Boy Who Knew Too Much
    Mika's faith in the campy excess of Freddie Mercury/Elton John-style pomp pop is bracing. But over the course of an album, the shtick's charm erodes.
    • 73 Metascore
    • 60 Critic Score
    Judy Sucks A Lemon For Breakfast
    Singh sounds a little more blissed out than before--but every bit as appealing.
    • 79 Metascore
    • 60 Critic Score
    Illumination
    The ex-Jam frontman careens from folky piffle to respectable bar-band stomp.
    • 69 Metascore
    • 60 Critic Score
    Audio, Video, Disco
    Audio, Video, Disco preserves the ginormo beats and synth bass of Justice's club jams while adding Seventies-style arena rock.
    • 62 Metascore
    • 60 Critic Score
    Shine On
    Jet are at their best in the high power-riff gear of "Stand Up" and "Rip It Up"... with singer-guitarist Nic Chester barking and bawling like an improbable trinity of Liam Gallagher, Bon Scott and Axl Rose. When those songs take off, you fly.
    • 63 Metascore
    • 60 Critic Score
    Julian Plenti Is... Skyscraper
    With this solo alter ego, he digs into his gloomy-balladeer side.
    • 67 Metascore
    • 60 Critic Score
    Looking into You: A Tribute to Jackson Browne
    Not every performance is memorable, and the absence of younger fans is a missed opportunity.
    • 73 Metascore
    • 60 Critic Score
    Closer
    Unlike previous efforts, Hawtin shows a hint of humanity here.
    • 72 Metascore
    • 60 Critic Score
    White Pony
    White Pony ends up being more accessible than the group's two previous albums, because it's not a half-formed mess but a classic alternative-rock album, as gentle and catchy as it is dark.
    • 64 Metascore
    • 60 Critic Score
    Rodeo
    Left on his own, Scott can grow tiresome. "I Can Tell" sounds monochromatic without another voice to push this astute curator. Some rock stars are better leading bands than going solo.
    • 69 Metascore
    • 60 Critic Score
    1989
    It plays like the latest chapter in his ongoing recent Tom-Petty-meets-the-Smiths re-imagining of the Reagan years.
    • 79 Metascore
    • 60 Critic Score
    Strawberry Jam
    The sixth album by this neocommunalist, neopsychedelic quartet improves on 2005's "Feels," flashing more shards of tune to lure the coeds with the Coleman PerfectFlow InstaStart Lanterns over to their adamantly unkempt campfire.
    • 59 Metascore
    • 60 Critic Score
    Matter
    While Grobler's music often bursts with light, frivolous energy, this album has an undertone of dissatisfaction that's new.
    • 76 Metascore
    • 60 Critic Score
    Free All Angels
    Half of Free All Angels sinks under sluggish ballad tempos, sour strings and, in "Submission," unnecessary electronica. But the half that doesn't, such as "Walking Barefoot," is solid chain-saw fun, some of the best '77 you'll hear in 2002.
    • 65 Metascore
    • 60 Critic Score
    Kiss & Tell
    Takes things even further into 7-Eleven parking-lot bliss. [19 Aug 2004, p.120]
    • Rolling Stone
    • 68 Metascore
    • 60 Critic Score
    Strange Desire
    Nothing else on Bleachers' debut quite reaches ["I Wanna Get Better's"] height, and enticing collaborations with art-pop heavies like Yoko Ono fall flat. But the bright ideas keep coming like mosquitoes at a backyard BBQ.
    • 74 Metascore
    • 60 Critic Score
    Surrounded
    The self-produced LP swirls drones and uncharacteristic electronics behind evanescent imagery. That it's hard to grasp just makes it more seductive.
    • 64 Metascore
    • 60 Critic Score
    Kings & Queens of the Underground
    So much intensity can be unnerving coming from a man in his late fifties--but Idol makes up for it on the carefree "Can't Break Me Down," a punky pop tune with a "bang bang bang" chorus catchier than anything Fall Out Boy have written lately.
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