Rolling Stone's Scores

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For 5,911 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: 3,629 out of 5911
  2. Mixed: 2,242 out of 5911
  3. Negative: 40 out of 5911
5911 music reviews
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    • 79 Metascore
    • 80 Critic Score
    Ivory
    Across Ivory, Apollo slips from English to Spanish, singing in whatever language best serves the music. He eludes labels when it comes to his identity and sexuality; instead, he often lets the music speak for itself. He doesn’t hold back in his lyrics.
    • 82 Metascore
    • 80 Critic Score
    Broken Hearts Club
    Guided by Syd’s laudable ear and angelic voice, Broken Hearts Club succeeds in sewing a narrative of love grown and wilted.
    • 82 Metascore
    • 70 Critic Score
    Terror Twilight: Farewell Horizontal
    The extras are a feast for serious Pavement lunatics.
    • 87 Metascore
    • 80 Critic Score
    Wet Leg
    The album is packed with hilariously nasty kiss-offs like “Piece of Shit” and “Ur Mum” — it’s got hooks for days, cheek for weeks.
    • 76 Metascore
    • 80 Critic Score
    Familia
    Familia is as raw as Cabello has ever been. She successfully laces the sounds of her Latina roots into a record that lyrically rips out the pages of her life’s diary — all its heartbreak, drama, and self-doubt — for the entire world to see.
    • 71 Metascore
    • 80 Critic Score
    Unlimited Love
    The result is vintage RHCP: a jammy, melodic effort that blends the wavy reflections of their 1999 triumph, Californication, with the expansive rock of Stadium Aracadium.
    • 81 Metascore
    • 70 Critic Score
    Humble Quest
    There are precisely zero churches or trucks on Morris’ latest. Instead, the Texas singer luxuriates in tasteful adult pop rock in the vein of Sheryl Crow and John Mayer, collaborating with producer Greg Kurstin, an A-list practitioner of the sound (Adele, James Blunt, Foo Fighters).
    • 71 Metascore
    • 70 Critic Score
    7220
    Durk seems to thrive over lush productions.
    • 80 Metascore
    • 70 Critic Score
    Running with the Hurricane
    Despite the triumphs on Running With the Hurricane, the band has a tendency to meander and linger on similar ideas over the span of several songs in a manner that feels unnecessarily repetitive. This lack of dynamism is most apparent in the record’s midsection. Yet the album’s high points reveal the full potential behind Camp Cope’s newly honed sound.
    • 82 Metascore
    • 70 Critic Score
    Labyrinthitis
    From the first ecstatic strains of “Have We Met,” you get the sense that Bejar is still ardently dodging categorization. Here more than ever, he just seems game to throw everything against the proverbial wall and see what sound it makes.
    • 82 Metascore
    • 80 Critic Score
    Gifted
    The album’s musical backdrops range from breezy to absorbing, but it’s Koffee’s performances that are consistently bewitching.
    • 77 Metascore
    • 80 Critic Score
    Forever
    In Forever, we hear both a middle-aged man looking back on his successes and failures both personally and professionally, and an artist unknowingly confronting mortality and trying to make peace at the end.
    • 94 Metascore
    • 80 Critic Score
    Motomami
    What she offers is a dizzying, kaleidoscopic self-portrait — brash and bawdy at some turns, crushingly vulnerable at other points, and completely ridiculous when it wants to be.
    • 74 Metascore
    • 80 Critic Score
    In/Out/In
    In/Out/In feels less like a random collection of toss-offs and more like a lost Sonic Youth album before everyone figured out who would sing each track.
    • 79 Metascore
    • 70 Critic Score
    Crash
    She’s been honest about how much she adores the boldness of pop, and she’s been so good at crafting sticky, soaring blockbusters anyway. Here, she’s simply storming the gates head on.
    • 80 Metascore
    • 70 Critic Score
    Wild Loneliness
    The result is an engrossing album full of stock-taking warmth. [Mar 2022, p.71]
    • Rolling Stone
      • Posted Mar 10, 2022
    • 83 Metascore
    • 80 Critic Score
    PAINLESS
    A beguiling good time. [Mar 2022, p.71]
    • Rolling Stone
      • Posted Mar 10, 2022
    • 78 Metascore
    • 70 Critic Score
    Things Are Great
    Can sometimes seem too mellow, but they sound refreshed. [Mar 2022, p.71]
    • Rolling Stone
      • Posted Mar 10, 2022
    • 75 Metascore
    • 70 Critic Score
    Black Radio III
    As an enjoyable fan-service sequel intended to offer music of comfort and solace, Black Radio III is fine. As an artist, Glasper is allowed to get into his beatmaker bag, relaunch the Black Radio brand, and leave the New Jazz Thing bleeding edge to others. But one can’t help but wish the stakes were a bit higher.
    • 74 Metascore
    • 80 Critic Score
    Love Sux
    Across the board, Lavigne sounds like she’s having good, real fun for the first time in ages. If the album is following a major pop-punk trend in pop music, it also serves as a reminder that Lavigne helped shape so much of that sound in the first place.
    • 76 Metascore
    • 70 Critic Score
    Ghetto Gods
    Its musical colors are less vivid than Mirrorland. But some of these songs hit hard with palpable emotion, and their impact deepens with each fresh listening.
    • 72 Metascore
    • 70 Critic Score
    All the Truth That I Can Tell
    For his ninth album, Carraba goes back to his hard-strumming roots, making his most old-school Dashboard-y collection in years (it’s even produced by James Paul Weiser, who helmed the first two albums). It’s just Carraba and the guitar and melodies that would scale up brilliantly
    • 79 Metascore
    • 70 Critic Score
    Heterosexuality
    Heterosexuality is impulsive and unfiltered, another self-affirmation from someone who’s shared that he’s “anti-career”—and far more interested in self-discovery than a route toward the stardom.
    • 75 Metascore
    • 70 Critic Score
    Good Morning Gorgeous
    Longtime fans may miss the laser-sharp focus of Blige’s best albums. Yet her attempts to lighten the mood and bring some joy to her life on Good Morning Gorgeous is a worthy trade-off.
    • 79 Metascore
    • 80 Critic Score
    Earthling
    It’s his most revealing solo release, since, musically, it feels more like the Vedder we’ve known for 30 years and not a purposeful departure from Pearl Jam.
    • 85 Metascore
    • 90 Critic Score
    Lucifer on the Sofa
    It's the best thing they've ever done, more than exceeding their usual quotient of fire guitars, killer choruses, and crafty rock-history updates. [Feb 2022, p.72]
    • 88 Metascore
    • 70 Critic Score
    Dragon New Warm Mountain I Believe in You
    Dragon New Warm Mountain I Believe In You can feel redundant at points, and might be a little much to wade through unless you already roll waist-deep with the Big Thief experience. Yet the cumulative sense of the open-ended, accidental, communal, and casual is worth any slowish spots along the way. This is a band that deserves the time you lend it.
    • 78 Metascore
    • 70 Critic Score
    And Now, Let’s Turn to Page...
    Cobb makes gospel music fun, funky and oh-so-cool on this collection of traditional hymns. [Feb 2022, p.72]
    • Rolling Stone
      • Posted Feb 8, 2022
    • 85 Metascore
    • 80 Critic Score
    Pompeii
    Le Bon is one of indie music's more beguilingly brilliant artists, as her sixth LP attests. [Feb 2022, p.72]
    • Rolling Stone
      • Posted Feb 8, 2022
    • 83 Metascore
    • 80 Critic Score
    Laurel Hell
    Laurel Hell can feel, at first, like an impenetrable record, full of guarded gloss and pop production that feels more like cold caution than anthemic summoning. That’s exactly Mitski’s point. ... More often than not, the songs about personal turmoil double as self-conscious career commentary.
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