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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    • 45 Metascore
    • 40 Critic Score
    A.K.A.
    Beyond summer-anthem contender "I Luh Ya Papi," Lopez supplements flat production from names like RoccStar with forgettable verses from rappers like T.I.
    • 45 Metascore
    • 40 Critic Score
    Blood In My Eye
    As refreshing as it is to hear Ja do something besides the singing approximation he's been practicing the past few years, the boasts here feel utterly tired.
    • 45 Metascore
    • 50 Critic Score
    EP-1
    At 48, Pixies singer Black Francis has either lost or abandoned his flair for sounding like the most unhinged man in indie rock.
    • 45 Metascore
    • 40 Critic Score
    Good Morning Revival
    Another album that gets further away from the band's core appeal.
    • 44 Metascore
    • 40 Critic Score
    Hannicap Circus
    Flaccid beats mean that his solo debut -- despite guest spots from Eminem and Big Boi -- too often falls flat.
    • 44 Metascore
    • 50 Critic Score
    Mission Accomplished [EP]
    The four songs on his latest EP, Mission Accomplished, continue to wander down that same fascinating but frustrating road to nowhere.
    • 44 Metascore
    • 40 Critic Score
    Imperial Blaze
    Paul said in 2007 that his next disc would focus on youth violence in Jamaica, but there's little sign of that on the party-hearty Imperial Blaze, which is full of snazzy electro beats and tunes that sound like pale versions of past hits.
    • 44 Metascore
    • 40 Critic Score
    Generation
    A largely vocals-free mishmash of brittle beats, buzzy sound effects and hipster ambience that sounds great when Dizzee Rascal is rhyming over it but cold and tinny on its own.
    • 43 Metascore
    • 40 Critic Score
    Charmbracelet
    Tempos plod, and hooks are few.
    • 43 Metascore
    • 40 Critic Score
    God Did
    Listening to Khaled’s albums is like searching for blessings amidst the chaff, and the signal-to-noise ratio is generally low. But God Did isn’t as torturously bad as, say, 2019’s Father of Asahd.
    • 43 Metascore
    • 40 Critic Score
    Memories: Do Not Open
    Riddled with resentment and lyrics that land with a self-serious thud, Memories is a stunningly drab record. For the most part songs plod along at a strenuously mid-tempo pace, and are mostly lacking in any sonic detail that would reward closer listening.
    • 42 Metascore
    • 60 Critic Score
    Spider-Man: Turn Off the Dark
    For the most part, the songs come off as slightly vague sketches for U2 songs. The theater-trained singers sound stiff when they try Bono-worthy emoting.
    • 42 Metascore
    • 40 Critic Score
    It Had to Be You... The Great American Songbook
    Here, he sings against syrupy, obvious orchestral arrangements, driven by a beat that sometimes seems on the verge of a nap -- all of which encourages Stewart's worst habits: He sounds lazy, glib and uninvolved, just the opposite of when he still mattered.
    • 42 Metascore
    • 40 Critic Score
    iSouljaBoyTellem
    The beats on iSouljaBoyTellem--built by Soulja and Mr. Collipark--are beefier. And Soulja Boy's willingness to drill songs into your skull is less charming.
    • 42 Metascore
    • 40 Critic Score
    Cosmos Rocks
    Queen 2.0 are competent enough to rock arenas, but don't expect a repeat of the glory days.
    • 42 Metascore
    • 60 Critic Score
    Somethin' 'Bout Kreay
    The Oakland MC's debut explores her skill at giving hormonally bonkers post-Odd Future shock rap a bratty, ashtray-Madonna spin.
    • 41 Metascore
    • 40 Critic Score
    All The Right Reasons
    All the Right Reasons is so depressing, you're almost glad Kurt's not around to hear it.
    • 41 Metascore
    • 40 Critic Score
    14 Shades Of Grey
    Part of the problem is the thoroughly unimaginative production, a procession of soft-loud modern-rock cliches that breaks up the ho-hum guitar bashing with acoustic interludes and strings.
    • 41 Metascore
    • 40 Critic Score
    A Day Without Rain
    If Enya were a Pokemon, she'd be Jigglypuff, the little pink monster who renders her opponents powerless by singing them to sleep.... The Irish multi-instrumentalist-singer-composer's skill at ephemeral sonic watercolors has grown wearisome, like a relative who tells the same stories every holiday.
    • 40 Metascore
    • 50 Critic Score
    Jagged Little Pill Acoustic
    Morissette turns in a powerful and nuanced vocal performance over these lighter but layered arrangements. [16 Jun 2005, p.98]
    • Rolling Stone
    • 39 Metascore
    • 50 Critic Score
    Graffiti
    Chris Brown has made a bland, occasionally obnoxious, pro forma R&B album.
    • 39 Metascore
    • 50 Critic Score
    Shwayze
    Adler's no beat master, and the tracks on Shwayze all sound like variations on thumb-strummed Jack Johnson tunes, topped with Sugar Ray-style rhymes about weed and women.
    • 39 Metascore
    • 40 Critic Score
    United Nations of Sound
    As you'll see, every English rock star is required to celebrate this milestone with an overblown album about God, humanity and the cosmos.
    • 38 Metascore
    • 40 Critic Score
    DUMMY BOY
    His blend of garish Day-Glo net art and brawling homage to the glory years of DMX and Onyx may be a commercially effective millennial update of Rotten Apple thug rap. But aesthetically, his distinct lack of lyrical talent and annoyingly hyperactive presence often undermines the whole thing.
    • 38 Metascore
    • 40 Critic Score
    Fortune
    Brown brags about his extra-large condoms, and, on "Don't Judge Me," turns a tender love song into a Twitter rant against "haters."
    • 37 Metascore
    • 60 Critic Score
    I'm Back! Family & Friends
    The results are spunky, if unnecessary: Why bother with Sly and Jeff Beck's remake of "(I Want to Take You) Higher" when you can listen to the torrid original?
    • 37 Metascore
    • 40 Critic Score
    Slick Dogs And Ponies
    There's still too much of Brian Karscig's ultracampy 'Big Balls'--style vocals, and it sometimes feels like these guys have confused expanding their range with finding new sources to rip off.
    • 37 Metascore
    • 50 Critic Score
    Rebirth
    The problem is that Wayne has very questionable taste in rock. He splutters and wails over tracks stuffed with aggro stomp and bland riffage; it sounds like he's been holing up with a bunch of Spymob and Incubus records.
    • 34 Metascore
    • 60 Critic Score
    Testify
    Testify is full of laid-back, better-than-average adult-contempo fare, and the subtle, atmospheric production sure beats the slickness of his Eighties records.
    • 33 Metascore
    • 60 Critic Score
    Results May Vary
    With the Bizkit's usual guitar-heavy thrash still in place, songs such as "Creamer (Radio Is Dead)" and "Lonely World" get by on Linkin Park-style electronic textures, stutter-step rhythms and catchy, cathartic choruses.
    • 28 Metascore
    • 40 Critic Score
    Hefty Fine
    Hefty Fine proves only marginally more welcome than a Jerky Boys reunion.
    • tbd Metascore
    • 40 Critic Score
    What If It All Means Something
    Ho-hum singer-songwriterly tunes packed with sentimental poetry. [1 May 2003, p.56]
    • Rolling Stone
    • tbd Metascore
    • 60 Critic Score
    Scattered, Smothered and Covered
    This covers compilation reveals them as an honorable South Carolina bar band that has survived its run-in with pop success by keeping its easygoing humor intact.
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