Rolling Stone's Scores

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:
5914 music reviews
    • 75 Metascore
    • 60 Critic Score
    Paul Smith's vocals are full of New Wave artifice, but he's also more earnest than many of his post-punk peers. [25 Aug 2005, p.100]
    • Rolling Stone
    • 75 Metascore
    • 60 Critic Score
    The more visceral appeal of Coming Apart--most notably Gordon’s vocals--is lost somewhat in this pivot to patient squall and ugly voids (the 10-minute “Change My Brain” sounds like she’s crooning to an industrial fan), but the duo are still exceptional at manipulating scuzz.
    • 75 Metascore
    • 60 Critic Score
    Gogol are best when Hütz lyrically nuances the roiling energy; on "My Gypsy Auto Pilot," he goes back to Ukraine to find that he's a stranger in his old hometown.
    • 75 Metascore
    • 60 Critic Score
    While Brown's easygoing, singing guitar is the clear star throughout the record, something feels off overall, since the renditions here rarely live up to the originals. [May 2021, p.75]
    • 75 Metascore
    • 60 Critic Score
    NakedSelf finds him returning to the slow-burn industrial grind of his best work.
    • 75 Metascore
    • 60 Critic Score
    Does This Look Infected? squeezes a dozen energetic songs into a half-hour, and each one is over before you can figure out why that chorus sounds familiar or where you've heard that riff before.
    • 75 Metascore
    • 60 Critic Score
    The London threesome behind X-Press 2 slaves to house's repetitious mechanics (check the ugly robot fart clouding "AC/DC") yet often transcends its self-imposed limitations through fastidious craft.
    • 75 Metascore
    • 60 Critic Score
    It's a fruitful partnership: Earle's hard-won earthiness acts as a counterweight to Baez's ethereal tendencies, and Day After Tomorrow leans toward tough-minded material with blues and Appalachian overtones.
    • 75 Metascore
    • 60 Critic Score
    MTMTMK dispels doubts, improving on the debut with bigger hooks.
    • 75 Metascore
    • 40 Critic Score
    Full of shiny seventies pop rock simulations, but you would be much better off putting on an old Todd Rundgren or Raspberries record. [Aug 2020, p.73]
    • Rolling Stone
    • 75 Metascore
    • 60 Critic Score
    Lauren Mayberry and her two beardo bandmates revisit the frosty New Wave of Yaz and early Depeche Mode while adding staccato, percussive glitches that echo but don't mimic the Eighties.
    • 75 Metascore
    • 60 Critic Score
    The writing is more a series of creepy pranks than a set of tunes, but Claypool, guitarist Larry LaLonde and drummer Jay Lane are a tight knottyrhythm team, and their propulsion under the comic vocals in "Tragedy's a'Comin' " and in the manic marching jam "Last Salmon Man" is no monkey business.
    • 75 Metascore
    • 60 Critic Score
    The Georgia collective's second album is pop at its most playful and the avant-garde at its cuddliest -- a four-act, twenty-seven-song fantasy trip in which structure and chaos keep leapfrogging each other.
    • 75 Metascore
    • 60 Critic Score
    There's a faint mustiness to some of the more upbeat arrangements, but on slow jams like the title track (a falsetto-streaked 1961 gem by the Jive Five) and Curtis Mayfield's "Gypsy Woman," Neville suspends time in vocal amber, a true soul master at work.
    • 75 Metascore
    • 60 Critic Score
    His official debut LP still sounds like it's stuck in the past, with solid production from old-school legend DJ Premier and his latter-day disciple Statik Selektah.
    • 75 Metascore
    • 60 Critic Score
    It's mood music (bad-mood music, to be exact) and, despite coming from a band called the Body, it's largely formless; much of the time the songs just seem to end.
    • 75 Metascore
    • 60 Critic Score
    Not his most satisfying concept, but he can do more in 72 seconds that most artists can in four minutes. [May 2020, p.89]
    • Rolling Stone
    • 75 Metascore
    • 50 Critic Score
    Unfortunately, Fear of the Dawn — the first of two records White will release this year — feels like a hodgepodge of good intentions and so-so execution.
    • 75 Metascore
    • 60 Critic Score
    Thoroughly enjoyable though it is, Phantom Punchalso feels a little lightweight.
    • 75 Metascore
    • 60 Critic Score
    At 67 minutes, this record could have probably used a bit more editing, but Rest in Chaos is definitive proof that Hard Working Americans is no half-baked side project. Instead, the group continues to be a fascinating roots-rock collaboration.
    • 75 Metascore
    • 60 Critic Score
    Settles on muscular, tasteful adult pop that's often autobiographical. [Mar 2020, p.91]
    • Rolling Stone
    • 75 Metascore
    • 60 Critic Score
    McRae’s debut doesn’t exactly make her stand out from the sea of algorithmic pop girls, but it definitely shows promise.
    • 75 Metascore
    • 60 Critic Score
    But whereas White relives rock history in fever dreams, Greenhornes singer-guitarist Craig Fox envisions the past through heavy eyelids. His rollicking punk tunes are coolly detached, and his psychedelic mudslides often laze in drooged-out repose.
    • 75 Metascore
    • 60 Critic Score
    Lif's flow... sounds more detached and ambivalent than ever.
    • 75 Metascore
    • 60 Critic Score
    Sometimes the humor verges on camp (the title track), or the poignance drowns in Barry Manilow-isms ("Still Fighting It"). But mostly, Folds' songcraft is a winning mixture of the plush and the prickly...
    • 74 Metascore
    • 60 Critic Score
    These collaborations jell because Richie's style is so expansive, musically and emotionally.
    • 74 Metascore
    • 60 Critic Score
    Her songs sound great but feel off, merely gesturing in the direction of emotions. In the end, she's so cool she'll frost up your earbuds.
    • 74 Metascore
    • 60 Critic Score
    Plucky, precious and sometimes cloying.
    • 74 Metascore
    • 60 Critic Score
    This sequel takes a similar approach [of 2007 LP Yes I'm a Witch], to mixed effect.
    • 74 Metascore
    • 60 Critic Score
    Common can be too, well, common: a nice guy, whose boasts and bromides are too predictable to really inspire.