Rolling Stone's Scores

For 5,910 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:
5910 music reviews
    • 81 Metascore
    • 60 Critic Score
    This collection of unreleased material is uneven, tossing in undercooked instrumentals alongside tracks with MCs like Black Thought.
    • 81 Metascore
    • 60 Critic Score
    If only the lyrics were as articulate as the melodies and playing. [Jul - Aug 22, p.120]
    • Rolling Stone
    • 81 Metascore
    • 60 Critic Score
    It lacks the focused grace of his country experiments, but this much is true: It's Plant's hardest-rocking set in a decade.
    • 81 Metascore
    • 60 Critic Score
    High-impact scuzz-blues that aims for prime Hendrix and almost gets there. [30 Sep 2004, p.186]
    • Rolling Stone
    • 81 Metascore
    • 60 Critic Score
    A welcome return to form.
    • 81 Metascore
    • 60 Critic Score
    The band's dynamic stales over the course of an LP, but Speedy still manage a feat most peers in the recycling business don't: Make an old style a new concern.
    • 81 Metascore
    • 60 Critic Score
    While we await her next album of new material, due next winter, The Covers Record provides a stopgap fix of her unnerving, coldblooded voice and shaky acoustic guitar.
    • 81 Metascore
    • 60 Critic Score
    The Lips have always been able to subvert pie-eyed whimsy with a sense of homespun beauty, and there's plenty of that here too.
    • 81 Metascore
    • 60 Critic Score
    Set in the more commercial contexts of Kelly Rowland features and the-Dream's fluorescent R&B, he can sound like a fish out of some pretty expensive water.
    • 81 Metascore
    • 60 Critic Score
    While their long, drawn-out, circling dark clouds remain potent, ultimately The Glowing Man is the weakest of the three powerful epics they've released since 2012. It can be muted and jammy, the build-ups are not as dramatic and it brings little in new ideas for Gira's dead-eyed yowl.
    • 81 Metascore
    • 60 Critic Score
    What makes these multilevel pastiches more than cheeky cutups is a genuine musicality.
    • 81 Metascore
    • 60 Critic Score
    It’s lean music for lean times.
    • 81 Metascore
    • 60 Critic Score
    Check the track by Sobanza Mimanisa, who add guitar and more melody to the mix, as well as the accompanying DVD, which beautifully documents the recording of the CD.
    • 81 Metascore
    • 60 Critic Score
    Much of Lamb of God contains the sort of piledriving guitar riffs and Olympic-medal-worthy drumming the band has perfected over the last 20 years, making it easy for their less political fans to get in on the fun. That said, the group sounds best when they take musical risks.
    • 81 Metascore
    • 60 Critic Score
    A narrative-driven, graceful debut album.
    • 81 Metascore
    • 50 Critic Score
    Memorable tunes seldom emerge from the murk.
    • 81 Metascore
    • 60 Critic Score
    Their selling point is an eclecticism that evades Oasis-style overkill with compact songs that hop all over the place.
    • 80 Metascore
    • 60 Critic Score
    An intermittently pleasurable record from a talented songwriter with an overstuffed brain. [8 Feb 2007, p.70]
    • Rolling Stone
    • 80 Metascore
    • 60 Critic Score
    "Sad One Comin' On (Song for George Jones)"--a note-perfect honky-tonk weeper about the king of honky-tonk weepers. That’s the odd-card highlight of a set that focuses on smooth Eighties-style country-pop and ballad schmaltz.
    • 80 Metascore
    • 60 Critic Score
    It's an admirably ambitious mix, often a bit too unruly.
    • 80 Metascore
    • 60 Critic Score
    Antony Hegarty's tremulous warble is a strange and marvelous instrument--and for many, an acquired taste. The Crying Light, this diva-dude's third album, spotlights his haunting vocals with few distractions, using piano and low-key orchestral arrangements as foils for him to swoop and shiver over.
    • 80 Metascore
    • 60 Critic Score
    He isn't operating in the same romantic vein as, say, Sylvester, one obvious predecessor--just delivering a healthy dose of real talk, set to clean cuts of vintage Chicago house grooves.
    • 80 Metascore
    • 60 Critic Score
    Deliver typically gray tales of Trump-era American demise. [Dec 2020, p.70]
    • Rolling Stone
    • 80 Metascore
    • 60 Critic Score
    The pace can be a problem, but the music is long on understated beauty.
    • 80 Metascore
    • 60 Critic Score
    While it's refreshing to hear an R&B singer emphasizing the psychic toll of libertinism, his angst sex grows tiresome. Once in a while, can't this dude just get laid, and have fun doing it?
    • 80 Metascore
    • 60 Critic Score
    Junior Senior's track-building smarts and way with a hook add up to non-annoying bliss on a handful of tracks.
    • 80 Metascore
    • 60 Critic Score
    Four discs of this kind of horseplay might be too much for casual fans, but feedback freaks will savor the nuclear noise pop.
    • 80 Metascore
    • 60 Critic Score
    A solid disc that lacks some of the emotional punch of 2002's Drive.
    • 80 Metascore
    • 60 Critic Score
    The optimism and harmonies found on tracks such as "Wild Card" sound like they could someday turn the 22-year-old artist into a genuine pop star – but only if he outgrows his belief that in order to be serious, you have to be humorless, too.
    • 80 Metascore
    • 50 Critic Score
    Committed to romantic lyricism above all, Condon isn’t quite the tunesmith to fully justify this passion, compensating with melismatic slurs and a Gallic disdain for consonants. These tics don’t do much for lyrics he’s clearly been working on