Rolling Stone's Scores

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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:
  1. Positive: 3,628 out of 5910
  2. Mixed: 2,242 out of 5910
  3. Negative: 40 out of 5910
5910 music reviews
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    • 80 Metascore
    • 60 Critic Score
    X: The Godless Void and Other Stories
    Their 10th album sounds as though they had been sitting on it since [1994]. [Jan 2020, p.84]
    • Rolling Stone
      • Posted Jan 14, 2020
    • 80 Metascore
    • 60 Critic Score
    Nothing Is Wrong
    Taylor's current side project, Middle Brother, shows his wilder, less studied side; this tuneful but sometimes bland set could use more of that.
    • 80 Metascore
    • 60 Critic Score
    Utopian Ashes
    The more upbeat, jazzy “Stones of Silence” on which Beth shows off the full Patti Smithiness of her voice is a welcome moment of invigoration on an otherwise sleepy album.
    • 80 Metascore
    • 60 Critic Score
    Everything in Between
    Their third album is their most conventionally songful.
    • 80 Metascore
    • 60 Critic Score
    Keep It Hid
    It Hid lacks the brutish force of the Keys' stuff, but it makes up for it with variety.
    • 80 Metascore
    • 60 Critic Score
    Hate
    These four Scots sound like the depressed cousins of the Flaming Lips. [6 Feb 2003, p.62]
    • Rolling Stone
    • 80 Metascore
    • 60 Critic Score
    Tetsuo & Youth
    Lupe Fiasco's fifth album is a swirl of double meanings, extended metaphors about yoga and math, and increasingly labyrinthine ways to say "I'm dope."
    • 80 Metascore
    • 60 Critic Score
    American III: Solitary Man
    The onus here lies on the production... Rick Rubin's work is too timid; mostly, the shy combos of guitar, fiddle and accordion, or Benmont Tench's subliminal contributions on keyboards, make up the kind of severe meal that one is forced to think of as "tasteful."
    • 80 Metascore
    • 60 Critic Score
    Thirteen Tales From Urban Bohemia
    Dandies can still harmonize you into a trance, but they've replaced the dreamy drone of 1997's . . . The Dandy Warhols Come Down with more diverse atmospherics.
    • 80 Metascore
    • 60 Critic Score
    Pawn Shoppe Heart
    Offers all the kicks of a souped-up kit car roaring down the open road.
    • 80 Metascore
    • 60 Critic Score
    Blue Neighbourhood
    The relentless lightness can get predictable after a while, as one plush ballad blurs into another, but Blue Neighbourhood, like all the best young loves, is full of promise.
    • 80 Metascore
    • 60 Critic Score
    Silver Age
    [Some of the lyrics] could even be read as an overture toward a long-hoped-for Hüsker Dü reunion tour. But sugar-crusted blitzkriegs like "Keep Believing" show he's doing fine on his own.
    • 80 Metascore
    • 40 Critic Score
    The Grind Date
    There's little personality and no surprises here.
    • 80 Metascore
    • 60 Critic Score
    Songs For Christmas
    Piled atop one another, the less-inspired tracks remind us how very much nicer it is to get the one perfect gift you never dreamed of than a lot of crap you don't need.
    • 80 Metascore
    • 60 Critic Score
    Now Here Is Nowhere
    They take Pink Floyd psychedelia, Led Zeppelin stomp and Who-inspired choruses and charge them full of big-rock beats, atmospheric keyboards and all kinds of electronic whooshes.
    • 80 Metascore
    • 60 Critic Score
    Twins
    [Segall] obscures weedily muffled lyric snatches under waterlogged guitar fuzz that builds into a thick wash and varies the formula with hippie-commune harmonies, space-alien dirges, acid-folk jangles--all with a precision that belies his surface amateurism.
    • 80 Metascore
    • 60 Critic Score
    Unglamorous
    Even this seasoned songstress occasionally gets stuck in unglamorous midtempo muck.
    • 80 Metascore
    • 60 Critic Score
    I'll Sleep When You're Dead
    If you're into nodding your head and scratching your head at the same time, Dead is for you.
    • 80 Metascore
    • 50 Critic Score
    The Universal Want
    Doves amble as they surge, swirling in a middle distance between Radiohead and Coldplay. [Sep 2020, p.68]
    • Rolling Stone
      • Posted Sep 8, 2020
    • 80 Metascore
    • 60 Critic Score
    Visions
    Grimes isn't spooky enough to be "ghostly," and not substantial enough to hold your attention.
    • 80 Metascore
    • 60 Critic Score
    Untouchables
    With his background in both trailblazing funk and hard art-rock, producer Michael Beinhorn helps Korn's vicious rhythm section pound harder while expanding the band's higher frequencies with electronics and symphonics, even as its famously down-tuned guitars buzz away.
    • 80 Metascore
    • 60 Critic Score
    Oh My God, Charlie Darwin
    'Oh My God' drags during the sparser songs, and the too-cute 'Charlie Darwin' suffers from lyrics like "The lords of war just profit from decay." But pretty ones like 'Cage the Songbird' are comfort-food folk and uptempo tracks like the raucous, Pogues-y singalong 'The Horizon Is a Beltway' are even better.
    • 80 Metascore
    • 60 Critic Score
    Half The Perfect World
    Much of it is polite and pretty. [21 Sep 2006, p.88]
    • Rolling Stone
    • 80 Metascore
    • 60 Critic Score
    Slow Focus
    Fuck Buttons’ third album--a synthesis of noise, hip-hop, drone and shoegaze--is basically avant-garde weightlifting music, forgoing heart and brains in hopes that brute force alone will elevate it to heaven. Occasionally, it does.
    • 80 Metascore
    • 60 Critic Score
    Regard The End
    Fisher... sings in a deep drawl that splits the difference between Johnny Cash and Nick Cave. [4 Mar 2004, p.66]
    • Rolling Stone
    • 79 Metascore
    • 60 Critic Score
    The Scene Of The Crime
    The songs here are well chosen--particularly Willie Nelson's 'Somebody Pick Up My Pieces' and the Ray Charles-associated 'They Call It Love'--and LaVette's nuanced singing evokes prime Tina Turner with even more command.
    • 79 Metascore
    • 50 Critic Score
    Trilogy
    The Trilogy collects three of the Toronto singer's 2011 mixtapes, but some editing might have better introduced him to the world outside Tumblr.
    • 79 Metascore
    • 60 Critic Score
    Sleeper
    His first full-length in nine whole months is virtually all acoustic, pushing his love of pimply Sixties squall into psychedelic folk that's just as raw as his noise records.
    • 79 Metascore
    • 50 Critic Score
    True [EP]
    The 26-year-old goes all-in with the hipsters, swathing herself in melancholy synths. It's an awkward pivot.
    • 79 Metascore
    • 60 Critic Score
    Africa for Africa
    His grooves have mellowed, as Fela's did over time, and so has his delivery.
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