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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    • 79 Metascore
    • 60 Critic Score
    Electric Blue Watermelon
    Sometimes suffers from roots-rock blandness, but it delivers enough open-armed mojo to satisfy purists and curious young'uns alike. [8 Sep 2005, p.112]
    • Rolling Stone
    • 79 Metascore
    • 60 Critic Score
    Strawberry Jam
    The sixth album by this neocommunalist, neopsychedelic quartet improves on 2005's "Feels," flashing more shards of tune to lure the coeds with the Coleman PerfectFlow InstaStart Lanterns over to their adamantly unkempt campfire.
    • 79 Metascore
    • 60 Critic Score
    Underneath the Pine
    As Bundick reveals more of his esoteric pop sensibility, comparisons to Beck feel increasingly apt. Whatever wave Bundick is riding, he's likely to be at the front of it.
    • 79 Metascore
    • 60 Critic Score
    Illumination
    The ex-Jam frontman careens from folky piffle to respectable bar-band stomp.
    • 79 Metascore
    • 60 Critic Score
    Glowing in the Dark
    The music often seems to float away before giving you much to grasp onto. [Mar 2021, p.73]
    • Rolling Stone
      • Posted Mar 4, 2021
    • 79 Metascore
    • 60 Critic Score
    OST
    Like the film, the soundtrack to Slumdog Millionaire is all curry-flavored ghetto fabulousness.
    • 79 Metascore
    • 50 Critic Score
    Night Time, My Time
    Some of the modern EDM heaviness of Icona Pop and Sleigh Bells kicks in latently, but the 21-year-old's iciness ultimately fails to charm.
    • 78 Metascore
    • 50 Critic Score
    All I Intended To Be
    The gauzy country-folk production, full of keening pedal steel and swooning close harmonies, congeals into roots-music kitsch--the soundtrack to a slow pan across a sepia-toned photograph in a Ken Burns documentary.
    • 78 Metascore
    • 60 Critic Score
    Love You To Death
    The songs here don't quite hit the same level of high-gloss overdrive they managed last time out, a problem for a band that prizes songwriting over the kind of vocal gymnastics that can turn a so-so synth-pop tune into an uncorked geyser of catharsis (elsewhere the wan piano ballad "100x" shows their limitations as confessional quiet stormers).
    • 78 Metascore
    • 60 Critic Score
    The Breaker
    At the top of their game, Little Big Town are taking an unlikely path: respectable, mid-career album artist.
    • 78 Metascore
    • 60 Critic Score
    23 Live Sex Acts [Live]
    It's a loose affair, but Grace's sheer exuberance keeps it exciting.
    • 78 Metascore
    • 60 Critic Score
    Let Me Get By
    Tedeschi has chops, charm, and a workmanlike style that could at times use some pizzazz.
    • 78 Metascore
    • 60 Critic Score
    In Ear Park
    Its mildly art-damaged sound is just right for indie kids who like their beauty a little messy.
    • 78 Metascore
    • 60 Critic Score
    Seventh Tree
    Some more uptempos would have been nice, but Seventh Tree still makes for good post-party chill- out music.
    • 78 Metascore
    • 60 Critic Score
    Diamond Eyes
    Usually, though, Chino Moreno's lyrics go for cathartic images (shaking coffins, fading faces) set to chopping riffage, whirlpool distortion and dark, soaring melodies that sound more like the Cure than Korn.
    • 78 Metascore
    • 60 Critic Score
    The Album
    Teyana Taylor is a good singer, capable of shifting between a soft lilt on “Lowkey” and a strident punch on “We Got Love.” But she tends to sound like others, particularly Brandy. She hasn’t quite absorbed her influences into a vocal presence all her own.
    • 78 Metascore
    • 60 Critic Score
    Saint Dymphna
    Their fourth full-length begins with what sounds like a Japanese-style folk melody beamed down by synth-wielding aliens ('Bebey'). But soon, vocalist LZA is barking out gibberish verses and enthusiastic sex noises amid heavy club rhythms, and the party's on.
    • 78 Metascore
    • 60 Critic Score
    Deeper Well
    It’s another daring swerve, but while she often arrives at genuine moments of beauty, the end result is uneven.
    • 78 Metascore
    • 60 Critic Score
    Temet
    Tough but warm, Temet contains the handclaps, female vocal responders, and grain-mortar and goatskin tindé percussion of Tuareg music, but with gnarlier guitars and no ululating exclamations.
    • 78 Metascore
    • 60 Critic Score
    Lose
    Handspringing between the rowdy folk-punk antics of "XR" and the sweetly sordid "Child Bride," it's a riveting elegy.
    • 78 Metascore
    • 60 Critic Score
    Sisterworld
    Some Velvets-style beauty surfaces near the album's end, but the sense of comfort collapses into "Too Much, Too Much," a song welcoming death.
    • 78 Metascore
    • 40 Critic Score
    Bows & Arrows
    With his gasping vocals serving up warmed-over pleas, Hamilton Leithauser aches but never sounds like he's really hurting.
    • 78 Metascore
    • 60 Critic Score
    A Mad & Faithful Telling
    What leader Nick Urata does on his big indie debut is pretty straightforward: make dance music and ballads with drama and kitsch.
    • 78 Metascore
    • 60 Critic Score
    The Devil And God Are Raging Inside Me
    Too much of The Devil and God Are Raging Inside Me is just kind of heavy, and very so-so.
    • 78 Metascore
    • 60 Critic Score
    A Hundred Things Keep Me Up At Night
    The New Wave rush of her band's second album rarely lets up.
    • 78 Metascore
    • 60 Critic Score
    Here's To Being Here
    Here's to Being Here, is full of smart touches--some harmonica here, a laser-beam synth line there.
    • 78 Metascore
    • 60 Critic Score
    The Stand Ins
    Like its predecessor, The Stand Ins also continues to stretch the band's mopey sound.
    • 78 Metascore
    • 60 Critic Score
    Drill A Hole In That Substrate And Tell Me What You See
    White covers much the same ground... but it's a testament to his mastery of Southern-gothic atmosphere that his banjo, melodica and pedal steel musings on Jesus and haunted love never fail to raise goose bumps. [24 Jun 2004, p.177]
    • Rolling Stone
    • 78 Metascore
    • 60 Critic Score
    The Life Pursuit
    When the experiments work... it's clear that band leader Stuart Murdoch still has plenty of major-league tunes left in the tank. [9 Feb 2006, p.64]
    • Rolling Stone
    • 78 Metascore
    • 60 Critic Score
    I'm New Here
    It's a steely blues record at heart--the sound of a damaged man staring in the mirror without self-pity but not without hope.
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