For 2,071 reviews, this publication has graded:
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55% higher than the average critic
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4% same as the average critic
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41% lower than the average critic
On average, this publication grades 2.2 points lower than other critics.
(0-100 point scale)
Average Music review score: 71
| Highest review score: | Live in Europe 1967: Best of the Bootleg, Vol. 1 | |
|---|---|---|
| Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,594 out of 2071
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Mixed: 442 out of 2071
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Negative: 35 out of 2071
2071
music
reviews
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- Critic Score
These aren’t very good songs, and the band’s agenda--sounding bored and chic, simultaneous distancing and beckoning, creating revulsion and desire--seems to tilt, in the end, more toward fashion than music.- The New York Times
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When he moans his verses, Mr. Martin can sound so sorry for himself that there's hardly room to sympathize for him, and when he's not mixing metaphors, he fearlessly slings clichés.- The New York Times
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Ms. Williams’s strong suit is going simple and direct, but “West” loses its focus and goes wide and long. It develops a grandiosity problem. [12 Feb 2007]- The New York Times
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Libertad sounds old, heavy, wrapped in a tough skin. At the same time, by virtue of sheer outdated flamboyance, it seems almost willfully naive.- The New York Times
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- The New York Times
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- The New York Times
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- Critic Score
The results are mostly dismal, making for the sort of album that reinforces faith in big, lumbering institutions that understand starmaking.- The New York Times
- Posted Apr 30, 2013
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Of course it is good to be ambitious. Of course the Killers needed to update their sound, given that the 80’s revival is fading away. But their new bombast is a classic case of a young band overreaching to assert its Significance.- The New York Times
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This is a garish, puzzling album, and it isn’t the sort of CD people pick up when they want to explain what’s great about hip-hop. [12 Oct 2006]- The New York Times
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- Critic Score
The shiny new beats in "Timeless" weaken the groove that existed in songs like "Mas Que Nada," "Berimbau" and "Surfboard" even before Mr. Mendes got to them 40 years ago. [13 Feb 2006]- The New York Times
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- The New York Times
- Posted Nov 27, 2013
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- Critic Score
He toggles between petulant cad ("Gone in September") and wounded child ("Save Your Goodbye"), convincing at neither. He has a grating voice, heavily nasal, with a seeming inability to wrap his lips around all of the necessary syllables, meaning that even when he's at his angriest, he sounds as if he's holding back.- The New York Times
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Much of “The Sweet Escape” sounds forced and secondhand; it’s one thing to emulate Madonna, another to be playing catchup with Fergie. [4 Dec 2006]- The New York Times
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It’s ... not good. A haze of half-gestures and amateur missteps. A deflated balloon. The songs end quickly, as if embarrassed. Apart from the nonsensical yet warm electro-trap song “Panini,” none of the new tracks display even a stray ember of creative curiosity.- The New York Times
- Posted Jun 26, 2019
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- Critic Score
Too many of the songs feel flat, despite the stormy guitars and stormier lyrics. [27 Feb 2006]- The New York Times
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A shiny clunker of an album, it rings of brand rehabilitation and topical retrenchment.- The New York Times
- Posted Aug 26, 2014
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Most of this album is startlingly uninspired; no-frills rhymes were once this duo's main weapon; now they are its main liability. [1 May 2006]- The New York Times
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The overall effect of "Amarantine" is like drowning in whipped cream. [28 Nov 2005]- The New York Times
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The album's consistency is its downfall; Mr. Powter's chosen sound may stand out on a radio playlist, but over 10 songs it yields diminishing returns. [10 Apr 2006]- The New York Times
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The disc is full of ham-fisted experiments. [11 Oct 2004]- The New York Times
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It ranks at or near the top of vexing choices made by once-platinum artists, full of lazy, half-baked pablum that does more harm to Snoop Lion than good for others.- The New York Times
- Posted Apr 24, 2013
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- The New York Times
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He seems to be a better thinker than a writer and a better writer than a rapper. [24 Jul 2006]- The New York Times
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Among the many declarations on “Cocky & Confident,” the ninth album by the New Orleans rapper Juvenile, one stands out as truly preposterous.- The New York Times
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- The New York Times
- Posted Dec 21, 2018
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- Critic Score
Perhaps it was inevitable that a group like this would eventually emerge, peddling an energetic but inoffensive variant of hip-hop. But did we have any way of knowing that the results would be so unpleasant? [6 Jun 2005]- The New York Times
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- The New York Times
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More than ever, the focus here is on Moby as a singer and songwriter, which is strange, because he is not very good at either job.- The New York Times
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Mos Def may not be flossy or raw at this stage in his celebrated career, which is fine. But what he offers instead is lukewarm nostalgia and obligatory indignation. [8 Jan 2007]- The New York Times
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A mystifyingly inept CD that includes some of the worst lyrics you will — or, with any luck, won’t — hear all year. [26 Mar 2007]- The New York Times
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