For 2,075 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 | |
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Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,597 out of 2075
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Mixed: 443 out of 2075
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Negative: 35 out of 2075
2075
music
reviews
- By Date
- By Critic Score
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- Critic Score
Ms. Spears and Will.i.am have turned to European disc jockeys who have found dance music’s lowest, least funky common denominator: the steady thump of four-on-the-floor. And they’ve settled for too many tepid tracks.- The New York Times
- Posted Dec 2, 2013
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- Critic Score
It [his voice] wants badly to roar but is given almost no opportunity to here apart from the savage “Traitor.” And so mostly, Mr. Daughtry is a caged animal on this album.- The New York Times
- Posted Nov 18, 2013
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- Critic Score
“You Don’t Want These Problems”--a posse cut featuring Mr. Ross, Big Sean, French Montana, 2 Chainz, Meek Mill, Ace Hood and Timbaland--comes closer to hitting the album’s bull’s-eye of gloating complaint.... Much of the rest of Suffering From Success feels rote, with too little payoff for the crassness.- The New York Times
- Posted Oct 22, 2013
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- Critic Score
A few times on the competent but wearisome Crash My Party he sounds dutifully twangy, but those moments are exceptions.- The New York Times
- Posted Sep 18, 2013
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- Critic Score
What’s striking is how unambitious most of the rest of the album is, especially the half that’s produced by Mr. Thicke with his longtime production partner Pro-Jay.- The New York Times
- Posted Sep 18, 2013
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The words are working hard here, and the music is, too, but Mr. Urban is gliding through, barely quaking at all.- The New York Times
- Posted Sep 11, 2013
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- Critic Score
The songs are still sullen, smart and cleverly constructed. But too often on AM, Arctic Monkeys sound less like amalgamators than like imitators.- The New York Times
- Posted Sep 9, 2013
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- Critic Score
It’s possible to like this record in theory while imagining one that’s 50 percent more enjoyable.- The New York Times
- Posted Sep 9, 2013
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- The New York Times
- Posted Sep 3, 2013
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- Critic Score
All together, that makes Hall of Fame beautiful more often than it’s interesting, because Big Sean’s ear is working smarter than his mouth.- The New York Times
- Posted Aug 26, 2013
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- Critic Score
The end-zone dance that is “Bugatti” is far more in keeping with hip-hop’s prevailing mood, and half of this album tries to match it but falls short. But most of the rest of Trials & Tribulations is far darker and more reflective.- The New York Times
- Posted Jul 22, 2013
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For each solid purchase on a strong lyric there’s a mess somewhere else; for nearly every powerful accretion of sound there’s a nearly unbearable one. The record’s volatility both saves and mars it.- The New York Times
- Posted Jul 17, 2013
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- Critic Score
The Blessed Unrest is all shoulder-drooping heft, and her musical choices are vexing.- The New York Times
- Posted Jul 16, 2013
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- The New York Times
- Posted Jul 11, 2013
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Her fifth, is one of the most convincing R&B albums of the year, even if it does a very thin job of being convincing about Ciara herself.- The New York Times
- Posted Jul 10, 2013
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Though Timbaland’s productions always hold some sly surprises, “Magna Carta ... Holy Grail” comes across largely as a transitional album, as if Jay-Z has tired of pop but hasn’t found a reliable alternative.- The New York Times
- Posted Jul 5, 2013
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The record is awkward and seriously pretentious at times, but you can’t miss the heat of its ambition.- The New York Times
- Posted Jul 1, 2013
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This is a clangorous album in every way, full of brick-dense synths and abusive drums, and it often succeeds by blind force. But elsewhere the duo--Nathaniel Motte and Sean Foreman--are much slier and much more successful.- The New York Times
- Posted Jun 18, 2013
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The songs on Re-Mit, his 30th studio album with his band the Fall, resemble a row of unevenly smashed windows, or patches of broken concrete in a street--unsightly ruptures within a familiar context, potentially more shapely and interesting the closer you look, but perhaps not.- The New York Times
- Posted May 13, 2013
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- Critic Score
The arrangements are bold but often misplaced, cluttering and distracting from the songs instead of illuminating them; the characters get lost in their costumes.- The New York Times
- Posted Apr 29, 2013
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- Critic Score
The electronics are there, however, and they lift the album’s better songs out of the sad-sack zone.- The New York Times
- Posted Mar 25, 2013
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- Critic Score
It’s less manic, less experimental, less unpredictable and, oddly, less consistent.- The New York Times
- Posted Mar 25, 2013
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- Critic Score
What About Now suggests a few paths for progress, and an ambivalence about committing to any one of them, all under a comfort-zone haze of undifferentiated, low-ambition, lightly rootsy hard rock.- The New York Times
- Posted Mar 11, 2013
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Mr. Lovano is taking a step back from the material of jazz and looking at its motivating forces; implicitly, he’s asking why we make it in the first place. As long as the question lingers in your head, the album works. When the music slackens, and the tension dissipates, the question goes away.- The New York Times
- Posted Feb 25, 2013
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Two Lanes is an album that’s all compromise and almost no courage, a coloring book that hasn’t been filled in. He is a star resting on what look like laurels but are actually fallacies.- The New York Times
- Posted Feb 5, 2013
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The results have been slow and messy and atmospheric, full of contemporary R&B's customary ingredients (virtual strings, AutoTune, gold-plated emotion) but stretched out, heavy on atmosphere, light on hooks.- The New York Times
- Posted Jan 28, 2013
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When the Game isn't rapping about other rappers--which is rare--he is sometimes rapping like other rappers.- The New York Times
- Posted Dec 31, 2012
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For someone so relaxed, he certainly sounds at odds with much of this album; even the warm, enveloping production, primarily by ID Labs, doesn't loosen up his stiff flow at all.- The New York Times
- Posted Dec 10, 2012
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As she watches love drift into and, more often, out of reach, the songs find themselves dissolving too.- The New York Times
- Posted Dec 3, 2012
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- Critic Score
Why is her big-voiced delivery so similar and balanced in nearly every song? Why are there no sharp intakes of breath, stutters, meaningful cracks or strange textures, like the battling squeaks that made "Love," one of her early singles, so good?- The New York Times
- Posted Nov 30, 2012
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