Variety's Scores

For 102 reviews, this publication has graded:
  • 89% higher than the average critic
  • 1% same as the average critic
  • 10% lower than the average critic
On average, this publication grades 9.9 points higher than other critics. (0-100 point scale)
Average Music review score: 82
Highest review score: 100 More Blood, More Tracks: The Bootleg Series, Vol. 14
Lowest review score: 55 Nuthin' 2 Prove
Score distribution:
  1. Positive: 97 out of 102
  2. Negative: 0 out of 102
102 music reviews
    • 83 Metascore
    • 84 Critic Score
    The disc’s deep well of strong tracks is testament to Nelson’s maturing abilities.
    • 70 Metascore
    • 75 Critic Score
    Madame X is best, though, not when it goes all CNN on us but when it plays primarily like a musical travelogue, taking us to magical mystical places so fascinating that we might not even notice the stormclouds overhead.
    • 84 Metascore
    • 88 Critic Score
    Casual fans may even enjoy it more than his other so-called solo records, like “Devils & Dust” and “The Ghost of Tom Joad.” The writing here isn’t as consistently strong as on those projects, but the overall feel is less dour. ... His genius for filling in particulars returns the more he gets to characters who know they’re stuck.
    • 79 Metascore
    • 90 Critic Score
    The 11 songs that are here feel like a full journey through the potpourri of his classic styles. ... Great deep tracks, like their more famous singers, can’t be denied … so here’s to keeping the dump coming.
    • 76 Metascore
    • 85 Critic Score
    The low points are so few-and-far-between that they’re nearly forgotten once you get to the zesty, one-two punch finale of “Rollercoaster” and “Comeback.”
    • 90 Metascore
    • 85 Critic Score
    Listening to the concert material is an experience not unlike auditioning the exhaustive 36-disc 2016 set of Dylan’s shows on his tumultuous 1966 world tour. ... What’s there is pretty spectacular. Dylan’s Revue crew was the biggest group he ever performed with, and certainly it was the loudest and hottest, with as many as five guitars being flexed simultaneously.
    • 57 Metascore
    • 73 Critic Score
    Committing to kitschy ’60s bliss as much as that era’s real or imagined war zones allows Morrissey and California Son a chance to find a (literal) voice in a way he hasn’t in ages. It would just be an even greater feat if Morrissey could make more of its finer musical moments jibe with his personal vibes.
    • 65 Metascore
    • 79 Critic Score
    The album’s overall production by his longtime main man 6ix sparkles like never before, and lends itself to the loosely thread, sharply needled conceptual-ism handsomely.
    • 81 Metascore
    • 80 Critic Score
    By allowing their diligently designed blueprint to take a new, unexpected form, the National haven’t ceded the spotlight, only broadened it.
    • 82 Metascore
    • 75 Critic Score
    While by no means a perfect album, Rammstein’s first since 2009’s “Liebe ist für alle da” is a scintillating and sensual (if not awkwardly sexual) reminder of the meat-and-steel-pounded power of industrial music at its catchiest, fleshiest and most inventive.
    • 59 Metascore
    • 62 Critic Score
    While old friends and freeloaders litter “Father of Asadh” like empty pony bottles, new collaborators and fresh faces actually do lift the proceedings and save the day.
    • 79 Metascore
    • 75 Critic Score
    Even with the occasional missteps, it’s remarkable how rarely one senses any sort of strain to push songs into radio-baiting templates.
    • 72 Metascore
    • 90 Critic Score
    This may be the best, most natural and inevitable music she’s made.
    • 82 Metascore
    • 85 Critic Score
    An album that could soundtrack an afternoon picnic or be used as fodder for a doctorate thesis on songwriting. It’s a beautifully realized cipher in an age of unsatisfying answers.
    • 71 Metascore
    • 68 Critic Score
    The amount of emotion she puts into even the less worthy numbers reminds you why she remains one of our worthiest superstars. But you may find yourself missing the more idiosyncratic Pink who runs off at the mouth as much as she runs off at the heart.
    • 60 Metascore
    • 70 Critic Score
    What’s remarkable is how smoothly they work together, and how much genuine pleasure the three seem to take in this collaboration.
    • 82 Metascore
    • 85 Critic Score
    .Paak manages to both evolve and remind us why we’ve always loved him in the first place.
    • 74 Metascore
    • 90 Critic Score
    The 7-song album is taut musically and thematically (the group is a septet consisting of RM, Jin, Suga, J-Hope, Jimin, V, Jungkook), although things get into murkier territory lyrically. Fans of the group dig deep into the meanings behind the songs.
    • 91 Metascore
    • 90 Critic Score
    Titanic Rising is a new peak for a rapidly maturing and utterly distinctive artist.
    • 58 Metascore
    • 84 Critic Score
    The El Paso-raised vocalist and composer kicks--or shuffles--everything up a notch with a handful of fresh producers (including Digi, Charlie Handsome and Hit-Boy), richer, more lustrous sounds, and further explorations into AutoTune.
    • 81 Metascore
    • 90 Critic Score
    With all its moments of distortion and attitude, tempered by sheer loveliness, and rude and emotional songs about night terrors and daydreams, When We All Fall Asleep, Where Do We Go? feels like a rock ‘n’ roll album, even if there’s virtually nothing on it that sounds like rock music.
    • 84 Metascore
    • 90 Critic Score
    The final result on display in On the Line--from the somber waltz of “Do Si Do” to the swell of strings at the climax of “Taffy”--is a new high watermark for a musician who’s never been willing to let a little rain get the best of her.
    • 79 Metascore
    • 94 Critic Score
    A gloriously wide-screen album, sweeping and epic. ... Lux Prima is a fresh adventure for both, and one that’s both familiar and strikingly new for the listener as well.
    • 61 Metascore
    • 70 Critic Score
    The inventive melodies are consistently present and strengthened even more by his knack for hooks, like “Ring Ring,” a bona fide hit for the genre. But Juice begins to run out his welcome at this point, about two-thirds of the way into 21 full-length songs and one interlude. It can be hard to justify that long an album for most artists, and Juice, while bold in his efforts, doesn’t prove to be compelling enough to keep you engaged, especially with only three features (Brent Faiyaz, Young Thug and Clever appear).
    • 66 Metascore
    • 88 Critic Score
    Girl is every bit as much a country album as her 2016 debut, “Hero.”
    • 89 Metascore
    • 93 Critic Score
    “When I Get Home” is a challenging and satisfying follow-up to “A Seat at the Table,” one that will probably baffle some fans but intrigue and engage even more.
    • 81 Metascore
    • 90 Critic Score
    A good amount of the record adds up to a concept album about a successful musician trying to balance the demands and rewards of the road with home and family life. That’s not exactly unexplored territory on a rock (or blues or soul) record, but it does feel like Clark is honestly grappling with some internal issues here, in a variety of musical styles and subgenres that all go down easy.
    • 46 Metascore
    • 78 Critic Score
    Harverd Dropout is by no means perfect: The album has a lot of throwaways and Pump’s development as a lyricist seems stunted by his youthful success--for all of his bragging and achievements, he really should sound as if he’s having more fun. But then again, maybe he’s concentrating on keeping the melodies simple and catchy and his words in league with his image.
    • 86 Metascore
    • 89 Critic Score
    Thank U, Next stands as what promises to be one of the best pop releases this year.
    • 71 Metascore
    • 80 Critic Score
    The Kurstin tracks are as irresistible as you’d expect if you know his track record, but the assortment of other co-producers who drift in for a track or two also serve her well and know enough to place the beauty of her voice starkly in the forefront.