AllMusic's Scores

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For 18,310 reviews, this publication has graded:
  • 63% higher than the average critic
  • 5% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 1.5 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 The Marshall Mathers LP
Lowest review score: 20 Graffiti
Score distribution:
  1. Positive: 15,355 out of 18310
  2. Mixed: 2,929 out of 18310
  3. Negative: 26 out of 18310
18310 music reviews
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    • 75 Metascore
    • 80 Critic Score
    All the Times We Had
    At times sounding like the Beatles, Teenage Fanclub, Harry Nilsson, Fleet Foxes, Big Star, and the Beach Boys all tossed in a blender, Ivan & Alyosha's All the Times We Had marks the arrival of a great band fully formed.
    • 75 Metascore
    • 70 Critic Score
    LateNightTales
    The album's 19 tracks weave an icy, cinematic narrative as Torbjørn Brundtland and Svein Berge pick choice cuts from their record collections.
    • 75 Metascore
    • 80 Critic Score
    Everyday I Get Closer to the Light from Which I Came
    Lyrically and melodically it plumbs the depths of emotion, making it among the most compelling entries in Jesu's catalog.
    • 75 Metascore
    • 80 Critic Score
    Bluebird
    Bluebird reveals Landes' healing process in emotionally raw, delicately crafted songs.
    • 75 Metascore
    • 70 Critic Score
    Directors of Photography
    This is the satisfying return album fans have waited for, no more, and certainly no less.
    • 75 Metascore
    • 80 Critic Score
    Unspell
    A successful exploration of dance music both subtle and sharp.
    • 75 Metascore
    • 70 Critic Score
    Can't Forget: A Souvenir of the Grand Tour [Live]
    Good as his bandmates are, on Can't Forget, Cohen is the star, and he's as strong, as witty, and as willing to lay himself emotionally bare as ever; it's anyone's guess how much longer he intends to keep going, but there's nothing here to suggest he needs or wants to quit now.
    • 75 Metascore
    • 80 Critic Score
    Tenderness
    Souther's command of both his music and his voice on Tenderness is total; he makes it all sound easy. But that's deceptive: it takes a lifetime of commitment and hard work to deliver a gem like this.
    • 75 Metascore
    • 80 Critic Score
    High Country
    While High Country doesn't always work, it's constantly working toward moving the band forward, which means that were probably only a few albums away from a hair metal makeover.
    • 75 Metascore
    • 80 Critic Score
    Cradle to the Grave
    Cradle To The Grave relies on the sharp melodic construction of Tilbrook and Difford's diffident wit, a combination the crackles throughout this lean 44 minute record.
    • 75 Metascore
    • 70 Critic Score
    The Gamble
    The overall result is a spirited collaboration that digs through the past for inspiration, but seems to prefer to keep memories a bit hazy.
    • 75 Metascore
    • 70 Critic Score
    Rest in Chaos
    Mixing humor with pointed social satire, Rest in Chaos finds Snider and his group tackling both darker moods and high-spirited rock.
    • 75 Metascore
    • 70 Critic Score
    Between Waves
    It's not uncommon for these songs to bloom into something celebratory during their second half, such as on the rippling, shimmering "Wandering Still." Between Waves is easily the strongest, most inspired Album Leaf release in at least a decade.
    • 75 Metascore
    • 70 Critic Score
    Eastside Bulldog
    Eastside Bulldog doesn't sound like a typical Todd Snider album, but it's very much a product of his irreverent wit, and if you're looking for some tunes to turn up the party in the 30 minutes before last call, this could be just what you need.
    • 75 Metascore
    • 80 Critic Score
    The Courtneys II
    They may not have broken the mold, but delivering a rock-solid album that plays well from front to back is no easy feat, and this second volume is a winner.
    • 75 Metascore
    • 70 Critic Score
    Oh, Evolution
    The record's hazy harmonies and sauntering pace provide a cozy sanctuary for daydreams that may not lead to happy outcomes but feel good while they last.
    • 75 Metascore
    • 80 Critic Score
    Darling of the Afterglow
    Ainsworth's ornate palette and attention to detail may not attract casual listeners, but those drawn to the icy yet vulnerable strangeness of acts like FKA twigs or certainly Ainsworth's first album will find a rewarding set that expands with repeat plays.
    • 75 Metascore
    • 80 Critic Score
    Communicating
    Taken as a whole, Communicating presents a multi-layered universe of off-center pop well worth exploring.
    • 75 Metascore
    • 90 Critic Score
    All This Life
    Ultimately, Starsailor have been around long enough to earn veteran rocker status and All This Life, with its perfect balance of emotional gravitas and buoyant lyricism, is an album worthy of that status.
    • 75 Metascore
    • 70 Critic Score
    Mount Qaf (Divine Love)
    Ultimately, while it takes on big-picture perspectives and complicated emotions, Mount Qaf is a feel-good release whose hooks and invigorating spirit may be its most powerful takeaway.
    • 75 Metascore
    • 70 Critic Score
    Everything Is Recorded by Richard Russell
    The set comes across as remarkably crafted and measured, from its predominantly slow tempos and recurring elements to the coalescence of shrewdly applied samples and participants who also include pianist Peter Gabriel and saxophonist Kamasi Washington.
    • 75 Metascore
    • 80 Critic Score
    Everything Was Beautiful, And Nothing Hurt
    Despite the overwhelming melancholy that drenches the album, it remains a gorgeous collection that is mostly indebted to trip-hop and his pre-millennial output, with a few nods to the quieter moments on 2013's Innocents.
    • 75 Metascore
    • 70 Critic Score
    Johnny Cash: Forever Words
    Johnny Cash: Forever Words has some brilliant moments and is an often-moving tribute to Cash's gifts as a writer, but as a listening experience, it's unfortunately inconsistent. Maybe some of this was better left on paper.
    • 75 Metascore
    • 70 Critic Score
    Floating Features
    This album is smart fun from a band that actually makes something fresh out of the sounds of the past, and as long as La Luz keep doing that, they'll be worth hearing.
    • 75 Metascore
    • 70 Critic Score
    Bird Dog Dante
    While it's unlikely that Bird Dog Dante will win him many new fans, its curious, intimate, casual approach will certainly appeal to those who have embraced Parish's earlier--and no less idiosyncratic--recordings.
    • 75 Metascore
    • 70 Critic Score
    Elephants on Acid
    Ultimately, superfans might be polarized by the experimental musings of Elephants on Acid, but those with some distance will find this curiously assembled collection pleasantly puzzling in its layers of trippy appeal. Something this unexpected from such an established act can't help but feel refreshing.
    • 75 Metascore
    • 60 Critic Score
    Stuffed & Ready
    While the best material here represents stylistic evolution or at least enhancement of the best parts of Cherry Glazerr's recent sound, Stuffed & Ready as a whole spoils quickly, fizzling from righteous anthems of anger and self-questioning into monotonous and self-absorbed alt-rock rewrites.
    • 75 Metascore
    • 70 Critic Score
    The Last Word
    With the exception of a couple specific later singles, this is the best and most comfortable the O'Jays have sounded since the '70s.
    • 75 Metascore
    • 70 Critic Score
    Daughters of the Sky
    The production throughout Daughters of the Sky seamlessly melds mallet percussion, trippy effects, and enticing synth textures, maintaining an atmosphere that's both organic and otherworldly. A handful of somewhat darker instrumental interludes are present, but there's still a cautious sense of determination to them.
    • 75 Metascore
    • 70 Critic Score
    Six Lethargies
    The effect of the short chunks of music is somewhat minimalist, but Henson doesn't stop there. He has arranged performances of the work where audiences are wired up to devices that measure their emotional responses. The whole idea definitely gets points for ambition, although that aspect is lost in this performance by the Royal Liverpool Philharmonic Orchestra.
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