AllMusic's Scores

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For 18,312 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: 15,357 out of 18312
  2. Mixed: 2,929 out of 18312
  3. Negative: 26 out of 18312
18312 music reviews
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    • 71 Metascore
    • 60 Critic Score
    Everything Must Go
    There's nothing that betrays their high standards of craft, but, on a whole, the songs are neither as hooky nor as resonant as the ones unveiled on its predecessor.
    • 71 Metascore
    • 80 Critic Score
    Loud
    So, in a strange way, Loud is an extremely successful album for Maas: it rids him of the trance tag, has enough vocal dance-pop to win over even more admirers, and is so diverse that everyone will find at least one enjoyable track.
    • 71 Metascore
    • 60 Critic Score
    Expansion Team
    The music is something else, sophisticated, jazzy on a few numbers, occasionally funky and varied for a rap album. But the rapping is still not quite right.
    • 71 Metascore
    • 80 Critic Score
    Brother Is To Son
    Despite the weighty subject matter and kinetic mayhem, the Danielson Famile are just an indie pop band, and listeners already familiar with Smith's distinctive shrieking and intricate arrangements will find much to love on Brother Is to Son, while the untested will either submit or run screaming to their mommies.
    • 71 Metascore
    • 60 Critic Score
    Sincere
    With the gleaming, self-aware production as well as both Danny Vicious' embarrassing rapping and Elisabeth Troy's overly soulful vocals, it's clear that Cole wants respect at every turn. Despite the consequences.
    • 71 Metascore
    • 80 Critic Score
    The Good, the Bad, and the Funky
    Tina Weymouth and Chris Franz have explored a stunning amount of musical styles within the confines of this album, with every song sounding like it was produced by a different group.
    • 71 Metascore
    • 60 Critic Score
    Watercolor
    Too often, however, he gets mired in sexual pursuits, as well as excessive drug talk. The album's vinyl edition is 18 tracks long, including bonus songs and instrumentals, but even the 13-track standard CD version is exhausting, at 52 minutes.
    • 71 Metascore
    • 60 Critic Score
    Extinction Level Event 2: The Wrath of God
    Four or five less tracks and a little less time spent extrapolating on the end of the world would have made for a far more engaging listen, even taking into consideration how rare new material from Busta Rhymes can be in this phase of his work.
    • 71 Metascore
    • 80 Critic Score
    Is 4 Lovers
    Is 4 Lovers one of Death from Above 1979's most balanced and stylistically engaging albums.
    • 71 Metascore
    • 80 Critic Score
    Boo! Human
    The sound is fleshed out much more than Joan of Arc has been for some time, and it's an easy album to be affected by — at least for fans of confessional post-rock, Chicago style.
    • 71 Metascore
    • 80 Critic Score
    Offering
    Cults give more of themselves on these songs than ever before, and opening themselves to more possibilities pays off with some of their most exciting music.
    • 71 Metascore
    • 80 Critic Score
    Where You Live
    Where You Live is yet another elegant and easy album from Chapman, just the kind her fan base has come to expect.
    • 71 Metascore
    • 70 Critic Score
    Fossils And Other Phantoms
    Naming your band after one of the most famous rock & roll songs of the '50s takes a lot of chutzpah, but this trio pulls it off with a soulful, minimalist sound that's all their own.
    • 71 Metascore
    • 70 Critic Score
    Dark Is the Way, Light Is a Place
    While they might miss some of the drive that the band brought to the table in their earlier work, the depth of slower and more spacious songs like "Take Me (As You Found Me)" should ultimately prove more rewarding in the long run.
    • 71 Metascore
    • 60 Critic Score
    Hellfire
    The album tries too hard to make its points, generally misplacing Walker's organic, rootsy appeal and obvious talents in the process.
    • 71 Metascore
    • 80 Critic Score
    Hot House
    This is collaboration in its purest and and most elegant form.
    • 71 Metascore
    • 70 Critic Score
    The Night the Sun Came Up
    The Night the Sun Came Up is a track-by-track success, offering readily accessible bits of dance-pop sass or dance-pop bliss whenever they're desired.
    • 71 Metascore
    • 80 Critic Score
    Eraas
    While the duo might still be learning how to balance all the things they can do well into a cohesive whole, ERAAS' whispers and shadows offer a different and welcome take on dark sounds.
    • 71 Metascore
    • 70 Critic Score
    Elephant Stone
    [Elephant Stone's] sound is alluring enough to warrant return visits to the album, repeated listens that reveal the album to be built on solidly sculpted songs where the riffs and melodies intertwine into something quietly enchanting.
    • 71 Metascore
    • 80 Critic Score
    Do Not Engage
    It's not common for a band to rock this hard and sound this smart at the same time, and the fact they've managed this accomplishment with a mere two people confirms Do Not Engage is both a solid dose of rock action and a model of modern efficiency.
    • 71 Metascore
    • 80 Critic Score
    EDJ
    While the music, all weepy pedal steel, soft piano, finger-picked electric and acoustic guitars, and on-the-nose handclaps, points to the West Coast, Johnson's lyrical tone is one of firm yet agreeable Midwest stoicism, all self-effacement, polite disagreement, and weary acceptance of one's place in the world.
    • 71 Metascore
    • 80 Critic Score
    Double Vision
    Slick guest artists Tyga and Kid Ink help the listener bridge the gap between the album's maverick moments and the sweet songs aimed at teens, and with smooth-voiced Royce showing equal grace with love and lust, Double Vision becomes the great and infectious model for a 2015 pan-global pop album.
    • 71 Metascore
    • 70 Critic Score
    Mini Album Thingy Wingy
    Returning to more song-based material, the seven-track collection was made in Newcombe's adopted home of Berlin and features plenty of sleekly crafted psych-pop that nods to the band's San Francisco roots while continuing to nurture their European influences.
    • 71 Metascore
    • 70 Critic Score
    Neva Left
    Heavily nostalgic and yet fully energized, Neva Left continues Snoop Dogg's easy whim-to-whim glide.
    • 71 Metascore
    • 70 Critic Score
    Innerland
    All eight compositions do a fine job of painting audio portraits of locations one might remember from childhood, with each maintaining a distinct character, but also resembling background scenery. Recommended for fans of Robin Guthrie's solo albums who are in the mood for something just a little bit less hazy or drowsy.
    • 71 Metascore
    • 60 Critic Score
    Civic Jams
    Civic Jams is comforting in a way, but it generally conveys a sense of wanting to get back into the real world and feel the thrill of discovery and the excitement of shared experiences once again.
    • 71 Metascore
    • 70 Critic Score
    Evening of New York Songs and Stories [Live]
    On An Evening of New York Songs and Stories in 2019, she reminds us she's more than lived up to her promise and remains a quietly charismatic performer with plenty of songs worth hearing.
    • 71 Metascore
    • 80 Critic Score
    In Virus Times [EP]
    Though it's just over 20 minutes long, In Virus Times has plenty of the experimental openness and welcoming warmth of Ranaldo's other solo work for Mute, and artfully approximates the feeling of a live improvisation during a time when concerts were difficult at best.
    • 71 Metascore
    • 70 Critic Score
    Profound Mysteries III
    Standouts aside, Profound Mysteries III feels like the weakest link in this ambitious, year-long project which, while exciting to behold, probably could have been condensed into a one exceptional album.
    • 71 Metascore
    • 60 Critic Score
    The Who with Orchestra: Live at Wembley
    The Who integrate the orchestra quite seamlessly throughout the performances, especially during an extended segment focused on Quadrophenia material; the orchestra helps Pete Townshend and Roger Daltrey summon a bit of the old Who's flair for bombast. Even so, the moments on the record that cut the deepest are when the band plays without the orchestra.
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