AllMusic's Scores

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For 18,283 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: 15,332 out of 18283
  2. Mixed: 2,925 out of 18283
  3. Negative: 26 out of 18283
18283 music reviews
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    • 64 Metascore
    • 70 Critic Score
    Continental
    Depending on how much Robin Guthrie you want in your life, Continental is either redundant or another reason to love him.
    • 64 Metascore
    • 70 Critic Score
    Mixed Race
    Ultimately, Mixed Race, with its simmering tension, is a worthy follow-up to Knowle West Boy, and a fine entry in Tricky's catalog overall.
    • 64 Metascore
    • 80 Critic Score
    Here I Am
    Although very eclectic taste is required to appreciate in full, this is clearly Rowland's brightest, most confident album yet.
    • 64 Metascore
    • 80 Critic Score
    I Am
    This one is so packed and bold, it even exits on a turned-up club stunner ("Act Right" with Jeezy and YG), so consider it the big longevity payoff after years of rocky Yo Gotti albums.
    • 64 Metascore
    • 70 Critic Score
    We Loved Her Dearly
    We Loved Her Dearly shows a lot of promise and there's plenty to like about Lowell's attitude and talent, but some gentle tightening of her vision would go a long way in strengthening her image.
    • 64 Metascore
    • 80 Critic Score
    Into
    An already impressive album that's quite an improvement over his previous effort and on par with the best chilly, spacy avant pop around in 2015.
    • 64 Metascore
    • 70 Critic Score
    Stockholm
    As it is a Chrissie Hynde project, it is a little inconsistent, sometimes sagging on ballads or dragging its feet at mid-tempos, but there are several strong additions to her canon and the overall feel is appealing and, thanks to her unexpected collaborator, fresher than expected.
    • 64 Metascore
    • 70 Critic Score
    Louder Now
    Even if Louder Now brings the mosh-pit fun ready to be embraced by new and old fans alike, an attempt to push themselves further would be more than welcomed.
    • 64 Metascore
    • 70 Critic Score
    Up All Night
    As a starting point for One Direction fan memorabilia, for which it appears there is limitless potential for the time being, this is a perfectly sized, and targeted, collection.
    • 64 Metascore
    • 70 Critic Score
    Expensive Pain
    Whatever his method of delivery, Meek sounds like he's walking a tightrope with his head on a swivel.
    • 64 Metascore
    • 70 Critic Score
    That's Why God Made the Radio
    These may not be the songs that will ever light up their live sets, but together they form what is easily the best Beach Boys record in 35 years -- and a surprisingly cohesive, reflective, listenable one at that.
    • 64 Metascore
    • 70 Critic Score
    Hourglass
    A more electronic, better built, and altogether better deal than "Monsters," thanks mostly to the singer and-don't-you-forget-to-mention songwriter's better sense of self.
    • 64 Metascore
    • 70 Critic Score
    The Modern Age
    Wener treats the new Sleeper songs as a series of short stories, and that gives The Modern Age its true spine, helping it escape the clutches of nostalgia.
    • 64 Metascore
    • 80 Critic Score
    Cage The Elephant
    Cage the Elephant didn't exist until 2005, but as this self-titled album demonstrates, their ability to be influenced by alternative rock and classic rock simultaneously is a definite plus.
    • 64 Metascore
    • 60 Critic Score
    Do What You Want To, It's What You Should Do
    The dreamy otherworldliness of Kenedy's voice transforms even the tunes that border on upbeat scrappiness into lush dream pop.
    • 64 Metascore
    • 70 Critic Score
    Dead Blue
    As good as Still Corners are at fitting their music into a mold, the tension they create between city and seaside, as well as their pop and experimental impulses, is unique, and Dead Blue is most rewarding when they explore it fully.
    • 64 Metascore
    • 80 Critic Score
    Hotel Surrender
    Hotel Surrender is a testament to Murphy's skills as an artist and his attitude as a person.
    • 64 Metascore
    • 70 Critic Score
    Robby Krieger & the Soul Savages
    Robby Krieger & The Soul Savages is hip, relaxed, and confident. The quartet sounds like they're having an exceptionally good time and that translates to aural gold for the listener.
    • 64 Metascore
    • 60 Critic Score
    Songs of Innocence
    They want to be everything to everyone and, in attempting to do so, they've wound up with a record that appeals to a narrow audience: fellow travelers who either thrill at the spectacle or dig for the subtleties buried underneath the digital din.
    • 64 Metascore
    • 80 Critic Score
    In Waves
    Song after song whips by, wedding equal doses of neo-thrash aggression and accessibility, represented by frontman Matt Heafy's alternating clean and gruff vocals as well as his and fellow guitarist Corey Beaulieu's jagged staccato riffs and tight-knit harmonies.
    • 64 Metascore
    • 80 Critic Score
    Battle Born
    They're veterans that know how to use their tools, so even if the raw materials may not be quite as compelling as their earliest singles, the overall craft on Battle Born is more appealing.
    • 64 Metascore
    • 70 Critic Score
    Brand New By Tomorrow
    Mark's laid-back stride keeps the affair surprisingly buoyant.
    • 64 Metascore
    • 70 Critic Score
    Field Manual
    He can certainly sing, but years of providing seamless harmonies for Gibbard have given his pipes a clear, breathy quality that threatens to lull the listener into a trance during the album's final stretch.
    • 64 Metascore
    • 60 Critic Score
    Dr. Dee
    Perhaps it is a bit stuffy and hidebound for art rock, but taken as a theatrical production, it's adventurously cerebral, an album to ponder if not quite embrace.
    • 64 Metascore
    • 60 Critic Score
    Getting Closer
    Getting Closer comes off as an undecided jumble of background and foreground music. Nice, but not necessary, this one falls somewhere between a promising debut and glossy, pretty wallpaper.
    • 64 Metascore
    • 70 Critic Score
    Musik, Die Schwer Zu Twerk
    An album that caters to the sensibilities of the Lips'-voracious fan base without doing so exclusively, providing an entryway for old-school prog lovers to check out how weird the guys from that little band that did that jelly song have gotten over the last couple of decades.
    • 64 Metascore
    • 50 Critic Score
    B.I.B.L.E.
    This is a disappointing backpedal from America's drill ambassador.
    • 64 Metascore
    • 70 Critic Score
    Balboa Island
    Not bad at all, but unless you're a die-hard fan you'll want to be a little selective.
    • 64 Metascore
    • 60 Critic Score
    The Impossible Thrill
    Woozy, trance-like, and sublime...
    • 64 Metascore
    • 80 Critic Score
    Halfway Between the Gutter and the Stars
    Sniffy electronica purism aside though, Cook remains, if not the best overall producer in the dance world, certainly in its top rank, with an excellent ear for infectious hooks, tight beats, and irresistible grooves. On advice from friends the Chemical Brothers, Cook recruited collaborators for the first time -- nu-soul diva Macy Gray, funk legend Bootsy Collins, fellow superstar DJ/producer Roger Sanchez -- and the two tracks with Gray, "Love Life" and "Demons," are arguably the highlights of the entire album.
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