AllMusic's Scores

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For 18,280 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: 15,329 out of 18280
  2. Mixed: 2,925 out of 18280
  3. Negative: 26 out of 18280
18280 music reviews
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    • 55 Metascore
    • 80 Critic Score
    In The Flesh
    As the man who wrote Pink Floyd's lyrics, he is far more concerned with their meaning than his old bandmates, and you can hear that in his singing, which is emphasized without robbing the music of its magisterial power. In fact, with a band boasting several guitarists - primarily Doyle Bramhall II, Andy Fairweather Low, and Snowy White - to make up for the lack of Pink Floyd's David Gilmour, Waters effectively recreates the sound of his Pink Floyd work.
    • 55 Metascore
    • 50 Critic Score
    Sad Sappy Sucker
    The thick textures, crazy drawl vocals, and grand flair of later Modest Mouse albums such as The Lonesome Crowded West and The Moon & Antarctica are not fully realized on Sad Sappy Sucker.
    • 55 Metascore
    • 70 Critic Score
    The Great Escape Artist
    Instead of re-creating sounds, they've recaptured the vibe, which is enough to keep The Great Escape Artist absorbing even when it begins to drift.
    • 55 Metascore
    • 70 Critic Score
    Until the Horror Goes
    Congleton's unhinged vocals add to the visceral nature of the outing, and some fatigue sets in toward the back half, but at just under 40 minutes, Until the Horror Goes is certainly digestible. However, listeners should definitely wait an hour before going swimming.
    • 55 Metascore
    • 70 Critic Score
    Life In Cartoon Motion
    As admirable as Life in Cartoon Motion's eclecticism is, it could use more focus.
    • 55 Metascore
    • 60 Critic Score
    Goon Affiliated
    Without even the slightest concessions, Goon Affiliated isn't the Plies album to start with, but fans who never wanted their gutter hero on the radio to begin with should file this next to their favorite mixtape.
    • 55 Metascore
    • 70 Critic Score
    The Weight of Your Love
    Produced by Jacquire King in Nashville, the album has a distinctly organic feel, as if it were recorded in an old theater.
    • 55 Metascore
    • 60 Critic Score
    Heathen Chemistry
    It's hard not to find this album kind of disappointing, a confirmation that no matter what they do, Oasis Mach II will never have the sheer abandon or thrill as Definitely Maybe through Morning Glory.
    • 55 Metascore
    • 60 Critic Score
    Enclosure
    Not easily understood as dance music, experimental music, or rock music, Enclosure considers, rejects, and reconsiders all of them on a second-to-second basis and stands as one of the more listenable of Frusciante's ever-obtuse solo albums.
    • 54 Metascore
    • 60 Critic Score
    Excuse My French
    The rest of the album suffers from redundancy and some wasted opportunities with the guests, but Montana is a flossy tycoon first and a wordsmith second at this point, so his handing in a high-power mixtape instead of a focused debut is to be expected, and with a little bottle service, enjoyed.
    • 54 Metascore
    • 70 Critic Score
    The Best In Town
    The Blackout thunder and squall through a batch of songs that deal with the usual topics of heartbreak, betrayal, isolation, and frustration with romance and society and have a familiar sound (sweetly sung vs. rabidly screamed vocals, heavy riffing, cavernous drums, and great walls of processed guitars), but generally have a fresh and vigorous feel that keeps things hopping throughout.
    • 54 Metascore
    • 60 Critic Score
    Wonderland
    While this mixed bag of sounds ensures Wonderland is a far more intriguing affair than most superstar DJ's crossover efforts, it also means Aoki may struggle to reel in the same mainstream audience that its guest list suggests he desires.
    • 54 Metascore
    • 80 Critic Score
    Since I Saw You Last
    This isn't meant as a dismissal: Barlow has a knack for mildly ambitious piano ballads that gain strength from their hazily arty design as well as his studied melodicism.
    • 54 Metascore
    • 60 Critic Score
    Harmonium
    Harmonium is confident and somber, a conscious attempt to be serious and mature that nevertheless still sounds adolescent, largely due to her earnest lyrics and overly ambitious music.
    • 54 Metascore
    • 60 Critic Score
    Déjà-Vu
    Despite its unevenness, at its best Déjà-Vu is an entertaining return from a dance music legend looking to translate his style into something that isn't overly familiar.
    • 54 Metascore
    • 60 Critic Score
    Daniel Powter
    A series of expertly produced, expertly recorded adult pop tunes.
    • 54 Metascore
    • 60 Critic Score
    Welcome To The Drama Club
    His hooks are still heavy and melodic, which makes Welcome to the Drama Club easy to listen to, even if it is too tidy.
    • 54 Metascore
    • 60 Critic Score
    The Remix
    At 17 tracks it borders on overkill, but that's fitting for Gaga, who has made excessiveness her raison d'être, and some of the included remixes are quite good.
    • 54 Metascore
    • 50 Critic Score
    Who I Am
    While it’s easy to admire his well-cultivated classicism, Who I Am is an awkward growth spurt, relying on songs designed as grooves but given performances too hemmed-in to be soulful and often undone by Nick’s thin teenage yelps.
    • 54 Metascore
    • 60 Critic Score
    I-Empire
    I-Empire is an easier record to like than "We Don't Need to Whisper," as it marks a very small, very tentative progression toward DeLonge realizing that he can expand his sonic and emotional horizons without abandoning the pop songcraft that remains his greatest strength
    • 54 Metascore
    • 80 Critic Score
    White Lilies Island
    One can sense that she has complete control, lyrically and musically.
    • 54 Metascore
    • 40 Critic Score
    Wishville
    You can't tell if Wishville is the sound of a band losing steam or just being too self-conscious.
    • 54 Metascore
    • 50 Critic Score
    No Boys Allowed
    Her follow-up isn't merely eager to stand out but rather desperate, as if the studios in which it was recorded contained a clock counting down to the point of failure, the moment when Hilson would no longer stand a chance of being a ubiquitous, multi-platinum superstar.
    • 54 Metascore
    • 50 Critic Score
    Timbaland Presents Shock Value
    [It] would be more accurately titled Timbaland Presents Slight Confusion or Timbaland Presents an Uneven Mess.
    • 54 Metascore
    • 60 Critic Score
    Somebody's Miracle
    Pleasant but dull.
    • 54 Metascore
    • 60 Critic Score
    Animal
    Snooty taste makers and parents should avoid Animal at all costs, but with so many fun, “TiK ToK”-type tracks, the album has plenty for both brats and the bratty at heart.
    • 54 Metascore
    • 60 Critic Score
    Payable On Death
    More quintessentially "metal" in his approach -- think Metallica -- and more of a conscientious technician than Marcos, Truby unfortunately lacks some of the unexpected spark that Marcos brought to P.O.D.
    • 54 Metascore
    • 70 Critic Score
    Wild Ones
    It's gimmicky, lightweight, and best taken in small chunks, but get a glitter-friendly crowd together and it gets the party started, succeeding at its one and only goal.
    • 54 Metascore
    • 70 Critic Score
    Something to Die For
    Ultimately, by pushing the dance beats and the slabs of synth to the foreground, the Sounds have increased their pop appeal and delivered an album that pleases your ears while also demanding that you leave your blood on the dancefloor.
    • 54 Metascore
    • 60 Critic Score
    Overexposed
    Overexposed may not hold together as well as that album [Hands All Over ], but it's sure to keep the audience won over by The X Factor.
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