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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    • 68 Metascore
    • 70 Critic Score
    Liquid Cool
    While Gonzalez still hasn't hit the perfect balance between her experimental leanings and undeniable pop skills, Liquid Cool turns the strengths of her debut and One Second of Love into her most consistent album yet.
    • 66 Metascore
    • 70 Critic Score
    Black
    A record slicker and straighter than its predecessors. Call it maturation as much as a shift in aesthetics.
    • 74 Metascore
    • 70 Critic Score
    What One Becomes
    It's challenging and confrontational, but it's still engaging and relatable. Bracing and personal, What One Becomes is some of Turner's most intense work yet.
    • 67 Metascore
    • 60 Critic Score
    A Youthful Dream
    It has to be said that the overall experience is far from Yung's magnum opus, but it is the sound of a young band finding its feet in a meaningful way, breaking down past experiences, and creating a record that isn't restricted by preexisting ideas of youth.
    • 82 Metascore
    • 80 Critic Score
    Treasure House
    While Cat's Eyes still borrow from a wide range of influences, they do it so well, and with such a sense of wonder, that Treasure House is their most distinctive album yet.
    • 76 Metascore
    • 70 Critic Score
    Let The Record Show: Dexys Do Irish And Country Soul
    Unpredictable, completely dedicated, and honest to the core, it packs an emotional wallop and is yet more proof that Kevin Rowland is still standing, just as proudly as ever.
    • 69 Metascore
    • 70 Critic Score
    Throws
    Blending experimental excursions and more straightforward synth pop throughout, Throws isn't challenging so much as eccentric, and overcomes a thread of grayness with a spirited fancifulness.
    • 66 Metascore
    • 60 Critic Score
    Breakin' Point
    The minuses overwhelm the pluses, however, and the rampant mediocrity takes care of the rest.
    • 77 Metascore
    • 80 Critic Score
    American Tunes
    He was an American original, and American Tunes functions as a lovely coda to a legendary career.
    • 77 Metascore
    • 80 Critic Score
    Midnight
    Midnight is an impressive debut, one that's good enough to kind of make one a little angry that Lissvik didn't get around to it sooner.
    • 72 Metascore
    • 70 Critic Score
    Jackie Lynn
    Jackie Lynn feels like the audio equivalent of a gripping short story or film, and whether it's a cliffhanger or its own entity, it's an engaging, suspenseful tale.
    • 84 Metascore
    • 90 Critic Score
    Big Day in a Small Town
    If Big Day in a Small Town occasionally feels like nothing more than a collection of great songs that don't quite gel into a larger picture, that's a minor complaint: songs rarely come much better than these.
    • 68 Metascore
    • 60 Critic Score
    Why Are You OK?
    Aas a whole, Why Are You OK isn't quite as memorable a set as they've proven capable of delivering.
    • 72 Metascore
    • 70 Critic Score
    Colvin & Earle
    Colvin & Earle plays more like a detour for these two artists rather than the beginning of a long-standing collaboration, but the enthusiasm here is honest and the result is a good week's work that leaves room for a sequel.
    • 56 Metascore
    • 80 Critic Score
    Fitz and the Tantrums
    Ultimately, while Fitz & the Tantrums' contemporary dance-pop sound is decades away from the aesthetic of their debut, it works, and it's hard to imagine fans not wanting to take make the leap with them.
    • 71 Metascore
    • 90 Critic Score
    Turn to Gold
    Ultimately, with Turn to Gold, Diarrhea Planet, a group with arguably one of the best-worst band names in rock history, have crafted their first truly great album.
    • 78 Metascore
    • 70 Critic Score
    U
    U is quite an accomplished full-length debut from a talented producer.
    • 75 Metascore
    • 70 Critic Score
    The Exodus Suite
    A consistently brooding and steadily paced set, The Exodus Suite plays like a set of torch songs, but for humanity's sense of well-being rather than a romantic lost love. Occasional imperfections from the live recording process lend extra doses of humanity to the eerie proceedings.
    • 66 Metascore
    • 80 Critic Score
    Driving Excitement and the Pleasure of Ownership
    Driving Excitement and the Pleasure of Ownership is a great introduction to a band that deserves to have a close watch kept on its future activities.
    • 78 Metascore
    • 80 Critic Score
    My Way Home
    Ultimately, that lean sense of purpose is what drives My Way Home: by being lean, heartfelt, and mean, the record proves that Reed is back where he belongs.
    • 75 Metascore
    • 80 Critic Score
    Strange Little Birds
    The impressive thing about Strange Little Birds is how it feels simultaneously familiar and fresh, a record that echoes the past without being trapped by it.
    • 83 Metascore
    • 80 Critic Score
    Light Upon the Lake
    Including Light Upon the Lake's one jaunty instrumental ("Red Moon"), the 30-minute set of ten tunes will leave many wanting more, an auspicious trait for an otherwise satisfying debut.
    • 62 Metascore
    • 60 Critic Score
    Wild Things
    For now, this album is a very bland, quite anonymous-sounding disappointment.
    • 72 Metascore
    • 70 Critic Score
    I Wanna Go Back to Detroit City
    I Wanna Go Back to Detroit City makes it clear Andre Williams still has a lot on his mind, and time hasn't dulled his impact one bit.
    • 73 Metascore
    • 70 Critic Score
    Get In
    Get In finds Rehberg stretching the Pita sound into more graceful territory, but he hasn't lost his flair for the unexpected that made his work during the '90s and 2000s so visionary.
    • 72 Metascore
    • 60 Critic Score
    Max Jury
    Appointed with lush strings, horns, and a host of backup singers, the songs are well-arranged and impeccably sung, but it's hard not to want Jury to expand his range somewhat.
    • 78 Metascore
    • 80 Critic Score
    DJ-Kicks
    On his volume of !K7's DJ-Kicks series, Damon Riddick, aka Dām-Funk, affably replicates the spirit of his weekly Funkmosphere club night.
    • 70 Metascore
    • 70 Critic Score
    Inner Journey Out
    Inner Journey Out isn't made for all listeners or all purposes, but anyone interested in a journey down a peaceful river of sculpted sound is advised to investigate its properties.
    • 71 Metascore
    • 70 Critic Score
    Fall Forever
    While it's clear that Fear of Men are branching out and exploring different sounds and techniques on this album, the warmth of the first album is missing, and the songs don't always benefit from the experimentation.
    • 68 Metascore
    • 70 Critic Score
    Ash & Ice
    Sometimes, the duo's soul-searching is too insular for its own good, and the revved-up finale, "Whirling Eye," feels like it's from a different album, but more often than not the Kills turn what could be seen as weakness into artistic strength. Even if they're lacking some of their expected swagger, it adds truth to Ash & Ice's portraits of what remains after the worst happens.
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