AllMusic's Scores

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For 18,295 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: 15,344 out of 18295
  2. Mixed: 2,925 out of 18295
  3. Negative: 26 out of 18295
18295 music reviews
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    • 75 Metascore
    • 60 Critic Score
    Walking Field
    Probably because neither of the artists concentrate on their usual instruments of choice, there is a childlike innocence that runs throughout the wash.
    • 67 Metascore
    • 70 Critic Score
    Live with Britten Sinfonia
    While Live with the Britten Sinfonia may be too formal to provide the wild, free-ranging ride that one might expect from this adventurous lot, it is dazzling in its own right and in almost all the right ways.
    • 75 Metascore
    • 80 Critic Score
    In the Marrow
    This is an interesting album, one that will reward repeated listening, but one can't help but think that it's a transitional album, and that Dead Confederate are building to something even bigger and more balanced down the road.
    • 74 Metascore
    • 80 Critic Score
    Dreams in the Rat House
    Quite a few people are doing this kind of music in 2013; precious few are doing it this well.
    • 74 Metascore
    • 80 Critic Score
    Above the City
    This stop on the journey is pretty magical.
    • 67 Metascore
    • 70 Critic Score
    Know Hope
    "Silver Lining" finds the group at its most savage, while exceptional moments like the anthemic, harmonious choruses of "Learned Behavior" and "Strange Comfort" balance the scales and help the Color Morale to reveal themselves as one of the most dynamic acts of the genre.
    • 63 Metascore
    • 50 Critic Score
    Re-Mit
    A confounding set of song sketches and hot riffs, this one belongs with 2005's Interim, 2001's Are You Are Missing Winner, and others that are considered "for hardcore fans only."
    • 74 Metascore
    • 70 Critic Score
    The Child of Lov
    So many competing sounds and ideas become a bit of a creative mess, and the dark mood of the slower songs "Call Me Up," "One Day," "Owl," and "Warrior" can feel oppressive at times. Luckily the final track, "Give It to the People" is a good-natured, "Crazy"-esque single that is upbeat enough to make the wade through the muck worth the effort.
    • 74 Metascore
    • 80 Critic Score
    White People & the Damage Done
    The band takes risks, incorporating styles like rockabilly and classic rock into its punk fusion in a way that's dizzying but never disconcerting.
    • 79 Metascore
    • 80 Critic Score
    Some Say I So I Say Light
    With Richard Formby and the MC himself on production, Ghostpoet remains the most aptly named rapper in the game with his excellent sophomore effort.
    • 76 Metascore
    • 70 Critic Score
    Wilderness
    Wilderness, the tenth long-player from the New Mexico-based husband-and-wife team of Brett and Rennie Sparks (The Handsome Family) lives up to its ecological moniker with a 12-track set that invokes both nature and nurture, with an emphasis on the shady bits in between.
    • 75 Metascore
    • 70 Critic Score
    Go Easy
    At times, it's tempting to wonder if Blank Realm would sound even better if they focused more, but Go Easy is so likable that it would be a shame to sacrifice any of the band's charm in a quest for perfection.
    • 69 Metascore
    • 80 Critic Score
    Momentum
    Although Cullum got his start during the jazz singer boom of the early 2000s, with Momentum he's proven once again to be a musically eclectic songwriter with more than enough creative speed to keep him going for years to come.
    • 66 Metascore
    • 70 Critic Score
    Seesaw
    The 11 tunes kick off with a jump blues rendition of "Them There Eyes," a rock blues take on Ike & Tina Turner's "Nutbush City Limits"; punchy horns accentuate the Buddy Miles penned "Miss Lady," and they give a straightforward soul treatment to the Don Covay/Steve Cropper tune "See Saw" recorded by Aretha Franklin in 1968.
    • 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.
    • 64 Metascore
    • 50 Critic Score
    A Fairway Full of Miners
    The great production of the album and its grab bag of above-average musical ideas are ultimately lost to the overarching disingenuous feel of Boats and the strain their various affectations put on the songs.
    • 78 Metascore
    • 70 Critic Score
    Recommended Record
    Recommended Record is a super-stylized collage of sounds, clearly put together by big music fans, and it's ambitious palette of sounds only occasionally falters.
    • 71 Metascore
    • 80 Critic Score
    One Kiss Ends It All
    It's actually Thomas' gift for indelible melody--the album title-referencing chorus of "Break In," for example--that will keep the listener coming back.
    • 75 Metascore
    • 70 Critic Score
    Drifters/Love Is the Devil
    Drifters/Love Is the Devil spans nearly every sound in Dirty Beaches' musical spectrum to make another strongly evocative album in Hungtai's body of work.
    • 68 Metascore
    • 70 Critic Score
    Here's Willy Moon
    Here's Willy Moon: this is music that is out there, it is not cooked up by consultants and marketers, it's a truly, genuinely strange attempt at something new--it may miss its mark but that's why it's fascinating.
    • 75 Metascore
    • 80 Critic Score
    It's Up to Emma
    The naked emotion expressed here doesn't exactly make for an easy listening experience, but it's a brave, welcome, and perhaps even necessary one.
    • 62 Metascore
    • 70 Critic Score
    Love Lust Faith + Dreams
    30 Seconds to Mars are no longer afraid to dabble with disco--"Up in the Air" puts all four on the floor and there's an overall tendency to push big beats over hard attacks--and this loosening of their stylistic confines results in their boldest, brightest, most imaginative record yet.
    • 84 Metascore
    • 70 Critic Score
    Trouble Will Find Me
    For better or for worse, they perfected their sound the last time around, so it’s hard to fault them for sticking so close to the fire, especially on such a snowy night.
    • 87 Metascore
    • 90 Critic Score
    Random Access Memories
    Random Access Memories is also Daft Punk's most personal work, and richly rewarding for listeners willing to spend time with it.
    • 62 Metascore
    • 70 Critic Score
    Lip Lock
    A couple more bitchy bits like this ["Wanna Be"] and the album could win over old fans with ease, but if Lip Lock isn't mean enough, well, neither is Eve. She's sweeter than before and musically more adventurous.
    • 75 Metascore
    • 60 Critic Score
    Love Is Everything
    He'd rather lay back and sings songs of love won and lost, and even if that means Love Is Everything isn't necessarily ambitious, it is remarkably satisfying.
    • 56 Metascore
    • 60 Critic Score
    Ungrateful
    An album that feels like a return to form for the band.
    • 76 Metascore
    • 80 Critic Score
    Night
    An unlikely pairing of artists leads here to an uncommon focus, and one gets the feeling that the duo might not be done.
    • 77 Metascore
    • 90 Critic Score
    Impersonator
    With such a wide-open sound, even the confusing and painful parts sound hauntingly beautiful.
    • 76 Metascore
    • 80 Critic Score
    Perils from the Sea
    Perils from the Sea skillfully bridges the gap between Kozelek's most recent offerings, which favored classical guitar and vocal over full-band arrangements, with the fuller sound of his Red House Painters and early Sun Kil Moon years, resulting in a listening experience that trades in the distant, narrative-driven opaqueness of Admiral Fell Promises and Among the Leaves for a newfound inclusivity that suits both parties.
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