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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    • 74 Metascore
    • 90 Critic Score
    Here Come The Tears
    Here Come the Tears is what Coming Up would have been if Butler had stuck around: it's cinematic and bright, lush and passionate, halfway between the incessantly catchy pop that wound up on Coming Up and the sighing romanticism and larger-than-life sweep of Dog Man Star.
    • 76 Metascore
    • 80 Critic Score
    A River Ain't Too Much To Love
    A River Ain't Too Much to Love is a subdued, plaintive collection of songs that accompany silence; they encourage reflection without guile and unveil themselves without a hint of studied artifice.
    • 64 Metascore
    • 90 Critic Score
    Don't Believe The Truth
    It's confident, muscular, uncluttered, tight, and tuneful in a way Oasis haven't been since Morning Glory.
    • 77 Metascore
    • 70 Critic Score
    Everything Ecstatic
    The left turn Hebden has taken into jumpy Krautrock with 2005's Everything Ecstatic will make listeners yearn for the clever, nuanced productions he turned in on Pause and Rounds.
    • 75 Metascore
    • 90 Critic Score
    A Certain Trigger
    Most of A Certain Trigger's album tracks sound like singles waiting to be discovered.
    • 63 Metascore
    • 60 Critic Score
    Satan's Circus
    This slick homage to electronic hippie music sounds like two smart guys having genuine fun playing something they love.
    • 82 Metascore
    • 90 Critic Score
    Demon Days
    It not only eclipses the first Gorillaz album, which in itself was a terrific record, but stands alongside the best Blur albums, providing a tonal touchstone for this decade the way Parklife did for the '90s.
    • 88 Metascore
    • 90 Critic Score
    The Woods
    This may be the band's most self-assured sounding work yet -- their music has never lacked confidence and daring, but now they sound downright swaggering.
    • 67 Metascore
    • 80 Critic Score
    Out Of Exile
    Lean, hard, strong, and memorable, a record that finds Audioslave coming into its own as a real rock band.
    • 76 Metascore
    • 90 Critic Score
    Suit Yourself
    This is her finest moment yet.
    • 78 Metascore
    • 90 Critic Score
    Face The Truth
    A vibrant return to form... thrilling and rewarding.
    • 78 Metascore
    • 90 Critic Score
    Crimson
    As great as Alkaline Trio are at relating their booze and blood-spattered lives to listeners, it does get a little tedious. But Skiba and Andriano's interlocking harmonies never flag, and the band's rhythms are just too catchy throughout.
    • 83 Metascore
    • 80 Critic Score
    Be
    Be isn't likely to be referred to by anyone as groundbreaking, but it's one of Common's best, and it's also one of the most tightly constructed albums of any form within recent memory.
    • 67 Metascore
    • 80 Critic Score
    can'tneverdidnothin'
    It's the kind of splashy, impassioned, infectious record that could make Nikka Costa a star -- maybe not on the level of Prince or Madonna, maybe more like Lenny Kravitz, but a star nonetheless.
    • 73 Metascore
    • 80 Critic Score
    Rebel, Sweetheart
    Not that Rebel, Sweetheart offers anything all that different from previous Wallflowers albums -- they just do what they do better than they have before.
    • 89 Metascore
    • 90 Critic Score
    Push Barman To Open Old Wounds
    Even if you already have all the EPs, you'll want to get this disc. It is reasonable priced, housed in the usual attractive package, and hearing all the songs back to back reinforces what an amazing group Belle & Sebastian were and are.
    • 69 Metascore
    • 70 Critic Score
    No Business
    No Business is one of the least surprising albums Negativland has yet done, but one entity's repetition is another's source of continuing inspiration, and the end results are familiarly entertaining.
    • 76 Metascore
    • 50 Critic Score
    The Secret Migration
    The Secret Migration is oddly too conventional and too quirky; it's another paradox that this album, which in its own way is Mercury Rev's happiest album, is also, sadly, the weakest of their career.
    • 85 Metascore
    • 90 Critic Score
    Mezmerize
    Mezmerize doesn't fail to be unique.
    • 68 Metascore
    • 90 Critic Score
    Honkytonk University
    One of his very best records.
    • 74 Metascore
    • 80 Critic Score
    Magic Time
    Magic Time is one of those rare, intermittent Van Morrison records that consciously offers a bird's eye view of everywhere he's been musically and weaves it all together into a heady brew.
    • 73 Metascore
    • 80 Critic Score
    And Everything Else
    The attention to detail Nobody uses throughout is staggering.
    • 46 Metascore
    • 50 Critic Score
    Tourist
    Unfortunately, too much of Tourist seems like an amalgam of other things, whether it's the Coldplay-ness of their ballads or the distinct Super Furry Animals influence that's been with Athlete all along.
    • 63 Metascore
    • 40 Critic Score
    Stand Up
    Too many of the cuts appear pieced together in the studio, never once capturing the energy of a band playing live.
    • 70 Metascore
    • 70 Critic Score
    Axes
    There are too many stumbles and missed opportunities to consider the album anything but disappointing.
    • 78 Metascore
    • 80 Critic Score
    Mighty Rearranger
    Mighty Rearranger is a literate, ambitious, and sublimely vulgar exercise in how to make a mature yet utterly unfettered rock & roll album that takes chances, not prisoners, and apologizes for nothing.
    • 84 Metascore
    • 80 Critic Score
    Gimme Fiction
    Spoon continues to build one of the most consistent, and distinctive, bodies of work in indie rock -- the band makes changes and takes chances from album to album, but ends up sounding exactly how Spoon should sound each time.
    • 52 Metascore
    • 80 Critic Score
    Make Believe
    It may be a spiritual cousin to Pinkerton, yet it's far removed from the raw, nervy immediacy of that album.... This has a lighter, brighter feel than any of its predecessors, not just in the music but in its outlook.
    • 79 Metascore
    • 50 Critic Score
    See You Next Tuesday
    While perhaps not on par with De La Soul falling from 3 Feet High and Rising to De La Soul Is Dead, this is almost as disappointing a plummet from Day-Glo genius to drab everyday product.
    • 68 Metascore
    • 80 Critic Score
    Hal
    Echoes of the Beatles, Harry Nilsson, the Beach Boys, and Phil Spector are everywhere, and while those aren't exactly unique or even very interesting reference points in 2005, Hal again go beyond imitation and use their influences as a good band should, as guides and not blueprints.
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