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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    • 82 Metascore
    • 80 Critic Score
    Crawler
    Whilst it doesn't always stick the landing, the new spaces it does explore are well worth the journey.
    • 79 Metascore
    • 60 Critic Score
    Things Take Time, Take Time
    With a more engaging set of songs, Barnett might easily transpose herself into the mode of introspective singer/songwriter, but alas, Things Take Time, Take Time just feels a little too dull.
    • 76 Metascore
    • 70 Critic Score
    A Way Forward
    The detailing and variable arrangements here, combined with engaging songs, lift A Way Forward above the level of genre exercise, occasionally into something more compositional, as on the final two tracks.
    • 79 Metascore
    • 70 Critic Score
    Music for Psychedelic Therapy
    Music for Psychedelic Therapy isn't as overwhelming as Hopkins' previous two albums, but it's still an enlightening trip inspired by a lifetime of profound experiences.
    • 82 Metascore
    • 80 Critic Score
    The Solution Is Restless
    Everyone involved shines, but for Wasser, it's a feather in her cap and an excellent way to kick off the next phase in what continues to be an exciting career.
    • 82 Metascore
    • 70 Critic Score
    Engine of Hell
    Rundle has tempered her sweeping post-rock cinematics with lyrical vulnerability in the past, but Engine of Hell is a braver and bolder beast, as it lays bare the soul of its creator and dares the listener to reckon with it.
    • 73 Metascore
    • 70 Critic Score
    Still Sucks
    Still Sucks stands as a fun and highly enjoyable addition to the band's discography, delivering exactly what a Limp Bizkit listener wants to hear.
    • 84 Metascore
    • 80 Critic Score
    You Get It All
    You Get It All does practically everything a Hayes Carll album should do just right, and its unpretentious excellence makes it one of the best and most satisfying albums he's released to date.
    • 75 Metascore
    • 70 Critic Score
    The Million Things That Never Happened
    At the age of 63, Billy Bragg is not a young man anymore, and The Million Things That Never Happened reflects that but in a way that reveals new themes and thinking in his lyrics; it's a brave, smart, and effective set of songs.
    • 84 Metascore
    • 80 Critic Score
    If Words Were Flowers
    It's never sappy but offers a message of spiritual succor to those who need it, and it's a great, rewarding listening.
    • 77 Metascore
    • 80 Critic Score
    Queens of the Summer Hotel
    The combination of the airiness of the arrangements and the warmth of Mann's performance is wistfully hopeful, turning Queens of the Summer Hotel into a record that soothes and consoles during moments of uncertainty.
    • 72 Metascore
    • 80 Critic Score
    Which Way to Happy
    Outperforming what was an impressive debut, Which Way to Happy takes its immersive qualities to another level.
    • 79 Metascore
    • 80 Critic Score
    The Future
    By the time they close with the fiery Motown vamp "Love Don't," Rateliff and his band have covered a nice range of moods on what is their most diverse release yet.
    • 72 Metascore
    • 70 Critic Score
    Voyage
    Missteps prevent Voyage from being a triumph yet they are true to the rest of ABBA's catalog so, in a sense, they're welcome. If ABBA didn't have cheeseball moments, they wouldn't be ABBA, so it's reassuring that the group brings the lows along with the highs on this unexpected and delightful album.
    • 60 Metascore
    • 50 Critic Score
    Thank You
    Conviction is always evident in her soothing voice, even when it's modulated to a jarring extent or sounds somewhat garbled.
    • 85 Metascore
    • 80 Critic Score
    Brighten
    Confident, inward-looking, forgiving, yet bruising in all the right places, it's not just a great album by Cantrell's standards; it's a great record, period.
    • 80 Metascore
    • 80 Critic Score
    Water
    Titling her second album Water, she acknowledges that she's in her element, and more assured of her work than ever. Post-transition, her voice has developed into a more delicate yet deeply expressive instrument, and her soaring vocals magnificently blend with her rumbling beats and atmospheric, neo-classical arrangements.
    • 86 Metascore
    • 80 Critic Score
    to hell with it [Mixtape]
    A pair of mellower tracks near the end, the dembow-inspired "All My Friends Know" and the lush, string-laden "Nineteen," are more restrained yet just as considered and affectionate, pointing to a potential direction for an artist whose emergence was one of the most welcome left-field surprises of 2021.
    • 59 Metascore
    • 70 Critic Score
    Equals
    Here, Sheeran's melodies are soft yet insistent, and the production glistens with flair borrowed from younger, hipper artists who mine a similar blend of retro new wave and modern R&B, but he knows how to turn this stylish sound into something cozy and reassuring.
    • 88 Metascore
    • 70 Critic Score
    Valentine
    Taken together, Valentine represents both a bold musical step and a signal that Jordan is ready to move on in more ways than one, at the same time that it leaves some of her distinctiveness behind.
    • 83 Metascore
    • 80 Critic Score
    Petunia
    They're still blazingly idiosyncratic, but in taming the sprawling improvisations of the past, they've discovered their pop acumen.
    • 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.
    • 72 Metascore
    • 70 Critic Score
    Life Of A DON
    At their best, they entrance to such an extent, like watching a slalom skier at half-speed, that the plainly worded sex talk is as inconsequential as any random boast about wealth. Toliver sounds anesthetized more often here.
    • 78 Metascore
    • 70 Critic Score
    Punk
    Punk is relatively odd for an album that debuted at number one on the charts, sneaking some of Young Thug's inherent eccentricity in among its more commercially viable moments.
    • 61 Metascore
    • 60 Critic Score
    Blessings and Miracles
    Throughout it all, Carlos Santana plays vibrant, vigorous guitar and he sounds as engaged playing with Corey Glover or Kirk Hammett as he does a posthumous Chick Corea. That these diverse strands don't quite get threaded together is OK: as a collection of moments, Blessings and Miracles does the job.
    • 73 Metascore
    • 70 Critic Score
    Fast Idol
    While more structured songs such as "Ship to Shore" and "Preoccupation" are also among the album's strongest moments, Fast Idol is all about mood, and it's got plenty to spare.
    • 70 Metascore
    • 60 Critic Score
    The Lockdown Sessions
    The record is at its best when it's close to an old-fashioned duet album.
    • 77 Metascore
    • 80 Critic Score
    Always Inside Your Head
    Lone always manages to go back in time and see things as they never truly were, and Always Inside Your Head is an immersive venture into the realm of fantasy and magic.
    • 80 Metascore
    • 70 Critic Score
    Blue Banisters
    Much of Blue Banisters has this kind of casual, first-take energy, and functions more like a mixtape than an album as Del Rey cultivates a sustained atmosphere, but still makes room to try out new ideas and inject some unexpected moves into her established sound.
    • 85 Metascore
    • 90 Critic Score
    The Path of the Clouds
    The Path of the Clouds was constructed by Nadler sending frameworks of songs to long-distance collaborators; Seth Manchester (Lightning Bolt, Battles, METZ) later mixed the album after judiciously adding feedback and distorted guitars. These adjustments perfectly suit the album's epic, aching songs, which refuse to keep tragedy at arm's length.
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