Glide Magazine's Scores

  • Music
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For 1,116 reviews, this publication has graded:
  • 65% higher than the average critic
  • 8% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 5.9 points higher than other critics. (0-100 point scale)
Average Music review score: 79
Highest review score: 100 We Will Always Love You
Lowest review score: 40 Weezer (Teal Album)
Score distribution:
  1. Positive: 1,069 out of 1116
  2. Mixed: 47 out of 1116
  3. Negative: 0 out of 1116
1116 music reviews
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    • 79 Metascore
    • 80 Critic Score
    WHO
    If this LP isn’t so groundbreaking as Tommy, it’s definitely a logical extension of The Who By Numbers and certain preferable to the forced and pedestrian It’s Hard.
    • 82 Metascore
    • 80 Critic Score
    I Made a Place
    Each tune is hummable and lovely, the kind of soft-spoken tune that Bonnie weaves around acoustic guitar strums. The latter half of the album remains slow and steady—a pace broken only by the snaking horns on “Thick Air”—in contrast to the first half that culls the all the upbeat optimism into a packed room.
    • 71 Metascore
    • 80 Critic Score
    Girl
    Girl is an enchantingly lighthearted delusion of crushes and happy hours, composed with an escapist party of a live show in mind (influenced by their own tour with feel-good NYC synth-pop artist Porches). Girl Ray provides a summer fling of an album and makes it feel like an urgent necessity as we seemingly tick off our waning moments in these late-near-apocalyptic times.
    • 74 Metascore
    • 80 Critic Score
    Play the Hits
    Look closely at the repertoire here. It’s emblematic of the Mavericks approach – classic country, Sun Records, Tejano, ’50s and ‘60s R&B, pop, and contemporary rock. It’s especially remarkable given Malo’s Cuban American heritage but that too has been part of their genre-agnostic approach that has served them well for 30 years, and maybe never better than the way they sound here.
    • 85 Metascore
    • 90 Critic Score
    The Gospel According to Water
    Stunning, dark, poetic. ... Chances are you won’t fall in love with this album immediately but images will liner in your head and you’ll be drawn back to it repeatedly and appreciate it more with each listen.
    • 63 Metascore
    • 70 Critic Score
    New Age Norms, Vol. 1
    New Age Norms 1 is a bit formulaic compared to the band’s off-kilter early work, relying too much of the blueprint of piano chords coupled with bouncing bass and danceable beats, but it is a solid blues-inflected indie album as a whole.
    • 87 Metascore
    • 80 Critic Score
    Blood
    The album is spare, economical, and certainly dark in places but there’s a glimmer of light too.
    • 80 Metascore
    • 80 Critic Score
    Junior
    Junior blends a cocktail of urgency and euphoria, delivering a woozy, rosy-cheeked buzz that warms from the inside out.
    • 76 Metascore
    • 80 Critic Score
    Up on High
    Up on High does a fantastic job of combining a multitude of influences and creating a sound that is unmistakably Vetiver. The pared down tracks can be numbered amongst the best that Cabic has produced, making Up on High one of the best albums of Vetiver’s career.
    • 73 Metascore
    • 70 Critic Score
    Daylight
    Though the rest of the album doesn’t meet the same standard as its closing track, Daylight is a solid pop album with no bad songs and a few brilliant moments.
    • 79 Metascore
    • 80 Critic Score
    Colorado
    Neil Young & Crazy Horse renewed their musical bond during a handful of impromptu shows in 2018 and then repaired to the Rocky Mountains to make Colorado. It is a similarly spontaneous affair, one that is perhaps too informal for its own good at certain points, but one that nevertheless captures the potent chemistry between these seasoned musicians.
    • 80 Metascore
    • 80 Critic Score
    Three Chords and the Truth
    There’s an abiding sense of confident inspiration permeating the material as well as the musicianship, including most especially the worldly performances of Van Morrison himself.
    • 83 Metascore
    • 90 Critic Score
    While I'm Livin'
    The beauty in this album lies in the delivery. Her vocals can easily kick your ass and will readily give you the bird, yet she switches these sentiments for vulnerability and pure honesty while remaining distinctly tough. She is a legend at 61, yet she sounds just as vibrant as her landmark album, TNT.
    • 77 Metascore
    • 80 Critic Score
    Let It Burn
    The songs on this album may not end up on rock radio stations, but they would fit right in with a lot of the classic rock that is played incessantly on stations across the country.
    • 80 Metascore
    • 80 Critic Score
    No Home Record
    No Home Record wraps up on a positive note, proving Gordon is still pushing herself as an artist.
    • 78 Metascore
    • 80 Critic Score
    Somebody's Knocking
    Somebody’s Knocking could be a lost 1980s New Wave album. A really good one. ... What’s impressive about the album is that while the mode of delivery is electronic, there’s a live heartbeat beneath all of the songs that consistently reveals Lanegan’s humanity.
    • 74 Metascore
    • 80 Critic Score
    High Water II
    It’s not just a sequel to its counterpart, but an extension of that prior work as well as the live autobiography-in-song that is this group’s their eponymous debut.
    • 89 Metascore
    • 90 Critic Score
    All Mirrors
    All Mirrors belongs in the canon of essential break-up albums, but more Exile in Guyville than Rumours or Blue. ... The resulting instrumentation is impressively cohesive and resoundingly huge.
    • 71 Metascore
    • 80 Critic Score
    Spirit Counsel
    Spirit Counsel is a testament to Moore’s musical vision, no wave roots, tonal sound and guitar style as he remains both clanging and melodic. Adventurous listeners will reap rewards from the textures and endless twists/turns Moore brings to these three long guitar-based passages.
    • 82 Metascore
    • 80 Critic Score
    White Noise/White Lines
    Waldon has a sharp combination of songwriting craft and requisite twang delivery. ... Waldon is genuine and we need more artists like her that not only rail against current culture but do it unpretentiously from a perspective that’s as real as it gets.
    • 84 Metascore
    • 80 Critic Score
    Up and Rolling
    The North Mississippi Allstars’ Up And Rolling is a decidedly tighter and more focused piece of work than their last two albums.
    • 81 Metascore
    • 80 Critic Score
    Deceiver
    Deceiver packs a much heavier punch than previous releases. Where Is the Is Are had an airier, spacey feeling throughout, Deceiver throws in heavy riffs and grungier distortion. Overall, Deceiver is an album that delivers on both the musical and lyrical sides.
    • 81 Metascore
    • 70 Critic Score
    Ode To Joy
    All in all, Ode to Joy is a solid album, if a bit on the languid side, but feels more like a Jeff Tweedy solo album than a proper Wilco album.
    • 82 Metascore
    • 80 Critic Score
    Carrying On
    Even with the dark lyrics, which at times overshadow some strong poetry, this album is a great listen due to Kacy’s lovely, lilting voice and Clayton’s all-over-the-fretboard guitar playing. And, for all the ballyhoo about moving to a full band sound, the rhythm section support is mostly subtle and Kacy and Clayton rightly assume the duo spotlight, as Tweedy stayed hands off, knowing that Kacy and Clayton had the songs and the chops.
    • 80 Metascore
    • 70 Critic Score
    Kill or Be Kind
    These are Fish’s most fully realized songs yet and while the album displays aspects of her sound heard on her previous albums, it’s clearly moving toward a more pop, more densely produced sound. She is still developing. Enjoy the change but expect her to keep evolving.
    • 84 Metascore
    • 90 Critic Score
    Blue World
    Blue World reveals Coltrane’s personal progress, as well as the interactive consistency and sonic details the Classic Quartet had firmly established as their collective signature by 1964.
    • 77 Metascore
    • 80 Critic Score
    Stars Are the Light
    It is a very groovy record, full of disco and funk beats. It was also brought to life with the help of Sonic Boom, a former member of Spaceman 3, who has also worked with Beach House. Any fan of Moon Duo or psych-rock will not be let down by Stars Are the Light.
    • 70 Metascore
    • 70 Critic Score
    Beneath the Eyrie
    Sonic textures, melodies, and interesting arrangements are used to prop up the storytelling, rather than the stories taking a backseat to musicianship. Beneath the Eyrie is not as instantly catchy as the band’s early work, but it rewards repeated listens with an emphasis on lyrics and musical layers.
    • 72 Metascore
    • 80 Critic Score
    III
    Most of the songs maintain a decidedly hollow-eyed sound, one that requires the listener to lean in and patiently wait for the songs to reach a crescendo. Happily, it’s well worth the indulgence.
    • 74 Metascore
    • 50 Critic Score
    Why Me? Why Not.
    There’s attitude aplenty from the very outset. In fact, its first track, “Shockwave,” contains the clarion call of electric guitars combined with bluesy harp, at least partially giving the lie to chest-thumping lyrics Liam delivers with an almost audible sneer. The repetition of the refrain might be better served with an extra dollop or two of spontaneity, and while this somewhat stilted production might well be expected from Kurstin and Wyatt–who’ve worked with the likes of Adele and Lady Gaga–it doesn’t lessen the dampening effect on this performance and that of “Now That’ I’ve Found You.”
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