Pitchfork's Scores

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For 12,704 reviews, this publication has graded:
  • 41% higher than the average critic
  • 6% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Sign O' the Times [Deluxe Edition]
Lowest review score: 0 nyc ghosts & flowers
Score distribution:
  1. Positive: 10,441 out of 12704
  2. Mixed: 1,949 out of 12704
  3. Negative: 314 out of 12704
12704 music reviews
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    • 78 Metascore
    • 60 Critic Score
    Days Of Ash EP
    I’m not sure any skeptics will find their gateway with the well-meaning protest music of Days of Ash. .... But if nothing else, U2 at least sound like they’re learning to trust themselves again.
    • 73 Metascore
    • 69 Critic Score
    No Lube So Rude
    A quarter century later, her same old razzle-dazzle feels a little repetitive, yes. But it’s also an insistence that the room we found can swell even bigger, that even in these dark times there’s humanity and humor at the heart of it all. Can’t hear that enough.
    • 72 Metascore
    • 63 Critic Score
    luck... or something
    On her new record, luck…or something, she’s as familiar as ever. That’s largely because this is music you’ve heard before: fizzy, centrist pop, precisely positioned at the crossroads of autobiography and universality.
    • 74 Metascore
    • 59 Critic Score
    Prizefighter
    It’s a shame this album suffers from the same bloat that befell other recent Dessner projects: The last eight tracks on their own would be the band’s most rewarding record.
    • 82 Metascore
    • 74 Critic Score
    Wuthering Heights
    Charli is one of the definitive pop artists of our time, but in soundtracking a classic story, she never fully transcends our moment.
    • 72 Metascore
    • 65 Critic Score
    OCTANE
    Despite underwhelming stretches, the album retains enough moments of personality to breathe life into even ordinary lines.
    • 82 Metascore
    • 80 Critic Score
    To Whom This May Concern
    To Whom This May Concern might feel scattered to those wanting her more characteristic, sensuous R&B. But the album does a good job of flaring in different directions while keeping close to Scott’s artistic core.
    • 80 Metascore
    • 77 Critic Score
    We Gotta Groove: The Brother Studio Years [Super Deluxe Edition]
    You’d have to be in a particularly loose frame of mind to listen to it top to tail; but there is enough of the Beach Boys’ singular genius—perhaps the expression in pop of a musical mind pulled to and fro by the heavy weathers of psychological torment—to deliver. This is the Beach Boys at their best, their worst, and most frustratingly human—just like we want them to be.
    • 83 Metascore
    • 80 Critic Score
    Laughter In Summer
    Laughter in Summer serves as a summary of Copeland’s career, but it’s also a portrait of the artist in his last act: confident, generous, and unafraid.
    • 84 Metascore
    • 74 Critic Score
    Love Is Not Enough
    Love Is Not Enough is never not invigorating (save for “Beyond Repair”), but its more vicious songs are such refreshing evidence of Converge’s vitality that every departure from that energy feels like a pulled punch.
    • 70 Metascore
    • 63 Critic Score
    Cerulean
    Caroline Polachek fares best of all Harle’s features; in both “Azimuth” and “On and On,” she iterates a dancefloor diva more at home at Camelot than, say, either the Paradise Garage or Pacha, and Harle really sounds like he’s having fun honoring her commitment to the bit. Other vocals fail to emulsify.
    • 76 Metascore
    • 63 Critic Score
    Butterfly
    The record gets interesting when it lets ugliness in. .... Butterfly comes up short because it mistakes scale for character. Its drops and hooks have been engineered for maximum lift instead of maximum surprise.
    • 70 Metascore
    • 65 Critic Score
    Liturgy Of Death
    Blastbeats churn and tremolo-picked guitars gnash their teeth. These guys know what they’re doing. Liturgy of Death has its share of weirder moments, too.
    • 66 Metascore
    • 59 Critic Score
    Piss In The Wind
    While some of the production on Piss in the Wind feels like an upgrade, the core issue with Joji’s songwriting remains: He never offers much of a window into his emotions.
    • 59 Metascore
    • 52 Critic Score
    Tenterhooks
    Vig’s masterly production gives the album a seasoned gleam and punch, but his period-specific details only exacerbate the weary undercurrent on Tenterhooks; it makes the album feel stagnant.
    • 67 Metascore
    • 53 Critic Score
    The Fall-Off
    Plenty of moments on The Fall-Off remind of the hunger of his early mixtapes, the purposeful thrills of his 2010s hits, or even the misguided zaniness of KOD, though none materialize in meaningful doses.
    • 85 Metascore
    • 84 Critic Score
    Singin' To An Empty Chair
    Ratboys bring their best, most compositionally advanced songs, moving from tightly wound indie pop to the serene hammock sway of country rock to territories far dreamier and uncertain. Their performances are varied and versatile without feeling like a different band has taken over each song.
    • 79 Metascore
    • 78 Critic Score
    low clouds hang, this land is on fire
    This is guitar as salve, not weapon. Moments when feedback pokes into the mix feel tightly controlled, and you can almost picture him moving the guitar in imperceptible angles to keep the resonant frequencies in check.
    • 85 Metascore
    • 85 Critic Score
    URGH
    URGH is both headier and more visceral than anything Mandy, Indiana have made before. This isn’t body music or brain music; it’s spine music, homed in on the bony junction where mind meets matter.
    • 80 Metascore
    • 70 Critic Score
    My Ghosts Go Ghost
    Corey’s enormous productions and Ritchie’s conversational flows feel hypnotic in dark rooms over large sound systems, but on an intimate listen, moments like these meander.
    • 81 Metascore
    • 70 Critic Score
    Empty Hands
    Empty Hands is at its best when the maximalist arrangements sound big, not bloated, and despite a few clunkers, most of this record plays to those strengths.
    • 75 Metascore
    • 76 Critic Score
    Don't Trust Mirrors
    Don’t Trust Mirrors is the snake’s head and tail: the project’s flash of inspiration and its culmination, the point where Moran lost her passion for the prepared piano and found it again.
    • 79 Metascore
    • 72 Critic Score
    Not Here Not Gone
    Their most consistent and propulsive set of songs yet.
    • 80 Metascore
    • 74 Critic Score
    Can Such Delightful Times Go On Forever?
    I miss the enveloping nature of Daniel’s last two albums, the feeling of floating through a particularly absorbing dream. But the new album does have plenty of buoyant moments.
    • 76 Metascore
    • 57 Critic Score
    For The First Time, Again
    Tyler Ballgame has a special voice; he just hasn’t yet made it distinct.
    • 79 Metascore
    • 74 Critic Score
    I Used to Go To This Bar
    Songcraft is still their priority, and their moments of indulgence are not without self-awareness or criticism.
    • 80 Metascore
    • 68 Critic Score
    Can I Get A Pack Of Camel Lights?
    An odd, pleasingly unclassifiable instrumental record that was inspired, bizarrely enough, by a hurdy-gurdy performance he saw Keiji Haino play 28 years ago.
    • 78 Metascore
    • 75 Critic Score
    Sidings
    Every Craven Faults record is immersive and overwhelming, and Sidings is no different.
    • 75 Metascore
    • 71 Critic Score
    Vacancy
    Vacancy is rooted in experience and features the most skillful vocal performances of Lennox’s career, highlighting her attention to mood and the patience with which she builds toward runs that feel like falling in love. Still, sometimes the songs feel like they’re trapped in amber, with emotion muted and songwriting that verges on repetitive.
    • 79 Metascore
    • 73 Critic Score
    Death In The Business Of Whaling
    Duckart’s second album, Death in the Business of Whaling, further develops his creative identity by adding a little mystery, opting for abstract, free-associative musings over straightforwardly confessional songwriting.
    • 76 Metascore
    • 67 Critic Score
    The Demise Of Planet X
    The collision of genres fashions a delicate niche, but Planet X’s most striking moments are its most deconstructed.
    • 72 Metascore
    • 60 Critic Score
    locket
    If these four songs [bad enough, healthy habit, you’re still everything, and bittersweet] were a standalone EP, it would be a showcase of Beer’s pop prowess; instead they’re an island in a sea of weaker, more derivative tracks.
    • 82 Metascore
    • 76 Critic Score
    Jana Horn
    Still, sparse as it may be, her music offers its own richness, and these songs often reach full-band conclusions that feel warm and inviting.
    • 82 Metascore
    • 69 Critic Score
    World's Gone Wrong
    Williams revels in the comfort of rock’n’roll, encouraging her band to play loud even when they’re playing slow. .... There’s a casual, authoritative swing to their [the band's] performance that belies the stylistic range on the record; the songs touch upon different traditions, yet all sound of a piece.
    • 61 Metascore
    • 52 Critic Score
    Megadeth
    Megadeth proves that Megadeth can still do the thing, but it’s missing the communal gravitas of a band’s last hurrah.
    • 75 Metascore
    • 65 Critic Score
    Dreamer+
    One standout is “Ruins of a Lost Memory.” .... It’s a concrete, compelling closer to an album that otherwise slips from memory as swiftly as a dream.
    • 79 Metascore
    • 72 Critic Score
    Desert So Green
    Instead of drawing attention to their experimentation, Winged Wheel make those sonic paths feel completely natural, trusting us to follow along even if they’re not sure where they’re headed.
    • 78 Metascore
    • 72 Critic Score
    CONFLICT DLC
    While the brackish pleasure of beauty and noise isn’t unique to HEALTH, the overwhelming emphasis on the mechanical nature of the music makes CONFLICT DLC uniquely resonant when set against their previous work.
    • 80 Metascore
    • 74 Critic Score
    Valentine
    Because she can sound mournful even on upbeat songs, ballads tend to slip into melodrama. But when Andrews finds solid grooves to express her bittersweet optimism, Valentine rocks.
    • 71 Metascore
    • 68 Critic Score
    Don't Be Dumb
    Don’t Be Dumb is not a blockbuster, and it’s all the better for it.
    • 79 Metascore
    • 78 Critic Score
    Love And Fortune
    An undeniably sad record, but one of understated beauty: a lonely, faithful votive flickering brightly against the odds.
    • 83 Metascore
    • 74 Critic Score
    Tragic Magic
    Tragic Magic grows more involving with each track. When two artists this distinctive and identifiable come together, you want to hear them make a third thing that wouldn’t exist without the collaboration, and the progression of the record finds them steadily feeling out that place.
    • 72 Metascore
    • 73 Critic Score
    Quicksand Heart
    The shimmering, rapturous hook of the title track, for example, packs a euphoric punch, though the song slightly overworks the objects-as-organs imagery. She has a lighter lyrical touch on opening track “Good Intentions,” a would-be John Hughes movie outro, and the pulsating “Every Ounce of Me,” an I-don't-want-to-fall-in-love banger with synths brighter than the sun. After the opening flush of these songs, the record’s remainder doesn’t quite reach the same highs.
    • 74 Metascore
    • 70 Critic Score
    With Heaven On Top
    It’s the sound of Zach Bryan figuring out how to paint on a larger canvas, how to sound like the superstar he has become.
    • 81 Metascore
    • 71 Critic Score
    Rebuilding (Original Motion Picture Soundtrack)
    Fenced in by the demands of the film, Fussell and Elkington make modesty both a virtue and shortcoming.
    • 87 Metascore
    • 79 Critic Score
    Secret Love
    On Secret Love, their first album in three and a half years, Dry Cleaning are operating in a more intuitive, integrated way, investing the songs with pronounced dramatic cues, properly sung choruses, and playful call-and-response.
    • 71 Metascore
    • 62 Critic Score
    Light-Years
    Decent enough—and certainly the strongest project Nas has released in his current era—yet seldom amounting to more than nostalgia bait for the 40-plus contingent. It’s meant to be a celebration of these two rap titans’ respective careers, a goal the album modestly achieves, but it spends so much time dwelling on the past that it’s hard to know precisely what Nas and Primo wanted from the experience.
    • 87 Metascore
    • 80 Critic Score
    The Spiritual Sound
    On a record whose lyrics can be unintelligible, I normally wouldn’t spend so much time dissecting the words, but Agriculture so often directs us toward closer analysis, deeper listening, fuller understanding.
    • 83 Metascore
    • 79 Critic Score
    Implosion
    Implosion brings out the best in each artist by highlighting their differences: Martin’s music comes off heavier than ever, while Fiedler’s fidgety rhythms are all the more dynamic.
    • 92 Metascore
    • 76 Critic Score
    Blizzard
    The moments of direct storytelling feel more tantalizing considering how little we know about the writer.
    • 82 Metascore
    • 75 Critic Score
    Holo Boy
    Holo Boy doesn’t go out of its way to experiment or provoke, but its emphasis on reinterpretation is strangely moving, particularly at this point in Amos’ career.
    • 84 Metascore
    • 80 Critic Score
    Vesper Sparrow
    Vesper Sparrow, Ellis’ follow-up, is more focused but just as deep, a prose poem rather than a dissertation.
    • 84 Metascore
    • 80 Critic Score
    Traveling Light
    While these melodies often feel familiar, Toral puts a mysterious spin on them, warping them enough to make them feel otherworldly. His instrument wavers; his drones have a sparkling, celestial sheen. In the process, the poignant songs start to feel less like themselves and more like a dream.
    • 78 Metascore
    • 70 Critic Score
    Changes In Air
    Changes in Air neatly inverts the structure of its predecessor: where A Series of Actions strewed a sparing few twinkles across a vast empty space, here Coverdale throws open the blinds and floods every nook with light.
    • 77 Metascore
    • 68 Critic Score
    Unclouded
    Unclouded may not push her in a new direction, but it’s marked by a newfound grit and a palpable confidence.
    • 87 Metascore
    • 77 Critic Score
    Once Upon A Time... In Shropshire
    On paper this may sound like a man making a mockery of his feelings. But once you’re used to our delirious narrator and his disarming hairpin turns, the gentleness of Fendrix’s heart overpowers everything, even the teeth-grinding thrash that concludes “Princess.”
    • 81 Metascore
    • 74 Critic Score
    Cabin In The Sky
    Per usual, the group’s love for mini-narratives can sometimes clutter the music and cause an interesting idea to outstay its welcome. .... But the overall mood is agreeably potluck, a diverse spread of beats and rhymes to nourish the soul.
    • 84 Metascore
    • 80 Critic Score
    Balloon Balloon Balloon
    Even as its canvas stretches wide enough to accommodate the aggressive and experimental extremities of the Sharp Pins sound, Balloon Balloon Balloon is ultimately a showcase of Slater doing what he does best: filtering Beatles-‘65 joy through Beatles-‘66 drugs to hit the sweet spot between winsome and whimsical.
    • 84 Metascore
    • 80 Critic Score
    How You Been
    There’s electricity in this music—literally coursing through guitar pedals, samplers, Eurorack modules, and the DAWs used in post-production, but also between the five musicians themselves.
    • 80 Metascore
    • 76 Critic Score
    A Jackal's Wedding
    His most distinctive release to date. While he initially garnered attention for his pastiches of ’80s art-rock, he’s channeled his influences into a record that’s both more expansive and more intimate.
    • 84 Metascore
    • 75 Critic Score
    Daylight Daylight
    So much of Daylight Daylight feels this way: majestic enough to fill a theater but contained and domestic.
    • 75 Metascore
    • 60 Critic Score
    Finally Over It
    Her provocations are tamed, her rasp is sanded down, the limits of her range more strictly enforced. At times, though, Walker herself takes cover in plain sight.
    • 91 Metascore
    • 88 Critic Score
    1985: The Miracle Year [Box Set]
    Minnesota Miracle is your time-machine ticket to experience the band at peak ferocity; from the moment Hart unloads the carpet-bombing backbeat of New Day Rising’s mantric opening track, the legend of Hüsker Dü starts to feel a lot more real. .... The piecemeal nature of More Miracles makes it less an all-consuming, sensory-obliterating experience than the Minnesota Miracle disc, with some selections bearing the hiss of a bootleg cassette. But we do get to hear a lot more audience reaction and interaction.
    • 80 Metascore
    • 70 Critic Score
    Through This Fire Across From Peter Balkan
    An unusually linear Mountain Goats record full of powerful moments that not even the eternally moving Darnielle can scrape into the whole it deserves.
    • 82 Metascore
    • 76 Critic Score
    Chin Up Buttercup
    Chin Up Buttercup is certainly an evolutionary leap for Austra, but it’s not a total departure.
    • 76 Metascore
    • 74 Critic Score
    EUSEXUA Afterglow
    While the two new records don't match up to the original’s mastery, scattered throughout both are glimmering moments of this carefree abandon and commitment to the bit. It's clear that twigs has never had quite so much fun.
    • 80 Metascore
    • 86 Critic Score
    Tranquilizer
    Tranquilizer is the most immediately pleasurable Oneohtrix Point Never album in some time.
    • 77 Metascore
    • 65 Critic Score
    Again
    The intimate yet anthemic closer “Price of a Man” sounds like a full realization of the resonance the band reaches for throughout the album, but most of the preceding songs lack the tension or texture needed to make the payoff feel earned.
    • 83 Metascore
    • 76 Critic Score
    Cosplay
    Unpredictable, sensuous, and slightly spooky, COSPLAY captures the disquieting sounds of a foregone future.
    • 73 Metascore
    • 48 Critic Score
    Small Talk
    In its best moments, Small Talk is pleasant background noise. .... The good news is that the songs don’t get worse from there. The bad news is that they stay almost exactly the same. Each track sways into the next at a similar tempo and with similar intensity, which is to say none.
    • 78 Metascore
    • 70 Critic Score
    a little death
    Years in the making, a little death is rousay’s most polished and straightforward work, one that seeks to take her from collagist to capital-C Composer.
    • 77 Metascore
    • 67 Critic Score
    Stardust
    It’s a love letter to rap and the people who made him excited about creating again. It’s saccharine, maybe a little pat, but the emotion in his voice makes it hard not to feel fuzzy.
    • 81 Metascore
    • 81 Critic Score
    hooke’s law
    Hooke’s Law is an accelerant. Over staggering tracks overrun with rhythms, melodies, and voices, keiyaA hurtles through the abyss and dares you to keep up.
    • 61 Metascore
    • 56 Critic Score
    Son Of Spergy
    Sonically, at least, Son of Spergy, is in the same ballpark as a SAULT or L’Rain record, its negative space, vocals, and instruments in stunning harmony. But that prettiness can’t save the sophomoric songwriting.
    • 94 Metascore
    • 81 Critic Score
    Bootleg Series Vol. 18: Through The Open Window, 1956-1963
    Through the Open Window reveals an artist trying to find his voice and then convincing others to listen to it.
    • 95 Metascore
    • 86 Critic Score
    Lux
    It’s not a dopamine machine like MOTOMAMI, but it rewards listeners who ache for more from pop artists: more feeling, more risk.
    • 79 Metascore
    • 80 Critic Score
    Mercy
    If Haram was the Alchemist’s entry to Armand Hammer’s world, Mercy is a shared vision. There’s a greater understanding of what they can create together, and a willingness to add other sounds into their combined vocabulary.
    • 88 Metascore
    • 76 Critic Score
    ICONOCLASTS
    Von Hausswolff and her ensemble are patient with these songs. They linger over them, giving them time and space to develop, even when they’re nearly at the boiling point.
    • 87 Metascore
    • 65 Critic Score
    The Boy Who Played The Harp
    That sort of state-of-society demonstration, which has always distinguished Dave from his peers in UK rap, is hardly present on his newest album. And it doesn’t help that The Boy Who Plays the Harp is considerably less dynamic when it comes to production.
    • 83 Metascore
    • 78 Critic Score
    Off The Record
    The shared characteristic that unites all four releases, though, is McCraven’s uncanny ability to alchemize hip-hop from jazz, structure from freedom, a collective effort into a singular vision.
    • 81 Metascore
    • 68 Critic Score
    Everybody Scream
    On an album full of infernos, “One of the Greats” is one of the few songs to stand apart: Its ambition and vulnerability come closest to fulfilling Everybody Scream’s mission to let it all out.
    • 72 Metascore
    • 66 Critic Score
    Infinite
    There are no moments in the same area code of The Infamous or Hell on Earth. But Infinite is a decent stab at giving one of the greatest rap duos of all time one last trip around the block.
    • 81 Metascore
    • 69 Critic Score
    Tremor
    When Tremor holds your attention, it works—but sometimes Avery gets lost in his own trance, drifting away from the album’s rough pulse just as it begins to take hold.
    • 82 Metascore
    • 75 Critic Score
    In The Earth Again
    It’s in these songs—softer and sweeter than anything in Chat Pile’s catalog, gloomier and more foreboding than anything in Pedigo’s—that their mutual empathy radiates strongest.
    • 65 Metascore
    • 68 Critic Score
    CAOS
    CAOS, title notwithstanding, is elegant and poised.
    • 86 Metascore
    • 77 Critic Score
    Snocaps
    Snocaps is a return to form, its sound landing closer to the ramshackle pop-punk of P.S. Eliot than Saint Cloud’s twilit majesty.
    • 81 Metascore
    • 76 Critic Score
    Touch
    “Promenade à deux” finally eases into something like a classic Tortoise chill-out space, albeit with a more widescreen approach, uncharacteristically graced by viola and cello. From there, beginning with “A Title Comes,” the LP’s second half finds perfect balance between signal noise and cinematic sweep, with signature vibraphone pulses and swooning guitar progressions rubbing against blissed-out Terry Riley organ tones and motorik chug.
    • 83 Metascore
    • 73 Critic Score
    West End Girl
    Unlike those records [Lemonade and 30], Allen’s album is too concerned with honoring moment-to-moment feelings of hurt and betrayal to really reach for a mature overview of the breakup. But what the songwriting lacks in conceptual development, it makes up for in raw emotion and narrative thrust.
    • 85 Metascore
    • 88 Critic Score
    Nebraska '82: Expanded Edition [Box Set]
    In a concise package, you get a fuller portrait of one of Springsteen’s greatest and most mysterious albums—and to this day, the one he’s proudest of—as well as candid insight into his creative process.
    • 75 Metascore
    • 62 Critic Score
    Blight
    The slow, sorrowful material rarely summons the urgency this subject demands, nor the emotional catharsis that rippled through Silberman’s best work.
    • 80 Metascore
    • 75 Critic Score
    Belong
    On Belong, Duterte’s re-emergence as Jay Som, she exudes the confidence of those six years quietly but well spent. What the album loses in raw shaggy experimentalism of her last records, it gains in understated poise.
    • 79 Metascore
    • 74 Critic Score
    LOTTO
    Lotto gambles on TAGABOW’s ability to craft songs more compelling in their simplicity and vulnerability than their technical capabilities. By trading in their plastic sheen for a more ragged sense of real-life urgency, TAGABOW expose the tenderness at their music’s core: a refusal to anesthetize, an avowal to meet the bone where it breaks.
    • 79 Metascore
    • 70 Critic Score
    Fatal Optimist
    For the majority of the record, she sings alone, accompanied only by her acoustic guitar. This elemental soundscape pushes Diaz’s finely crafted melodies and brutal lyrical observations to the forefront more bluntly than ever.
    • 79 Metascore
    • 75 Critic Score
    That Wasn't A Dream
    It ["Heat Sink"] feels both longer and shorter than its 14 minutes, a trick that Palladino and Mills pull off on every track on the album; each lyrical passage is an instruction manual for experiencing nonlinear time. That Wasn’t a Dream is music as quantum theory, using the expanse between speakers to pass through dimensions.
    • 81 Metascore
    • 61 Critic Score
    God Save The Gun
    The ultimate compliment for Life Under the Gun wasn’t “catchy,” but “punchy,” their songs direct and delivered with a stiff jaw and clenched fist. The exact opposite is true on God Save the Gun; half the time, if a song reaches two minutes, it might as well add a bridge that gets it to three.
    • 64 Metascore
    • 48 Critic Score
    Deadbeat
    Most of these songs aren’t offensive on their own. .... The cumulative effect, though, is exhausting, a daisy-chain of shaky half-measures that doesn’t even feel particularly committed to being depressing.
    • 73 Metascore
    • 59 Critic Score
    Some Like It Hot
    Ironically, in its militaristic pursuit of fun, Some Like It Hot often winds up feeling deeply rigid—stripped of the spunk and nuance that once made Bar Italia so enchanting.
    • 84 Metascore
    • 80 Critic Score
    Nested In Tangles
    Nested in Tangles is so powerful because it’s about what comes after those mommy-and-daddy issues—about enduring, as she puts it in that prelude, “fault lines that were never my fault” to become something better.
    • 81 Metascore
    • 84 Critic Score
    THE BPM
    This dense, claustrophobic album is discomfitingly of the moment: Sudan’s characters sprint through these songs as though movement is a survival tactic, a way to push forward as the world presses down harder than ever.
    • 74 Metascore
    • 60 Critic Score
    Power To The People [Box Set]
    Frontloading Power to the People with the One To One performances—the two sets are here, along with a hybrid highlights disc—illustrates how Lennon spent the early ’70s wallowing in the pleasures of old-time rock’n’roll. .... These "Studio Jam" passages are loose, maybe even to a fault, but they’re charming, capturing one of the greatest rock vocalists singing unencumbered by an audience. These two discs of informal jams are the ideal coda to Power to the People, which chronicles the era when Lennon was keenly aware that he was performing at all times.
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