For 2,075 reviews, this publication has graded:
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55% higher than the average critic
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4% same as the average critic
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41% lower than the average critic
On average, this publication grades 2.2 points lower than other critics.
(0-100 point scale)
Average Music review score: 71
| Highest review score: | Live in Europe 1967: Best of the Bootleg, Vol. 1 | |
|---|---|---|
| Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,597 out of 2075
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Mixed: 443 out of 2075
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Negative: 35 out of 2075
2075
music
reviews
- By Date
- By Critic Score
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- Critic Score
Even the most elaborate constructions come across as homemade, touched with an optimism that is by no means naïve. [10 Jul 2005]- The New York Times
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A rowdy, unpredictable CD that careens wildly from filthy shout-alongs to mournful hip-hop gospel. [27 Jun 2005]- The New York Times
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- Critic Score
The album is short (less than 40 minutes), elegant and neat almost to a fault, with no extra instruments or extra verses. [27 Jun 2005]- The New York Times
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- The New York Times
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Its seriousness never makes it earthbound. Mr. Cooder brings to it all he has learned from a career delving into odd corners of American and world music. [13 Jun 2005]- The New York Times
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The rock CD overpowers the acoustic one. Yet among the quieter songs, there are enough supple melodies and hypnotic guitar patterns to suggest fine prospects for a follow-through album that would dare to mix plugged-in and unplugged. [12 Jun 2005]- The New York Times
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Annie has a breathy wisp of a voice, and her vocal range is limited; but there is charm in her deadpan delivery, and her songwriting is full of the flair for melody for which Scandinavian pop is famous. [2 May 2005]- The New York Times
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When he moans his verses, Mr. Martin can sound so sorry for himself that there's hardly room to sympathize for him, and when he's not mixing metaphors, he fearlessly slings clichés.- The New York Times
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- Critic Score
Perhaps it was inevitable that a group like this would eventually emerge, peddling an energetic but inoffensive variant of hip-hop. But did we have any way of knowing that the results would be so unpleasant? [6 Jun 2005]- The New York Times
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It's an album so strong and so unexpected that it may change the way people hear all its predecessors. And that's just a start. Listen long enough, and this album might change the way you hear lots of other bands, too.- The New York Times
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She's a pop songwriter above all; the songs are catchy, with melodies good enough to tempt non-Spanish speakers to sing along. [13 Jun 2005]- The New York Times
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- The New York Times
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With a little folk-rock and a little Memphis soul, the cozy arrangements are supposed to play down her craftsmanship and bring a listener closer. But that only happens in the best songs. [12 Jun 2005]- The New York Times
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"Be" is certainly a triumph, but if it isn't quite the all-time classic Common was hoping for, that's because it sounds a bit too straightforward. [25 May 2005]- The New York Times
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There's overcompensation here: Ms. Costa has long been self-conscious about being a white woman singing rhythm and blues. But the songs, proffering boasts and exhortations to self-improvement, repay every exertion. [12 Jun 2005]- The New York Times
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Part of his appeal is that he's never totally believable: on previous albums, you had the feeling that he wasn't quite as hard as he first seemed; on this one, you get the feeling he's not quite as soft. [16 May 2005]- The New York Times
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Take a riff, expand it into a chord or two, repeat and crescendo and speed up until the big drone is everywhere. It's a simple strategy, but it still works for Electrelane. [10 Jul 2005]- The New York Times
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- The New York Times
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These are songs full of offhand aphorisms, and they can grab you from the first line. [23 May 2005]- The New York Times
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This time he's back to attack mode. Nearly every song bristles and slams. [2 May 2005]- The New York Times
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"The Wedding" has some misfires, but vulnerability makes a promising new territory for Oneida. [23 May 2005]- The New York Times
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It's even more disjointed and unpredictable than its predecessor. [19 May 2005]- The New York Times
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Although rhythm sections, strings, horns and overdubbed sha-la-la's do turn up, "Blinking Lights and Other Revelations" sounds most often like a man alone, coming to terms with himself and trying to muddle through. [2 May 2005]- The New York Times
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It may be Mr. Darnielle's best album so far (which is saying a lot) and his most straightforwardly autobiographical (which isn't saying much). [25 Apr 2005]- The New York Times
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- The New York Times
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Mr. Thomas can be a cloying songwriter... Still, plenty of emo singers probably envy Mr. Thomas's knack for writing big, slightly sad songs. [25 Apr 2005]- The New York Times
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On "The Emancipation of Mimi," she disciplines herself into coherence, using fewer tricks and sounding more believable. She also finds what lesser singers can take for granted: a certain lightness that eases her constant sense of control. [11 Apr 2005]- The New York Times
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What's most exciting about ''Black Sheep Boy'' is that Okkervil River sounds more than ever like a band. [9 Apr 2005]- The New York Times
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Where his previous albums have seesawed between comedy and despair, "Guero" comes closer than ever to merging them. [21 Mar 2005]- The New York Times
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- The New York Times
- Read full review