The New York Times' Scores

For 2,075 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 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
Score distribution:
2075 music reviews
    • 85 Metascore
    • 80 Critic Score
    Pastoral doesn't quite describe it; this seems to come from some place more eco-protected than any in existence. [24 Oct 2005]
    • The New York Times
    • 56 Metascore
    • 80 Critic Score
    It's a messy, sometimes insane CD... [but it's] mysterious and subtly seductive. [8 Dec 2005]
    • 78 Metascore
    • 80 Critic Score
    The band's best album so far. [21 Nov 2005]
    • The New York Times
    • 76 Metascore
    • 80 Critic Score
    Ms. Blige brings together hip-hop realism and soul's higher aspirations, hip-hop's digitized crispness and soul's slow-building testimonies. [19 Dec 2005]
    • 69 Metascore
    • 80 Critic Score
    "First Impressions of Earth" is their most openly impassioned album. As they lower their emotional guard, they redouble their musical ingenuity, then crank up their attack. [2 Jan 2006]
    • 88 Metascore
    • 80 Critic Score
    It feels like an event: grand, sumptuous, sometimes seductive.
    • 72 Metascore
    • 80 Critic Score
    It's more coherent [than its predecessor] by a mile. It's longer, and its group songwriting blends better. [20 Mar 2006]
    • The New York Times
    • 88 Metascore
    • 80 Critic Score
    This album doesn't match the weird, woozy brilliance of "Supreme Clientele," from 2000, and there are a few too many guest verses from rappers who don't come close to upstaging their host. Still, this might surpass his 2004 CD, "The Pretty Toney Album," though it's too early to tell: when you get a new Ghostface Killah album, the only reasonable reaction is to get lost in it. [27 Mar 2006]
    • The New York Times
    • 77 Metascore
    • 80 Critic Score
    Memorable refrains, hard beats, elegant rhymes: this album succeeds mainly by sticking to a simple but effective formula. [3 Apr 2006]
    • The New York Times
    • 67 Metascore
    • 80 Critic Score
    "White Trash With Money" is one of his best albums, partly because it finds a lighthearted way to smuggle recent years' redneck pride into this year's love-song boom. [6 Apr 2006]
    • The New York Times
    • 69 Metascore
    • 80 Critic Score
    Nothing about this dense, jumbled, energetic, totally inorganic, quite brilliant word- and note-stuffed album is to the point. [17 Apr 2006]
    • 74 Metascore
    • 80 Critic Score
    A good, sometimes glorious collection of loud pop songs and quiet punk songs... after 11 years, they've made their most exuberant, most youthful-sounding album. [13 Apr 2006]
    • The New York Times
    • 81 Metascore
    • 80 Critic Score
    A manic, twisted soul album that's part nostalgia and part dementia.
    • 74 Metascore
    • 80 Critic Score
    Now as ever, Pearl Jam takes itself seriously. But it delivers that seriousness not with the sodden self-importance of rock superstardom, but with the craft and hunger of a band still proving itself on the spot. [1 May 2006]
    • The New York Times
    • 73 Metascore
    • 80 Critic Score
    The music brims with a creative euphoria almost shocking for a band that has been around since Ronald Reagan's first term.
    • 79 Metascore
    • 80 Critic Score
    Son
    On "Son" she shows off a new confidence, even a willfulness, as she sets free her voice and her sonic wit. [29 May 2006]
    • The New York Times
    • 75 Metascore
    • 80 Critic Score
    "Be Your Own Pet" is smart and crafty, but most of all, it's a wild-eyed blast.
    • 79 Metascore
    • 80 Critic Score
    Imagine the Postal Service, but far more danceable and quirkily experimental.
    • 71 Metascore
    • 80 Critic Score
    "Loose" is an addictive, deceptively lightweight album of electronic pop; at different points it evokes Janet Jackson, M.I.A., Gwen Stefani and Gnarls Barkley. [19 Jun 2006]
    • 80 Metascore
    • 80 Critic Score
    The album is a perfect introduction for latecomers to this essential New York band.
    • 76 Metascore
    • 80 Critic Score
    Angst has rarely sounded sweeter than it does on "Ganging Up on the Sun," which swirls with classic vocal harmonies, vintage organs and lightly strummed guitars.
    • 67 Metascore
    • 80 Critic Score
    Mr. Mayer has been writing songs again, good ones, with all the leanness and directness that distinguish his strongest work.
    • 72 Metascore
    • 80 Critic Score
    The album has a kind of demented gravity, and the music bears it out: it is the most concentrated, focused Slayer record in 20 years.
    • 73 Metascore
    • 80 Critic Score
    [A] darkly intelligent album.
    • 82 Metascore
    • 80 Critic Score
    "Blood Mountain" is a strong record by a powerful band nearing an ideal of cohesion.
    • 87 Metascore
    • 80 Critic Score
    Los Lobos has swerved away from the upbeat music it plays on the jam-band circuit, harking back to its quietly startling 1992 album, “Kiko.” [25 Sep 2006]
    • The New York Times
    • 78 Metascore
    • 80 Critic Score
    Another warm, gentle album, one that should attract Norah Jones fans and Trisha Yearwood fans alike. [9 Oct 2006]
    • The New York Times
    • 79 Metascore
    • 80 Critic Score
    Here’s the thing about Nas’s old-fashioned approach to hip-hop: It still works.
    • 75 Metascore
    • 80 Critic Score
    Ce
    He’s still singing with his usual soft, focused concentration, and in the rough textures and gaping silences of the band are strong melodies that point back to his simpler records from the mid-’70s, like “Qualquer Coisa” and “Joia.” Embedded in it too are some of Mr. Veloso’s best lyrics of the last 20 years. [22 Jan 2007]
    • The New York Times
    • 81 Metascore
    • 80 Critic Score
    A wonderfully time-twisted batch of songs. [12 Mar 2007]