With Pitchfork as one of the most trusted voices in the music industry, it’s essential to reflect on the publication’s opinions on records. Founded in 1995, and launched originally as a music blog, writer Ryan Schreiber created an essential publication in music journalism focusing on both established artists and the up-and-coming.
Our list looks at Pitchfork’s Highest Rated Albums of All Time, provided by albumoftheyear.org, and Pitchfork’s 500 Greatest Albums of All Time. The list featured 10 records, two from each decade from the 60s to the 2000s, that are the best Pitchfork albums.
Below are 10 of the best Pitchfork albums.
- The Velvet Underground & Nico (1967) – The Velvet Underground & Nico
- Pet Sounds (1966) – The Beach Boys
- Low (1977) – David Bowie
- London Calling (1979) – The Clash
- Purple Rain (1984) – Prince
- Thriller (1982) – Michael Jackson
- OK Computer (1997) – Radiohead
- Loveless (1991) – My Bloody Valentine
- Kid A (2000) – Radiohead
- Funeral (2004) – Arcade Fire
1. The Velvet Underground & Nico (1967) – The Velvet Underground & Nico
The Velvet Underground & Nico (1967) was The Velvet Underground & Nico’s debut record, which delved into and explored topics considered taboo in the 1960s: drug use and addiction and sexual deviancy and prostitution. While the record didn’t originally do well on the charts and was ignored by most critics, it later became a major influence for different subgenres of rock such as punk, garage, post-punk and art rock.
2. Pet Sounds (1966) – The Beach Boys
Pet Sounds (1966) was the 11th studio album for the Beach Boys. A record that was originally not given that much attention or thought, is now considered to be the “most progressive pop record ever.” Brian Wilson’s songwriting was a building block for the band well before their 1966 release, but it was a transformative record for Wilson, who crafted nearly the entire record. The album draws on pop, jazz and avant-garde, developing and defining a new sound for the Beach Boys.
3. Low (1977) – David Bowie
Low (1977) was also the 11th studio album for David Bowie. RCA Records refused to release the album for three months, and when it was, the record received little to no promotion. The album developed from Bowie’s move to France with Iggy Pop to fight their drug addiction in 1976. Featuring art-rock and experimental rock, Low showcased Bowie’s first explorations into ambient and electronic styles.
4. London Calling (1979) – The Clash
London Calling (1979) was the third studio record for The Clash. Stated to be a bridge between ‘traditional punk rock’ and ‘new wave aesthetic’, The Clash crafted a record that would inspire musicians decades later. The album focused on storylines of fictional people living throughout London, creating a political and social commentary about the economic state of Britain and the dire needs of their people.
5. Purple Rain (1984) – Prince
Purple Rain (1984) was the sixth studio album from Prince. The record featured full band performances and multiple layers of instrumentals, giving a psychedelic appearance to the innovative and experimental record. This was the record that awarded Prince his prestigious title as one of the world’s greatest rockstars, after tirelessly being viewed as an underdog due to the historical and commercial impact.
6. Thriller (1982) – Michael Jackson
Thriller (1982) was also the sixth studio album from Michael Jackson (Are we sensing some patterns here?). The record channelled aspects of pop, post-disco, funk, R&B and rock after the decline in popularity of disco in the late 70s and early 80s. Thriller also holds a darker essence to it, highlighting Jackson’s paranoia and decline in his personal life. It’s often remarked as the greatest pop record of all time due to its importance and influence in the pop genre, besides the release of the iconic song, ‘Thriller.’
7. OK Computer (1997) – Radiohead
OK Computer (1997) was the third studio album from Radiohead that featured a more experimental side of the band. While the record label originally deemed the album unfit for release and “commercial suicide,” the release saw intense success and praise from critical outlets. The abstract lyrics and densely layered sound are drastically different from Radiohead’s previous record.
8. Loveless (1991) – My Bloody Valentine
Loveless (1991) was the beginning and the end of My Bloody Valentine’s short-lived career, with pressures from the success of their second release ultimately destroying the band and the opportunity to create a third record. Yet, 22 years later, in 2013, My Bloody Valentine reunited for one last attempt at a third release. Loveless is recognised as a pillar in the ‘shoegaze’ subgenre, even with only one member being almost solely responsible for the final record.
9. Kid A (2000) – Radiohead
Kid A (2000) was Radiohead’s fourth studio album, meeting the same success their previous record had received. The fourth record emerged from the burnout of their massively successful OK Computer and showcased an even newer side of Radiohead. Kid A featured electronic, ambient and jazz techniques, departing from their original rock sound. The lyrics focused on a more abstract, surreal style, crafting a new side of Radiohead.
10. Funeral (2004) – Arcade Fire
Funeral (2004) was the debut record for Arcade Fire. What was born out of the loss of a few of the band members’ family and friends, Funeral encompasses a balanced and well-thought-out record that considers the dramatic nature of the content and balances it well with indie rock instrumentals. The record is dark, but what else would you expect from a record titled Funeral?
FAQs
Has Pitchfork ever given an album a 10?
Very few artists have had the honor of receiving a 10 the first time around – only twelve records, such as Radiohead’s OK Computer (1997), Radiohead’s Kid A (2000), and Wilco’s Yankee Hotel Foxtrot (2002). But, there are over 120 rereleases and retrospective reviews with a 10 after the fact.
What’s the highest-rated album ever?
Best Ever Albums cites The Dark Side of the Moon (1973) by Pink Floyd, OK Computer (1997) by Radiohead, Abbey Road by The Beatles (1969), Wish You Were Here (1975) by Pink Floyd, and Revolver (1966) by The Beatles as the top five highest-ranking albums, taking into account chart appearances, average ratings and ranking at the time of their release.
What is a good Pitchfork score?
A good Pitchfork score is relative – it depends on the listener’s subjective opinion of the record. Sometimes Pitchfork’s 5 is someone else’s 8. But, in their terms, taking into account over 8,000 reviews, their Best New Music award is usually only given to records with a score of above 8.4 The average score of a record is 7.0, so it’s safe to say that anything above 7.0 is a good Pitchfork score.