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Feel free to mock their choices etc here. Like a Prayer should have been the top Madonna song!
Especially as it's the highest electronic track on the list (excepting Blue Monday).
Ehhh hard to critique something like this. There's a lot of good songs on the list from the looks of it. Will listen to a youtube playlist of it when it becomes available.
Voodoo Ray and Strings of Life at 155 and 117.
It's a decent list though. Some choices I really didn't expect, a bit of tokenism and lots of very good songs. Standard.
Sad how quickly everything is changing to Apple music. Pitchfork used to have youtube links of the tracks but obviously that doesn't come with a big whack of payola.
is probably the 'safest' pitchfork top 20 I've ever seen.
And they're usually pretty safe.
Safe, mate, safe.
and tend to focus heavily on major label output. But it's been that way forever, and they're still considerably more varied than the Rolling Stone efforts, for example.
but the Pitchfork ones introduced me to a lot of relatively non-commercial stuff when I was a teenager so it's hard to hate on them. good gateway stuff.
Their best albums of the 90s list described Shack's wonderful "HMS Fable" as an "embarrassment".
It's all very well to criticise "safe" lists, but I hardly think that lists that go out of their way to challenge the canon are any better. They invariably come across as elitist.
Once you've been a music geek for long enough, canon worship offers nothing. Some of the stuff on FACT's list might be less widely palatable, Ken Ishii's 'Garden on the Palm' might not actually be "better" than OK Computer, but fuck it I've heard OK Computer, I know what it sounds like. Having someone tell me how great it is, in relation to 99 other albums I've seen ordered slightly differently in other lists for years isn't going to expand my horizons at all.
It's just that, if it's a choice between endlessly worshipping the canon, or implementing a scorched earth policy every few years that dictates that something can be inherently bad because it's popular (and vice versa), I'm not sure that anybody wins.
That's why I like reading blogs, and why I like sites like Stereogum, and things like the 33 1/3 series of books - the only criteria for discussion and reverence seems to be that there are discussions to be had, and that the reverence can be justified.
I thought it was a pretty good list.
about 25% of the artists on that list.
What was number one?
"I wanna dance with somebody" at 20.
Fuck all the way off.
Like a Prayer should have been much higher though.
So many really bland American soul / R&B / pop choices too, then it suddenly gets going with some obvious Pitchfork choices like Dinosaur Jr, Sonic Youth etc, then back to Janet Jackson and Luther Vandross.
Liked the list, reminded me of some house music I had forgotten about and some 80's R'n'B I was unfamiliar with.
They're still left in two mistakes though. I love nit-picking.
It wasn't. I tweeted at them and they corrected it.
This is the offending paragraph:
"Sonic Youth recorded 1988’s Daydream Nation, their unequivocal masterpiece, that summer at a SoHo studio owned by minimalist pioneer Philip Glass; Public Enemy were there, too, working on the other board. "
Greene St. Recording wasn't owned by Philip Glass for a start. It had been part-owned by his music director for a time but Glass never owned it, he had just recorded there.
Also, Public Enemy weren't working there at the same time as them. True, Nick Sansano, the engineer for the sessions had worked with Public Enemy but they had finished and released 'It Takes A Nation Of Millions...' months before SY started recording. 'Daydream...'. I think the author of the piece is conflating it with the 'Goo' sessions.
so it's not entirely clear-cut
i've forwarded the two other things to corrections at pitchfork dot com, which is always an option if you're bothered by inaccuracies but don't feel like making a show of it
Haha! I was actually going to e-mail them about something completely different today.
Tweeting at the sorted the major label issue so I stuck with that when whinging about the other points.
I disagree with the list
Good list though
And none of them are her best! I would put the entirety of Control in my list.
There's some standard stuff in there but R&B is over-represented and pop is under-represented. People from the 80s will not recognise this list. Where is Nik Kershaw for a start?
Yeah, I mean it's packed full of obscure names.
Obviously the top 50 is not particularly obscure (though it is a bit repetitive).
Lower down the rankings it seems a bit try hard on the obscurity front (Patrice Rushen anyone?) or equates 'having been sampled' with 'being good'.
Plus no-one used to like both indie and R&B at the same time - I guess musical taste was much more polarised then (shut up grandad).
Someone doesn't know anything about disco.
that inspired the Men in black theme. She may have been bigger in the U.S. But wasn't disco was more of a 70s thing anyway?
My point is more that this list seems to favour songs that appear to be influential or important from a 2015 perspective, but at the time were not a big deal. It seems to have been approached intellectually, rather than emotionally. I accept that if you weren't alive in the 80s that may be your only option, but it makes for a very different list. R&B (then more commonly separated into soul, jazz funk, disco etc) was widely derided at the time as only suitable for perma-tanned footballers with Chris Waddle haircuts. It has now been rehabilitated for reasons I will never understand, along with Fleetwood Mac. I personally still dislike it, but each to their own.
The absence of pop may be an American thing. But where are OMD, Duran Duran, A-ha, Lloyd Cole, Kylie, Wham, Pet Shop Boys? In the UK at least, they were all huge, even though at the time I was obliged not to admit liking them.
There are lots of things on this list I agree with, but I think there are some big blind spots and revisionism.
As with all Pitchfork lists, I can't blame them for being slightly US-centric but why have multiple entries from one artist (Janet Jackson, Prince) at the expense of others entirely? The prominence of NWA seems a little forced/too topical
is on there somewhere, which is not one of their best songs, just their biggest. I Believe in You is their best 80s track.
I stand corrected
is Gates of Steel?!
bin off teenage riot and pop this in instead
rather than album tracks to appease the indie bellends
reminds me of that
like the acts who've done well are the ones who've had the most influence on 'the current climate', you almost think in three or four years time they might do a totally different list. S'alright though, these things can become box-ticking exercises, at least they've done something a bit different.
How about we post some banging 80s tunes that are missing? I'll start with Riot in Lagos by Ryuichi Sakamoto:
I'll throw in Forbidden Colours, one of his collaborations with David Sylvian:
also Felt - Primitive Painters:
but I can't remember seeing Relax in there. I hate that song but it should be in there.
on a different planet tbh
80s Kylie is best Kylie. She got all rubbish in the 90s then good again in the 00s.
I want you all to know that I think This Must Be The Place (Naïve Melody) by Talking Heads is really fucking beige and I don't understand why everybody loves it so much.
never understood the appeal - and not just in indie circles, but it's a well-known mainstream favourite, and there's nothing to it! can't even remember what it sounds like
But don't remember seeing Jermaine Stewart. Which is criminal considering the other pop stuff which is on there.
If it is actually in there this post is absolute bollocks obviously
on the pop front; no Frankie! no Duran! no Wham! no Human League!
on the rock front; no Paul Simon, only one REM!
and yeah imagine saying to hip music loving-folk 10, 20 years ago, "Whitney Houston is loads better than R.E.M." and not expecting a kick in the nuts.
in their 80s albums list though (including Murmur at No. 5)
only the top jams. you're welcome
one of the most important movements of the dance music EVER - the UK (acid) house scene from late 80's - and I'm OK with it, but some of these were also relevant:
Bomb The Bass
are there 81 songs better than Everybody Wants To Rule The World, from ANY decade?!
more by the impact surrounding them. Or maybe that's the point? Blue Monday doesn't reach the highs of Age of Consent/Thieves Like Us/The Perfect Kiss/Touched by the Hand of God (all which should've made the list) but it looks like something else when compared to music in general than compared to their own oeuvre.
such a bland institution
Too many Smith tracks
Too many Prince tracks
Max 2 tracks per artist say
that alone makes this list shite, as that track should be at least top 10.
they make a mockery of it by including multiple tracks from the same artist tbh. surprised they didn't include the entirety of Thriller. as said (i think) above, these pfk lists seem to be motivated more by curating a certain authorial view of the 80s rather than actually turning people on to music they mightn't be aware of, or may have overlooked. which sucks