based on samples of records, it's "hard to say which ones, even in a general way". Accolades Several publications included Madvillainy in their lists of the best albums of the year. Pitchfork ranked it number six on their list of the 50 best albums of 2004, stating that "the collaboration brings out the best in both men, without copying anything in their catalogs". Prefix ranked the album first on its list of the 60 best albums of 2004, stating that "when Doom and Madlib combine, they form like Voltron". PopMatters positioned it at number nine on their list of the 100 best albums of 2004, commending MF Doom's "royal, pop culture-laden flow" and Madlib's "beat-mining expertise". Spin ranked it number 17 on their list of the 40 best albums of 2004, praising Madlib's production, "thick, woozy slabs of beatnik bass", that "keeps things hotter than an underground volcano lair". Washington City Paper ranked Madvillainy number one on their list of the top 20 albums of 2004. Stylus Magazine named it the second best album of 2004. In The Village Voice annual poll Pazz & Jop, which combined votes from 793 critics, Madvillainy was ranked number 11 on the list of the best albums of 2004. The Wire and AllMusic also included the album in their unordered lists of the best albums of the year. Numerous publications included Madvillainy in various lists of the best albums. Clash positioned it at number 47 in their list of top 100 albums of Clash lifetime, calling it "slapdash and dilapidated, wholly unconcerned with making sense", "defined by its flippancy and attitude to professionalism". The magazine also listed it on their list of ten best hip hop albums ever, calling it "one of this decade’s finest hip-hop albums" that "elevated the profile of both [artists] to whole new levels". Complex placed the album in their list of 100 best albums available on Spotify, calling it "dusty, weeded up, 22-song masterpiece that stood alone and brought us all into its own little world" and stating that "Madlib and MF Doom's classic wasn't meant for the radio, but it was too good to be kept to the underground". The magazine also listed it among 25 albums of the decade that deserve classic status, describing it as "a classic record that had a goofy cartoony unpredictability, balanced with moments of oddball sincerity" and 71st on the list "The