the high water mark of [Davis'] experiments in the fusion of rock, funk, electronica and jazz". Fact characterized the album as "a frenetic and punky record, radical in its use of studio technology," adding that "the debt that the modern dance floor owes the pounding abstractions of On the Corner has yet to be fully understood." Writing for The Vinyl Factory, Anton Spice described it as "the great great grandfather of hip-hop, IDM, jungle, post-rock and other styles drawing meaning from repetition." On the Corner was featured on the six-disc box set The Complete On the Corner Sessions, released in 2007 and featuring previously unreleased recordings from Davis' 1970s electric period. Reviewing the box set in The Wire, critic Mark Fisher wrote that "[t]he passing of time often neutralises and naturalises sounds that were once experimental, but retrospection has not made On the Corners febrile, bilious stew any easier to digest." Stylus Magazines Chris Smith wrote that the record's music anticipated musical principles that abandoned a focus on a single soloist in favor of collective playing: "At times harshly minimal, at others expansive and dense, it upset quite a few people. You could call it punk." On the Corner was cited by SF Weekly as prefiguring subsequent funk, jazz, post-punk, electronica, and hip hop. According to AllMusic's Thom Jurek, "the music on the album itself influenced – either positively or negatively – every single thing that came after it in jazz, rock, soul, funk, hip-hop, electronic and dance music, ambient music, and even popular world music, directly or indirectly." BBC Music reviewer Chris Jones expressed the view that the music and production techniques of On the Corner "prefigured and in some cases gave birth to nu-jazz, jazz funk, experimental jazz, ambient and even world music." Pitchfork described the album as "longing, passion and rage milked from the primal source and heading into the dark beyond." Fact named On the Corner the 11th best album of the 1970s, while Pitchfork named the album the 30th best album of that decade. The Wire named On the Corner one of its "100 Records That Set the World on Fire (While No One Was Listening)". According to the magazine's David Stubbs, On the Corner was "Miles's most extreme foray into what was often pejoratively dismissed as jazz rock and is still regarded by many critics today as a grotesque, period aberration". John F. Szwed