decided to worry hell out of it for three-quarters of an hour," concluding that "I'd like to think that nobody could be so easily pleased as to dig this record to any extent." Eugene Chadbourne, writing for jazz magazine CODA, described it as "pure arrogance." In his 1974 biography of Davis, critic Bill Coleman described the album as "an insult to the intellect of the people." Rock journalist Robert Christgau later suggested that jazz critics were not receptive to On the Corner "because the improvisations are rhythmic rather than melodic" and Davis played the organ more than trumpet. Regarding the appeal its music had for rock critics, he praised "Black Satin" but expressed reservations about the absence of a "good" beat elsewhere on the album. Ian MacDonald of the NME declared the album was "monumentally boring". MacDonald thought "Black Satin" had "a nice theme, but nothing gets done with it" while "Vote for Miles" had "some genuinely funky playing — but then the tablas, tamburas, hand-claps, hi-hats, and whatnot catch on to what he's doing and ruin it." In a positive review for Rolling Stone, Ralph J. Gleason found the music very "lyrical and rhythmic" while praising the dynamic stereo recording and calling Davis "a magician". He concluded by saying "the impact of the whole is greater than the sum of any part." The album's commercial performance was as limited as that of Davis's albums since Bitches Brew, topping the Billboard jazz chart but only peaking at #156 in the more heterogeneous Billboard 200. Paul Tingen wrote that "predictably, this impenetrable and almost tuneless concoction of avant-garde classical, free jazz, African, Indian and acid funk bombed spectacularly, leading to decades in the wilderness. As far as the jazzers were concerned, it completed Davis's journey from icon to fallen idol." Legacy and reappraisal Despite remaining outside the purview of the mainstream jazz community, On the Corner underwent a positive critical reassessment in subsequent decades; according to Tingen, many critics outside jazz have characterized it as "a visionary musical statement that was way ahead of its time". In 2014, Stereogum hailed it as "one of the greatest records of the 20th Century, and easily one of Miles Davis' most astonishing achievements," noting the album's mix of "funk guitars, Indian percussion, dub production techniques, loops that predict hip hop." According to Alternative Press, the "essential masterpiece" envisioned much of modern popular music, "representing