On The Corner (album) by Miles Davis
Overall rank: 946th
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Miles Davis bestography
The best album by Miles Davis is Kind Of Blue which is ranked number 38 in the list of all-time albums with a total rank score of 49,290.
Members who like this album also like: In A Silent Way by Miles Davis, Bitches Brew by Miles Davis and The Velvet Underground And Nico by The Velvet Underground And Nico.
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Showing latest 5 ratings for this album. | Show all 254 ratings for this album.
|Rating||Date logged||Member||Num. album ratings||Avg. album rating|
|23 hours ago||LankyLen||31 ratings||87/100|
|09/11/2019 01:49||NickyTBlizzad||1,031 ratings||100/100|
|09/10/2019 18:26||MARTINBORS||1,754 ratings||79/100|
|08/29/2019 02:22||PrettyFly4ABiGuy||160 ratings||91/100|
|08/26/2019 18:29||Exist-en-ciel||3,453 ratings||78/100|
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Amazing how it seems unstructured and repetitious at first, but there is a coherent method to this funky madness. A brilliant album that truly transports the listener right into Miles' intended environment.
I like the funky groove on this thing but the soloing feeling uninspired in comparison to his previous work and can get a bit repetitive. Definitely a very progressive album for its time though and carries on wonderfully from Bitches Brew and In A Silent Way, just could have done with been executed a bit better.
Ever wondered what Ambient Punk is?
Miles goes straight funk, and man is it funky. A forgotten album which is very underrated.
Hypnotic jazz funk. It's got a streetwise feel to it, or maybe it's just the cover influencing me. It went right past me on first listen, but since then it's grown on me. Some people claim this is Miles Davis' best album, I certainly wouldn't go that far, but it's definitely another piece of the puzzle and that makes it one of Miles' essential recordings.
Hypnotic, it dripped on me on the schoolbus and I watched the men in yellow hats with jackhammers make music.
A wonderful whirlwind of groovy chaos. I love this.
Great jazz/rock/funk fusion. Miles at his experimental best.
Fucking Miles Davis. Just when you thought he'd already broken more new ground and created more timeless masterpieces than could ever be matched, he drops this piece of fusion genius, which is probably the most ambitious thing Davis ever released in his career. And I mean this is fucking Miles Davis we're talking about. Made really just as an attempt to reconnect with a younger audience who had strayed from jazz, Davis ended up crafting what would later be seen as an important forerunner of everything from post-punk to drum'N'Bass. He played with weird structures and repetition and all kinds of avant-whatever else he felt like screwing with because he's Miles fucking Davis. He mastered the electronic music aesthetic before electronic music was really even a thing. As "out there" as all this sounds, throw in some funk and still maintain some jazz, and what could have been a Stockhausen tribute instead becomes a funky as fuck Stockhausen tribute album. The avant-garde has never been so catchy.
It’s not surprising that, upon its initial release, On the Corner was met with not only critical scorn projected by those who just really didn’t get what they were listening to, but with a massive backlash from anyone who had been a dedicated fan of Davis’ jazz for any great amount of time. To them, this album must’ve felt like a complete abandonment, a monstrosity that marked the fall of a giant. But really it was quite the opposite; Miles Davis had hit a point where his artistic ambitions required him to advance sonically, and so advance he did. Fuck anyone who didn’t like it. Oh and I’m sure the shocking offense which was the actual music of this album was only worsened by those who cared to look into those credited, because holy shit what a lineup. Prominent featurings of everyone from Chick Corea to John McLaughlin to Herbie Hancock (just to name a few), what could possibly go wrong? Well in the eyes of the 70s jazz community, everything. In actuality, not a goddamn thing. No matter how many unexpected sounds are thrown at you, not matter how unfamiliar this album is from most anything the average listener is likely to have heard, its “weirdness” is the furthest possible thing from a hindrance on what is, in the end, an album without fault. Though I can’t really make statements like that when On The Corner doesn’t exactly have any peers to which I should be comparing it to judge its relative awesomeness. Though I’m sure if it did, they would all fall flat.
tl;dr I agree with Borve
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