3. Pat Metheny - Zero Tolerance For Silence Usually jazz artists try to pander to a wider audience, but Pat Metheny did the opposite in 1994 with Zero Tolerance For Silence, a solo guitar noise record not far detached from Lou Reed's Metal Machine Music. Metheny already released records that sold shockingly well for being filed in the jazz section, and this comes off as his attempt for cred. A plug from Sonic Youth's Thurston Moore the hype sticker placed atop the album cover reiterates this motivation. This is Metheny stepping out from new age dad jazz to appeal to an audience who thinks he's lame. It didn't work, but if Lee Ranaldo released this album, people would at least pretend to like it.
2. Miles Davis - On The Corner Thinking about On The Corner, I can't help but see comparisons between Miles Davis and Kanye West. Both are bona fide artists who are held back at times by their own personalities, and both are very aware of the black/white dynamic of culture and music. At certain times, both were accused of being "too white;" Miles with Bitches Brew, Kanye with "Diamonds From Sierra Leone." Kanye supposedly reacted with "Gold Digger," a song poking fun at baby mamas and child support. Miles reacted with On The Corner, a psychedelic funk record that was his attempt to reconnect with the black youth. And nothing says early 70s black youth like a sitar with a wah pedal. With that said, this is an amazing record, coming at a time where even if Miles had a terrible idea he was incapable of producing something terrible. There's just a massive dissonance between the intention of On The Corner and the final result.
