Peaking at number 134 on the U.S. "Billboard" Top LPs chart, "In a Silent Way" became Davis's first album since 1965's "My Funny Valentine" to reach the chart. While it performed better commercially than most of Davis's previous work, the album's critics were divided in their reaction upon its release. Its incorporation of electric instrumentation and experimental structure have been sources of extreme controversy among jazz critics. According to "The Rolling Stone Album Guide" (1992), Davis's recording process and producer Teo Macero's studio editing of individual recordings into separate tracks for the album "seemed near heretical by jazz standards". In his book "Running the Voodoo Down: The Electric Music of Miles Davis", Phil Freeman writes that rock and jazz critics at the time of the album's release were biased in their respective genres, writing "Rock critics thought "In a Silent Way" sounded like rock, or at least thought Miles was nodding in their direction, and practically wet themselves with joy. Jazz critics, especially ones who didn't listen to much rock, thought it sounded like rock too, and they reacted less favorably". Freeman continues by expressing that both reactions were "rooted, at least partly, in the critic's paranoia about his place in the world", writing that rock criticism was in its early stage of existence and such critics found "reassurance" in viewing the album as having psychedelic rock elements, while jazz critics felt "betrayed" amid the genre's decreasing popularity at the time.