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TOP 500 REVIEWERon 28 March 2013
This 1984 album represented another step in Miles Davis' transition away from the blues and fusion influences of predecessor albums Star People and Decoy and (arguably) into more mainstream interpretations of commercial pop music (albeit with quite a heavy funk, and jazz-funk, influence). Primarily for these reasons, You're Under Arrest did not find favour with established jazz critics, but for me, (perhaps because I was, at the time, dabbling in things quite close to the style of You're Under Arrest) I would go out on a limb and say that the album had much going for it. Of course, you have to be someone not immediately turned off by Robert Irving III's synthesisers and Darryl 'The Munch' Jones' slap bass, as these form much of the backbone and feel of You're Under Arrest.

In addition, though, we have other impressive musical turns here. John McLaughlin's guitar playing is suitably moody and inflected, not to mention pyrotechnic, on one of the album's major works, the Davis, Irving composition, Katia, which also features Miles' staccato playing in a post-Bitches Brew vein. Similarly, the rather more restrained and conventionally tuneful Ms. Morrisine features Davis' playing at its most soothing and melodic, whilst McLaughlin concludes the number with another impressive solo. Of course, if it's soothing Davis playing you're after then the album's two most notorious covers - the Michael Jackson song Human Nature and Cyndi Lauper's Time After Time could be regarded as soothing blandness(?) personified, but I still regard Davis' version of the Lauper song as the finest rendition I've heard (and particularly impressive it was to catch Miles playing it live in the early 1980s, even if he did have his back pretty much exclusively turned towards the audience!).

My favourite cover here, though, and indeed my favourite cut on the album is Davis' take on the 80s soul/funk band D-Train's Something's On Your Mind. This is very much an archetypal 80s jazz-funk sound, with its throbbing beat, some vibrant and emotional playing by Davis and John Scofield's guitar picking out a skilful background thread. Equally impressive, and again very much in a funk vein, is John Scofield's title tune, which strangely enough features no credited guitar part (though that's definitely Scofield I can hear), but also very impressive playing from Davis' horn, Jones' bass and Bob Berg's tenor sax.

Very much an album of its time, and not one that many Davis aficionados have much time for, but one for which I have a good deal of affection.
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on 20 June 2016
I write this as a person who has found Miles music after he died and whose preference is to his work from A Silent Way onwards. I have listened to the earlier stuff which purists so love and admire and while i like a lot of it I don't love it like I do the electronic, later years. Usually, I try and avoid making crude distinctions of this sort but in Miles case, the departure/development is so profound it is almost like two separate bodies of work.

So it may not come as a complete surprise to hear me say I think this album is great. It covers a lot of the ground Miles explored around this time so is a good entry point album for the electronic period (Kind Of Blue would be my recommendation for the earlier stuff but i am not comparing this to that in the same terms). You get Miles plays funk, fusion, pop, a bit of rock and even some jazz. The music is played by some wonderful musicians and the material is interesting and diverse.

I wont say anything about individual tracks because it takes all the fun out of discovering the music for yourself, but i would heartily recommend it to anyone who likes Miles later period or who is trying to dip their toe in the water and find out what all the fuss is about.
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on 6 January 2016
I am not sure about this. I need an example of the style as part of a lecture course on "Who is the best jazz artist?".
Clearly Davis must be considered, but whether this side of his work will have a positive or negative effect on students' reactions is going to be very interesting!!
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Although an admirer of Miles Davis, especially during the period 1955 - 1965 I found his music increasingly less to my taste "after Bitches Brew" so why on Earth would I have bought this album from 1984? In two words "Human Nature". I had a copy of this track on the compilation album "Mellow Miles" and decided to try out the whole album. To be honest the only other track that I really like is "Time After Time". These two tracks are melodic ballads and the treatment with Miles' amplified trumpet, and background of "electronica" works. The other tracks are highly percussive, lots of guitar / synthesiser as well as trumpet. Not sure that I'd call them tuneful, but they are quite mesmeric. I suppose the album may have been for dancing, in which case it may well have been a success. Probably for a younger audience.
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on 21 November 2014
Glitzy and somewhat strident mid 80 s album ..but it grows on you .
Time after Time stands out of course . JGC
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on 9 February 2016
This has not worn well. Still love Katia and the title track but the rest is disposable.
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on 4 May 2013
Good effort by Miles but in all honesty this must be his weakest album. Human Nature & Time After Time are easy on the ear but the rest is just not up to Miles high standards. Miles Davis was not a well man when this record was made and it shows. He had lost his chops...... But because of the class of the man he gets away with it. Worth the money and nice to listen to on a Sunday morning but won't blow you away.....
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on 12 December 2015
Still one of the best guan nature better than the original
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