Columbia Records, released 9th September 1985
My love for Miles’s music was just getting into its stride when this album hit. As a teenage jazz/fusion fan and burgeoning muso, 1983’s Star People caught my ear but it was You’re Under Arrest that really captured my imagination.
Everything about the package was designed to be provocative, from the garish cover design to the in-your-face but always funky music. It’s a far more colourful and multi-layered listen than the previous year’s Decoy, partly because Miles was going public with his views on police intimidation, racism and the nuclear threat for the first time (and also getting involved with the anti-apartheid movement on the Sun City project).
In the era of ‘We Are The World’, even Miles was demonstrating that he had a social conscience, but he used gallows humour and an uncanny ear for a gorgeous melody to make his points.
Between 1981 and 1984, the primary musical style of Miles’s comeback had been so-called ‘chromatic funk’, a hard-driving, minimalist style consisting mainly of one-chord vamps, heavy bass lines, frantic Latin percussion and fleet-fingered melodic heads, usually played by sax and guitar in unison (and more often than not based on transcribed John Scofield guitar solos).
But in early 1984, Miles took his band into New York’s Record Plant studios to record a whole host of pop and AOR tunes, including ‘Wild Horses‘ by Nik Kershaw, Tina Turner’s ‘What’s Love Got To Do With It’, Dionne Warwick’s’ ‘Deja Vu’, Michael Jackson’s ‘Human Nature’ and Cyndi Lauper’s ‘Time After Time’.
Though of course Miles was by no means new to recording pop songs, it’s doubtful whether any of these were anywhere near the calibre of ‘My Funny Valentine’ or ‘It’s Only A Paper Moon’.
Various 1985 band members have since expressed their dissatisfaction Miles’s ‘pop’ direction and it’s telling that only ‘Time After Time’ and ‘Human Nature’ made the cut for You’re Under Arrest (and, to be fair, became centrepieces of his live gigs until the end of his life). The other covers are yet to see the light of day.
By all accounts, the album eventually came together very quickly and just under the wire; Miles took his band into the studio and re-recorded much of the 1984 material over a very short period in January 1985, later saying that the tempos had been wrong on the original takes and that they didn’t have enough punch.
The opening ‘One Phone Call/Street Scenes’, with its sound effects, darkly-comic spoken-word shenanigans (‘Smokin’ that marijaroney’!) and fleet funk, is the kind of thing you might expect from Prince or George Clinton, but not the most famous jazz artist in the world. The track was surely a big influence on Prince’s Madhouse project and also B-sides such as ‘Movie Star’.
John McLaughlin delivers an exciting modal guitar blowout on ‘Katia’ (named after his then wife the pianist Katia Lebeque) finding endless lines to play over the one-chord vamp. Despite the dated Simmons drums and synthesized horn blasts, the track is still gripping and dramatic after all these years.
Ditto the title track, the ultimate take on ‘chromatic funk’. The ‘Jean Pierre/And Then There Were None’ medley is also arresting with its eerie sound effects and childlike celeste. Listen out for Miles’ mordant closing remark too, intended either for Reagan or recording engineer Ron Lorman (or both?).
The only tracks I really can’t take are the two ballads, ‘Time After Time’ and ‘Human Nature’. Although the latter became a really powerful live number, Miles’s playing is fairly underwhelming and the arrangements don’t add anything to the originals. But, in general, You’re Under Arrest is a really strong album and quite a stunning statement from a 59-year-old ‘jazz’ musician.
Watching footage of Miles playing live in 1985 shows what an extraordinary presence he still was – stalking the stage, sometimes whispering into his bandmates’ ears, sometimes throwing mock-right-hooks towards the camera lens – coupled with possibly his best trumpet chops during the last decade of his life.
7 thoughts on “Miles Davis: You’re Under Arrest 30 Years Old Today”
Nice to read some love for ‘Arrest’. Think you are being very kind to the cover. To call Machine gun Miles on a pink background garish is probably the best thing you could say about it. And I’m still not sure what to make of Miles’ painting in the gatefold!
Probably prefer ‘Star People’ but ‘Arrest’ does retain a certain charm. And I’ll admit to a soft spot for ‘Time after time’, schmaltzy tho’ it is.
Am definitely with you on the merits of ‘Star People’ vs ‘You’re Under Arrest’, but the latter was a really important album for Miles, and of course it was last album on CBS.
It sure is an outrageous cover, ‘good’ or ‘bad’. I think the writer Ian Carr said that it was Miles’s revenge on the racists he encountered throughout his life, sort of portraying himself as the ultimate black gangster, every white racist’s nightmare… I must confess I have never seen Miles’s artwork inside the gatefold, never having owned it on vinyl. Could you send me a link?
‘Time After Time’ definitely turned into an important live number but the studio version is just so puny!
Nice review, but I’m sorry I can’t love this too, give me be-bop Miles, or difficult Miles anyday.
Ta, I know what you mean about it being a difficult one to love. It’s probably my least favourite Miles album of the ’80s but I still dig it…
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