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The WireNov 20, 2019The result is an often awkward assemblage of trial and error decisions that either allow the tracks to keep their era’s verve or attempt to punch things up in a modern sense, where the cut-off date is the mid-90s. ... All is not lost, though. It’s insightful to hear where Davis was heading with sleek arrangements such as “Give It Up” and “Maze”. [Dec 2019, p.65]
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Sep 20, 2019They’ve tried to update the quintessentially Eighties sound of the original to make it fit for a modern audience. The result is often a strange hybrid, which is enjoyable only as long as one doesn’t expect to hear too much Miles Davis.
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Sep 12, 2019Though some of the high-tech production gadgetry sounds dated now, back in 1985 it was a fiercely contemporary record. But while time might have blunted its cutting edge, Rubberband, for all its flaws, still fascinates.
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Sep 9, 2019Davis completists will grab this, but others may find there’s just not enough meat in the sandwich.
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Q MagazineSep 3, 2019This late-period curio isn't one for the purists. ... A patchy affair. [Oct 2019, p.117]
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MojoSep 3, 2019Rubberband sounds too much like jazz's great disrupter chasing black-radio approval via The Human League. ... Rubberband is not a Great Lost Miles Davis Album. But it has a lot of great Miles Davis on it. [Oct 2019, p.101]
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Sep 3, 2019As so often in this late period, Davis’s playing is beguiling in bursts.
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Sep 11, 2019The finish is messy, the mixing hops from decade to decade, and the album flow is nonexistent. There are a couple of great moments, especially “Rubberband”. But without those finer touches, it often doesn’t even sound like Miles Davis, just some dude blowing a horn.
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Sep 6, 2019While it was unfinished and framed in '80s studio tropes, their attempt to complete it with modern charts and muddy, hip-hop-styled mix weighs down what remains of the original proceedings.