Prince’s Parade released

Parade Prince & the Revolution

Released: March 31, 1986 Charted: April 19, 1986 Peak: 3 US, 4 UK, 11 CN, 8 AU Click for codes to charts. Sales (in millions): 2.11 US, 0.3 UK, 4.5 world (includes US and UK), 9.99 EAS Genre: R&B/funk

Tracks: Click on individual song titles for more details, including songwriters, recording and release dates, chart peaks, versions recorded by other artists, and basic information aobout the song. Christopher Tracy’s Parade [2:11] New Position [2:20] I Wonder U [1:39] Under the Cherry Moon [2:57] Girls & Boys [5:29] Life Can Be So Nice [3:13] Venus de Milo [1:55] Mountains [3:57] Do U Lie? [2:44] Kiss [3:37] Anotherloverholenyohead [4:00] Sometimes It Snows in April [6:48] Total Running Time: 40:57 Other Songs from This Era: Sexual Suicide [3:40] (recorded 8/10/1985 and 8/11/1985) The Screams of Passion (recorded 9/9/1985) Dream Factory [3:07] (recorded Dec. 1985) A Honest Man [1:13] (recorded 12/17/1985) Last Heart (recorded 1/12/1986) Love or Money (♥ or $) (recorded Jan. 1986) The Players: Prince (vocals, instruments) Lisa Coleman (backing vocals, keyboards) Wendy Melvoin (backing vocals, guitar) Dr. Fink (keyboards) Mark Brown (bass) Bobby Z (drums, percussion) Sheila E. (backing vocals, drums, percussion) Eric Leeds (saxophone) Atlanta Bliss (trumpet)

Rating: 4.101 out of 5.00 (average of 27 ratings) Awards: (Click on award to learn more).

About the Album Prince’s last album with the Revolution also served as the soundtrack to Under the Cherry Moon, a movie starring and directed by Prince. “Undaunted by the criticism Around the World in a Day received, Prince continued to pursue his psychedelic inclinations on Parade” AM instead of the “guitar and rock elements of…1984 album Purple Rain,” WK which made him a superstar. The album gave prince his third #1 hit with “Kiss.” However, none of the other singles reached the top 20 on the Billboard Hot 100. Still, the album was a commercial success reaching #3 and going double platinum in the United States. It also restored some of the critical acclaim that had slipped with Around the World in a Day. NME and The Village Voice named Parade the album of the year. WK PopMatters.com’s Quentin B. Huff said it “doesn’t sound like anything else in the Prince canon. The album is a blend of jazz, soul, and a certain French undercurrent, probably absorbed from the film being set in France.” WK The Sunday Times called its musical scope “stunning” WK and the Detroit Free Press called it “a confirmation of Prince’s place as a superior melodist, arranger, and player, as well as a celebration of his creativity.” WK “Prince & the Revolution shift musical moods and textures from song to song.” AM “The amount of ground they cover in 12 songs is truly remarkable.” AM “The album sees Prince further diversifying musically, adding orchestrations to his music.” WK Although this was a regular-length release, it “has the sprawling feel of a double record,” which was the original plan. AM “If it had been expanded to a double album, Parade would have equaled the subsequent Sign ‘O’ the Times, but as it stands, it’s an astonishingly rewarding near-miss.” AM The Songs Here’s a breakdown of each of the individual songs.

Christopher Tracy’s Parade Prince & the Revolution

Writer(s): Prince, John L. Nelson Recorded: April 17-19 and 22-24, 1985, December 1985, and January 1986 at Sunset Sound in Los Angeles Released: Parade (1986) About the Song: The album starts off with “the fluttering psychedelia of Christopher Tracy’s Parade.” AM

New Position Prince & the Revolution

Writer(s): Prince Recorded: April 17-19, 1985 and 4/23/1985 at at Sunset Sound in Los Angeles; November 1985 at Advision Studios in London Released: Parade (1986) About the Song: The “spare, jazzy funk of New Position” follow-up the psychedelic opener. AM

I Wonder U Prince & the Revolution

Writer(s): Prince Recorded: April 17-19, 1985 and 4/22/1985 at Sunset Sound in Los Angeles; 6/24/1985 at Monterey Sound Studios in Glendale, CA Released: Parade (1986) About the Song: “New Position” “morphs into the druggy I Wonder U.” AM

Under the Cherry Moon Prince & the Revolution

Writer(s): Prince, John L. Nelson Recorded: April 17-19, 1985 and 4/24/1985 at Sunset Sound in Los Angeles; 6/24/1985 at Monterey Sound Studios in Glendale, CA Released: Parade (1986)

Girls & Boys Prince & the Revolution

Writer(s): Prince Recorded: July 8-9, 1985 at Washington Avenue Warehouse in Edina, MN Released: 8/4/1986 as a single, Parade (1986), Girl 6 (soundtrack), 4Ever (2016) B-Side: “Under the Cherry Moon” / “Erotic City” / “She’s Always in My Hair” (UK), “17 Days” (UK) Peak: 11 UK, 14 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 5.14 video, 6.84 streaming About the Song: Prince & Co. are “determined not to play it safe, even on the hard funk of Girls and Boys and Mountains.” AM

Life Can Be So Nice Prince & the Revolution

Writer(s): Prince Recorded: 4/17/1985 and 4/22/1985 at Sunset Sound in Los Angeles Released: Parade (1986)

Venus de Milo Prince & the Revolution

Writer(s): Prince Recorded: 7/11/1985 at Washington Avenue Warehouse in Edlina, MN; 8/13/1986 at Monterey Sound Studios in Glendale, CA Released: Parade (1986) About the Song: “All of the group’s musical adventures, even the cabaret-pop of Venus de Milo and Do U Lie? do nothing to undercut the melodicism of the record.” AM

Mountains Prince & the Revolution

Writer(s): Prince, Wendy Melvoin, Lisa Coleman Recorded: 11/30/1985 and December 1985 at Washington Avenue Warehouse in Edina, MN Released: 5/7/1986 as a single, Parade (1986), 4Ever (2016) B-Side: “Alexa de Paris” Peak: 23 BB, 19 CB, 23 GR, 21 RR, 15 RB, 45 UK, 45 AU, 18 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 5.8 video, 7.94 streaming About the Song: Prince & Co. are “determined not to play it safe, even on the hard funk of Girls and Boys and Mountains.” AM

Do U Lie? Prince & the Revolution

Writer(s): Prince & the Revolution Recorded: July 1985 at Washington Avenue Warehouse in Edina, MN; August 1985 at Monterey Sound Studios in Glendale, CA Released: Parade (1986) About the Song: “All of the group’s musical adventures, even the cabaret-pop of Venus de Milo and Do U Lie? do nothing to undercut the melodicism of the record.” AM

Kiss Prince & the Revolution

Writer(s): Prince, arranged by David Z (see lyrics here) Recorded: April 27-28, 1985 and January 14-22, 1986 at Sunset Sound in Los Angeles Released: 2/5/1986 as a single, Parade (1986), The Hits 2 (1993), The Very Best of (2001), extended version: Ultimate (2006), 4Ever (2016) B-Side: “♥ or $” Peak: 12 BB, 12 BA, 12 CB, 2 GR, 11 RR, 14 RB, 6 UK, 4 CN, 2 AU, 6 DF Click for codes to charts. Sales (in millions): 2.47 US, 0.4 UK, 2.87 world (includes US + UK) Airplay/Streaming (in millions): -- radio, 93.97 video, 508.74 streaming Covered by: Art of Noise with Tom Jones (charted 10/29/1988, 31 BB, 37 CB, 35 GR, 33 RR, 14 MR, 5 UK, 8 AU, 27 DF) About the Song: “The stunning Kiss” AM was the lead single from Prince’s eighth album, Parade. It “hits hard with just a dry guitar, keyboard, drum machine, and layered vocals.” AM Warner Bros. wasn’t sold on the song, but Prince insisted it be added to Parade and be released as a single. It marked his third trip to the pinnacle of the Billboard Hot 100, after 1984’s “When Doves Cry” and “Let’s Go Crazy.” This was his eighth top 10 hit and “one of the finest songs in Prince’s oeuvre.” TB The song was originally intended for the debut album for funk band Mazarati, formed by Mark Brown (aka “Brownmark”), who was the bassist with the Revolution. He asked Prince for a song and Prince “dashed off a minute-long bluesy acoustic demo for them.” SF Producer David Z worked on the song with the band, “giving it an irresistible funk groove.” SF Once Prince heard it, he took the song back, putting his vocals on the track but retained David Z’s “unique, funky rhythm and background vocal arrangement, along with Mazarati’s background vocals.” WK Brown told Uncut magazine that he let Prince have the song back because he was promised a songwriting credit, which would result in a big payday. The band, however, was not pleased and Brown didn’t get a credit or payment. He said, “I quit the band shortly after that. He treated me so bad.” SF This song prevented another Prince-penned song from reaching #1 – the Bangles’ “Manic Monday” stalled at #2 behind “Kiss.” It made him only the fifth songwriter (or songwriting team) to hold down the top two spots. FB Tom Jones and Art of Noise had a hit (#5 UK, #31 US) with their cover of “Kiss” in 1988. Maroon 5 covered the song for their deluxe edition of their Overexposed album. The song was nominated for a Grammy for Best R&B Song and won for Best R&B Performance by a Duo or Group with Vocals.

Awards: (Click on award to learn more).

Anotherloverholen yohead Prince & the Revolution

Writer(s): Prince Recorded: December 16-17, 1985 at Sunset Sound in Los Angeles; January 1986 at Monterey Sound Studios in Glendale, California Released: 7/2/1986 as a single, Parade (1986) B-Side: “Girls and Boys” (US), “I Wanna Be Your Lover” (UK) Peak: 63 BB, 74 CB, 18 RB, 36 UK, 13 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 4.0 video, 6.8 streaming

Sometimes It Snows in April Prince & the Revolution

Writer(s): Prince, Wendy Melvoin, Lisa Coleman Recorded: 4/21/1985 at Sunset Sound in Los Angeles; 7/27/1985 at Monterey Sound Studios in Glendale, CA; November 1985 at Advision Studios in London Released: Parade (1986) About the Song: “Even with all of its attributes, Parade is a little off-balance, stopping too quickly to give the haunting closer, Sometimes It Snows in April, the resonance it needs. For some tastes, it may also be a bit too lyrically cryptic, but Prince’s weird religious and sexual metaphors develop into a motif that actually gives the album weight.” AM

Resources/References: AM AllMusic.com review by Stephen Thomas Erlewine FB Fred Bronson (2007). The Billboard Book of Number One Hits (4th edition). Billboard Books: New York, NY. Page 633. BC Benoit Clerc (2022). Prince: All the Songs – The Story Behind Every Track. Octopus Publishing Group Ltd.: Great Britain PV PrinceVault.com SF Songfacts page for “Kiss’ TB Thunder Bay Press (2006). Singles: Six Decades of Hot Hits & Classic Cuts. Outline Press Ltd.: San Diego, CA. Page 222. WK Wikipedia page for Around the World in a Day WK Wikipedia page for “Kiss” Related DMDB Pages: First posted 3/23/2008; last updated 7/27/2025.

 

250 years ago: Bach's St. Matthew Passion premiered (March 30, 1736)

Last updated 11/20/2020.

St. Matthew Passion (Matthäuspassion), for soloists, double chorus, & double orchestra, BWV 244 (BC D3b) Johann Sebastian Bach (composer)

Composed: 1729-1736 First Performed: March 30, 1736 Peak: -- US, -- UK, -- CN, -- AU Sales (in millions): -- US, -- UK, -- world (includes US and UK) Genre: classical > choral

Parts/Movements: No. 1, "Kommt, ihr Tochter, helft mir klagen", Chorus "Da Jesus diese Rede vollendet hatte", Recitative for tenor "Herzliebster Jesu, was hast du verbrochen", Chorus a. "Da versammelten sich die Hohenpriester", Recitative for tenor b. "Ja nicht auf das Fest, auf dass nicht ein Aufruhr", Chorus c. "Da nun Jesus war zu Bethanien", Recitative for tenor d. "Wozu dienet dieser Unrat?", Chorus e. "Da das Jesus merkete, sprach er zu ihnen", Recitative for tenor & bass "Du lieber Heiland du", Recitative for alto "Buß und Reu' knirscht das Sundeerherz entzwei", Aria for alto "Da ging hin der Zwolfen einer, mit Namen Judas Ischarioth", Recitative for tenor & bass "Blute nur, du liebes Herz!", Aria for soprano a. "Aber am ersten Tage der süßen Brot'", Recitative for tenor b. "Wo willst du, daß wir dir bereiten", Chorus c. "Er sprach: Gehet hin in die Stadt zu Einem", Recitative for tenor & bass d. "Und die Junger taten", Recitative for tenor e. "Und sie wurden sehr betrubt", Recitative for tenor f. "Herr, bin ich's", Chorus "Ich bin's ich sollte büßen", Chorus "Er antwortet und sprach", Recitative for tenor & bass "Wiewohl mein Herz in Tranen schwimmt", Recitative for soprano "Ich will dir mein Herze schenken", Aria for soprano "Und da sie den Lobgesang gesprochen hatten", Recitative for tenor & bass "Erkenne mich, mein Hüter", Chorus "Petrus aber antwortete und sprach zu ihn", Recitative for tenor & bass "Ich will hier bei dir stehen", Chorus "Da kam Jesus mit ihnen zu einem Hofe", Recitative for tenor & bass "O Schmerz! hier zittert das gequalte Herz!", Recitative for tenor "Ich will bei meinem Jesu wachen", Aria for tenor "Und ging hin ein wenig, fiel nieder auf sein Angesicht", Recitative for tenor & bass "Der Heiland fällt vor seinem Vater nieder", Recitative for bass "Gerne will ich mich bequemen", Aria for bass "Und er kam zu seinen Jüngern und fand sie Schlafend", Recitative for tenor & bass "Was mein Gott will, das g'scheh' allzeit", Chorus "Und er kam und fand sie aber schlafend", Recitative for tenor a. "So ist mein Jesus nun gefangen", Duet for soprano & alto b. "Laßt ihn, haltet, bindet nicht", Chorus c. "Sind Blitze, sind Donner in Wolken verschwunden", Chorus "Und siehe, einer aus denen, die mit Jesu waren", Recitative for tenor & bass "O Mensch, bewein' dein' Sünde groß", Chorus "Ach, nun ist mein Jesus hin!", Aria for alto "Die aber Jesum gegriffen hatten", Recitative for tenor "Mir hat die Welt", Chorus a. "Und wiewohl viel falsche Zeugen herzutraten", Recitative for tenor & bass b. "Er hat gesagt: Ich kann den Tempel Gottes abbrechen", Recitative for alto & tenor "Mein Jesus schweigt", Recitative for tenor "Geduld, wenn mich falsche Zungen stechen", Aria for organ a. "Und der Hohepriester antwortet und sprach", Recitative for tenor b. "Er ist des Todes schuldig", Chorus c. "Da speiten sie aus in sein Angesicht", Recitative for tenor d. "Weissage uns", Chorus "Wer hat dich so geschlagen", Chorus a. "Petrus aber saß draußen im Palast", Recitative for 2 sopranos, tenor & bass b. "Wahrlich, du bist auch einer von denen", Chorus c. "Da hub er an, sich zu verfluchen und zu schworen sich verpflicht'", Recitative for tenor & bass "Erbarme dich, meine Gott", Aria for alto ["Have mercy, Lord"] "Bin ich gleich von dir gewichen", Chorus a. "Des Morgens aber hielten alle Hohenpriester Rat", Recitative for tenor & bass b. "Was gehet uns das an?", Chorus c. "Und er warfe die Silberlinge in den Tempel", Recitative for tenor "Gebt mir meinen Jesum wieder!", Aria for bass "Sie hielten aber einen Rat", Recitative for tenor & basses "Befiehl du deine Wege", Chorus a. "Auf das Fest aber hatte der Landpfleger", Recitative for tenor, soprano & bass b. "Lass ihn kreuzigen/Sie sprachen: Barrabam!", Chorus "Wie wunderbarlich ist doch diese Strafe!", Chorus "Der Landpfleger sagte: Was hat er denn Ubels getan?", Recitative for tenor & bass "Er hat uns Allen wohlgetan", Recitative for soprano "Aus Liebe will mein Heiland sterben", Aria for soprano a. "Sie schrieen aber noch mehr und sprachen", Recitative for tenor & bass b. "Lass ihn kreuzigen", Chorus c. "Da aber Pilatus sahe, dass er nichts schaffete", Recitative for tenor & bass d. "Sein Blut komme uber uns", Chorus e. "Da gab er ihnen Barrabbam los", Recitative for tenor "Erbarm' es Gott! Hier steht der Heiland angebunden", Recitative for alto "Können Tränen meiner Wangen", Aria for alto a. "Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich", Recitative for tenor b. "Gegrüßet seist du, Jüdenkönig", Chorus c. "Und speieten hin an", Recitative for tenor "O Haupt voll Blut und Wunden", Chorus "Und da sie ihn verspottet hatten", Recitative for tenor "Ja! freilich will in uns das Fleisch und Blut", Recitative for bass "Komm, süßes Kreuz", Aria for bass a. "Und da sie an die Stätte kamen, mit Namen Golgatha", Recitative for tenor b. "Der du den Tempel Gottes zerbrichst", Chorus c. "Desgleichen auch die Hohenpriester spotteten sein", Recitative for tenor d. "Andern hat er geholfen", Chorus e. "Desgleichen schmahete ihn auch die Morder", Recitative for tenor "Ach, Golgatha, unsel'ges Golgatha", Recitative for alto "Sehet, Jesus hat die Hand uns zu fassen ausgespannt", Aria for alto & chorus a. "Und von der sechsten Stunde an ward eine Finsternis", Recitative for tenor & bass b. "Der rufet den Elias", Chorus c. "Und bald lief einer unter ihnen", Recitative for tenor d. "Halt laß sehen", Chorus e. "Aber Jesus schriee abermal laut", Recitative for tenor "Wenn ich einmal soll scheiden", Chorus a. "Und siehe da, der Vorhang im Tempel zerriß", Recitative for tenor b. "Wahrlich, dieser ist Gottes Sohn", Chorus c. "Und es waren viel Weiber da", Recitative for tenor "Am Abend, da es kuhle war", Recitative for bass "Mache dich, mein Herze", Aria for bass a. "Und Joseph nahm den Leib", Recitative for tenor b. "Herr, wir haben gedacht", Chorus c. "Pilatus sprach zu ihnen: Da habt ihr die Huter", Recitative for tenor & bass "Nun ist der Herr zur Ruh gebracht", Recitative for bass, tenor, alto & soprano "Wir setzen uns mit Tranen nieder und rufen", Chorus Average Length: 168:40

Rating: 4.065 out of 5.00 (average of 4 ratings) Awards:

About the Work: “It is unclear exactly how many Passion settings Bach wrote: perhaps but not likely five, possibly three or four. Only two survive today; the second of these, the St. Matthew Passion dates from 1729. The Passions, Biblical texts set as large-scale musical works, were performed on Good Friday and told the story of Christ's Crucifixion, according to the Gospels.” AC “The St. Matthew Passion is a work very different in character from its extant predecessor, the St. John Passion: the former is deeply devotional, introspective, and meditative in character, while the latter is more intensely dramatic, with more action in its narrative. The St. Matthew Passion is often compared with Bach’s monumental Mass in B minor in terms of both scope and piety. Performed at St. Thomas’ Church in Leipzig, the work sets a text by Christian Picander (who may have been the author of a hypothetical, now-lost 1725 Bach Passion). Another significant difference between the St. John and St. Matthew works lies in their respective texts: the St. John text is very short, beginning with Judas’ betrayal of Christ, and focusing on Christ’s trial before Pilate; the St. Matthew text, on the other hand, is very long, containing almost twice as many verses as the St. John text.” AC “The St. Matthew Passion is also much grander musically, with its two four-part choirs and large orchestra of strings, flutes, oboes, harpsichord, and organ. Bach makes particularly poignant and varied use of his two choirs in this piece; they are heard representing the voices of different communities of believers, and also of the clamorous, derisive crowds at the Crucifixion. One celebrated aspect of the work is the way Bach uses the instrument groups to achieve various text-painting effects; a halo around Christ is suggested, for example, by the soft, sustained chords of a string ensemble, and Bach depicts the weariness of Christ on the road to Calvary with a deep pedal point. Like the St. John Passion, the St. Matthew Passion contains both Gospel text and hymn text, and both employ recitatives, arias, and choruses.” AC “The similarities between Bach’s Passions and the Catholic oratorio genre are striking. The Passions are, like the oratorio, a kind of religious opera; as in that more overtly dramatic genre, arias serve as a vehicle for lyrical expression and recitatives to advance the textual narrative. The central figure, both musically and dramatically, in the St. Matthew Passion is the Evangelist (a tenor), who narrates the story. The nature of his purely narrative, non-participatory, role is made clear through his confinement to passages of recitative; he is never afforded the opportunity for more expansive lyricism. This mode of expression falls to the other vocal soloists, who adopt the personae of those involved in the drama and give them voice.” AC “The score is best appreciated as a whole, in which context the dramatic sweep and spiritual conviction of the work are abundantly clear. However, there are a number of notable highlights that are frequently excerpted. These include the soprano aria Blute nur, du liebes Herz, the alto aria Erbarme dich, which incorporates an obbligato violin, and the bass aria Mache dich, mein Herze, rein.” AC

Resources and Related Links: DMDB encyclopedia entry for Johann Sebastian Bach AC Alexander Carpenter, All Music Guide

Dennis DeYoung charted with Back to the World

Back to the World Dennis DeYoung

Charted: March 29, 1986 Peak: 108 US Sales (in millions): -- Genre: rock

Tracks: Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts. This Is the Time [3:57] (6/28/86, 93 US, 32 AC) Warning Shot [4:27] Call Me [4:49] (3/15/86, 54 US, 5 AC) Unanswered Prayers [6:37] Black Wall [5:53] Southbound Ryan [4:43] I’m So Lucky [4:43] Person to Person [4:57] All songs written by Dennis DeYoung.

Rating: 3.288 out of 5.00 (average of 10 ratings) Awards: (Click on award to learn more).

About the Album: Dennis DeYoung’s first solo album, Desert Moon, suggested he might do okay as a solo artist in his post-Styx career. The title cut followed the template he’d established with top-10 ballads like “Babe” and “Don’t Let It End” and gave him yet another top-10 hit. However, the follow-up single tanked at a mere #83 and the album failed to replicate the top-10, platinum-status of the five Styx albums that preceded it. With his second solo outing, Back to the World, DeYoung turns in a stronger overall effort that seemed like it might have more commercial appeal. The lead single, Call Me, seemed like another surefire hit ballad. Alas, it didn’t even reach the top 40 on the Billboard pop charts. It was, however, a top-5 adult contemporary hit. With an appearance in the movie The Karate Kid, Part II, the more uptempo This Is the Time felt like another potential hit. Unfortunately, it flopped as well, only reaching #93 on the Billboard Hot 100. Still, the album felt like a stronger effort than its predecessor. Gone was the goofiness of songs like “Boys Will Be Boys,” replaced by more contemplative, serious-issue songs like Black Wall. Reminiscent of Billy Joel’s “Goodnight Saigon” from a few years earlier, DeYoung reflects on the perils of life as a Vietnam vet without having experienced the trauma himself. It felt like the kind of song that should have been a minor hit at album-rock radio, which had embrace so much of DeYoung’s work with Styx. It wasn’t. Similarly catchy is Southbound Ryan. The song shows DeYoung’s fondness for looking back, but does so in an upbeat, less sentimental fashion. Of course, one man’s treasure is another man’s trash. All Music Guide’s Stephen Thomas Erlewine panned it as a “robotic rocker” AMG which “sounds as if it was designed for a dream Beverly Hills Cop II.” AMG He similarly disliked “the Broadway-bound Person to Person” AMG and called Unanswered Prayers “a small-scale reworking of ‘Desert Moon.’” AMG Of course, he didn’t consider the latter a bad thing, as he praised the song as the highlight of the album, “graced by synthesized electric sitars.” AMG He said “this record distills every bad mainstream production idea of 1986” AMG along with DeYoung’s “schmaltzy side” AMG and “razzmatazz that seems all the more overblown when it’s filtered through stacks of synthesizers.” AMG Fans of DeYoung’s music learned long ago that heavy doses of sentimentality comes with the territory. As for sounding of its time, that’s a popular criticism from critics who like to attack music for not aging well, but I don’t see the problem. Music is rarely created with longevity in mind and, as far as 1986 albums go, I think this works just fine.

Resources and Related Links: AMG All Music Guide review by Stephen Thomas Erlewine WK Wikipedia First posted 6/5/2021; updated 6/7/2021.