There are albums that shimmer with impossible ambition, records that sound like they were beamed in from some parallel dimension where pop music never surrendered its claim to sophistication. In the mid-to-late 1980s, while synthesizers ruled the airwaves and production grew increasingly bombastic, Paddy McAloon was writing songs of such disarming tenderness and linguistic agility that they seemed to exist outside time entirely. With Thomas Dolby’s production expertise, Prefab Sprout created two albums – Steve McQueen in 1985 and Jordan: The Comeback in 1990 – that stand as monuments to what pop music can achieve when intelligence and emotion . . .
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