Yeah, that skinny motherfucker with the high voice released a film in 1987 as well.
Of course, you won’t know my (scientifically correct) opinions on the accompanying album of the same name until the end of year list, but I think it’s fair to say that the March release of Prince’s ninth album had been reasonably well received in 1987. He chose to mark the release with a tour of Europe, which He’d grown attached to since filming ‘Under the Cherry Moon’ in France the year before. Prince never liked long roll outs and advance warnings for tours and gigs, preferring to perform as spontaneously as logistically possible when you’re filling stadiums. This was obviously very fulfilling artistically, but in practice it was a huge pain in the arse for the circle of people around you who were forced to put your insane ideas into practice with little to no notice. Like when you’re tour manager Jeff Mason and Prince has decided He has very specific designs based around the concept of the soon to be iconic record sleeve:
“Prince handed me an 8.5 inch by 11 inch piece of paper with some doodles on it. He was detailing a set. He just tore it from a notebook and said to me ‘Make this'”
taken minutes before JDB retired to the lounge with a cigar and a cognac
Five years ago, serious illness and a COVID-indulged lighter workload allowed me time to complete perhaps this blog’s central achievement when I named and shamed the 100 Greatest Manic Street Preachers songs ever. Well five years is a long time in the heated Manics Discourse that is constantly firing back in forth in my brain*, and the list is already looking dangerously out of date. The petard that I have chosen to hoist myself upon is doing the entire list again. Kinda…
I say “Kinda” because the list won’t be radically different. There are nineteen new entries, occasionally representing the two Manics albums released since the last run down (‘The Ultra Vivid Lament‘ did technically come out before the list was finished, though there was only time to include the album’s lead single Orwellian at #93), and also older tracks that I’ve rediscovered. A lot of the written entries will be the same as they were in 2021 – because, come on now, I’m not going to mess too much with perfection – though there will be a handful of edits, often based on information revealed in Keith Cameron’s new bible ‘168 Songs of Hatred and Failure‘, released in 2025. Some big songs miss out this time: some moxey of me to quote The Masses Against the Classes in the opening line then not even include the silly yet lovable thrash-along that finished #66 last time. With space on the list at a premium, I’ve also decided not to include covers in the 2026 edition, so farewell Didn’t My Lord Deliver Daniel (#68) and – tragically – Umbrella (#37).
““I am nothing, but I must be everything”
(*the doctors actually consider it a serious enough mental issue that I need to wear tags and report to the police every Wednesday. Or maybe that’s because of all those articles about Palestine. Or the dick pics I sent to that primary school message board. Difficult to pinpoint)
Crucially, for the first time, every Manics album will be represented. Yes, even that one. At different points during the 2021 countdown and the statistical breakdown, I described 2010’s ‘Postcards From a Young Man‘ as an “audio abortion”; “an embarrassingly overproduced, butter upon bacon mess”; “an artistic and logistical disaster”; “artistic cancer”; a “genocide of inventiveness”; and “worse than Hitler”, and suggested that upon releasing the album the band “shit the bed so hard that they suffered a pelvic organ prolapse”. I, of course, stand proudly by all of those statements and have just relished the opportunity to repeat them. However, although the album as a whole is still an abomination which should never be spoken of… a couple of songs made it in this time… It’s not even the album with the least tracks, I don’t know what to believe anymore.
So you’ll read about songs from ‘GT’ (‘Generation Terrorists’), ‘GATS’ (‘Gold Against the Soul’), ‘THB’ (‘The Holy Bible’), ‘EMG’ (‘Everything Must Go’), ‘TIMTTMY’ (‘This is My Truth Tell Me Yours’), ‘KYE’ (‘Know Your Enemy’), ‘LB’ (‘Lifeblood’), ‘SATT’ (‘Send Away the Tigers’), ‘JFPL’ (‘Journal for Plague Lovers’), ‘PFAYM’ (‘Postcards From a Young Man’); ‘RTF’ (‘Rewind the Film’), ‘RIF’ (‘Resistance is Futile’), ‘TUVL’ (‘The Ultra Vivid Lament’), ‘CT’ (‘Critical Thinking’) and ‘Futurology’. Yeah, I always spell that last one out in full. Calling it ‘F’ just seems naff. Especially for an album I’d give an ‘A’ to ammi right lads?!?!?! We have a lot of fun here.
L-R: Nicky, JDB, Sean, Richey (lying down)
Similarly, I’ll often be referring to the band members far too casually as ‘Sean’ (Moore, drummer), ‘Richey’ (Edwards/James, ex lyricist), ‘JDB’ (James Dean Bradfield, singer and guitarist) and ‘Nicky’ (Wire, bass player and lyricist). Or sometimes ‘Wire’. I really never settle on what I’m calling Nicky Wire, which I like to think reflects my conflicted opinions on the guy in the big old twenty-two-six.
Yeah, I was completely baiting you when I said that this 1986 stone cold classic and eighth stop on our annual trawl through the most interesting back catalogue in 20th century pop might have been named the best album of 2025. It isn’t, and no Prince album on this journey ever will be named as the album of the year: While these annual lists can contain records from all kinds of points in recent and ancient musical history (this year’s list already has ancient texts dating all the way back from 2022), the #1 album always needs to have been released in the qualifying 12 month period. I’m not saying that my personal favourite ever Prince album would have been named #1 if it could, all I’m saying is that it couldn’t. It also means the competition announced on Christmas Day is still open! Nobody’s won it yet! Nobody’s entered it, admittedly, but I assume that’s because all my millions (and millions!) of readers are still just thinking really hard about it.
By 1986, it had essentially always been Prince and The Revolution. Ever since Prince needed a backing band to tour his recently released (and completely self-composed) debut album in 1979, that group (Dez Dickerson on guitar and backing vocals, Andre Cymone on bass guitar, Bobby Z on drums and percussion, Gayle Chapman on keyboards and, obviously, Matt “Dr.” Fink on keyboards) may not have had an official name yet, but they were the first building blocks of what would soon become by far and away Prince’s greatest ever collaborators. When Gayle Champman was replaced by Lisa Coleman in 1980 and Brown Mark replaced Andre Cymone the year after, this thrillingly tight and unbelievably exciting live band were considered at least enough of a part of the Prince package to be given… a hidden backwards credit on the ‘1999‘ album cover.
I’m sorry, am I actually losing my fucking my mind here? Is this some bizarrely specific psychotic hallucination that I’m suffering? Is everyone else suffering mass psychosis here?? Is it a mind virus or something? Did all you idiots catch it from TikTok? Everyone else seems to use that apart from me, so that might explain this apparent lunacy.
Hey, I don’t want to sound like I’m not open to debate: if you want to argue that I’ve actually been far too harsh on this modern rock masterpiece, and that it should rightfully be far closer to the number one spot. I hear you, I really do, and can only defend myself by arguing that there have been three albums released this year that are even greater pieces of genius. Also, erm, spoiler alert but there’s a Prince album to come and all. In the interests of BBC-like ‘Both Sides‘ bullshit, I will also listen to even the most insane and backward opinion that suggests that ‘The Scholars‘ would merely be a top ten album, probably delivered while the questioner dribbled out of the side of their mouth and softly pissed themselves. But to suggest anything lower than that is akin to suggesting that not only does man made global warming not exist, but it’s a huge conspiracy thought up by a still living Elvis Pressley as he controls the narrative from the same studio that he faked the moon landing based in the outer reaches of the flat Earth. I’m sorry, sir, but you are obviously an imbecile whose opinions are flimsier than drunk ape’s attempt at Jenga.
And yet, ‘The Scholars‘ received pretty good reviews and was barely mentioned when general discussions of the year’s best took place.
The eighth Prince album ‘Parade’ was released in 1986. It has twelve songs on it. Is it any good? Mate, spoiler alert! You’ll find out if I think it’s a stinker when I list the 2025 Necessary Evil albums of the year!
Previously though, I have included tracks from Prince’s albums in my Legit Bosses countdowns of the best songs of the year. But that’s not really fair, is it? When He was listed as the joint best song of 2024 people were piiiiiiiiiiiissed!
So I’m going to give Prince His own dedicated countdown, at least in the near future, simply ranking all the songs that He recorded between His last album, 2024’s ‘Around the World in a Day‘, and 2025’s ‘Parade’. So, ranking ‘Parade’s twelve tracks, right?
Well… no… I could never settle on an exact number, but Prince recorded somewhere between 60 and 100 original songs in the eleven month period between the two albums. Eleven of them would appear on ‘Parade’; one would appear on His 1987 album ‘Sign ‘O’ the Times’; a handful would appear on future albums; some were given to protegees and other artists (including one that was famously taken the fuck back); and many are instrumental jams that were… maybe… never going to be released, but Prince was planning an instrumental jazz album at the time so it’s impossible to say.
We are now entering Prince’s most prolific period: in the next two or three years He would plan and then cancel at least four separate albums, countless side projects, a damn play, He would split up His band, start to question whether Warner Brothers were working in His best interests; and launch a near impossible to count number of failed protégées. It’s quite a ride.
Oh, and that 23rd April 1985 (when ‘Around the World in a Day’ was released) to 31st March 1985 (‘Parade’) timeline is occasionally loosely applied by a week or so (and, in one case, two fucking months). I’ve gone with the first recording of each song, as otherwise we have no idea (so, obviously, thanks a billion to https://princevault.com/.
Arise ye pris’ners of starvation Arise ye wretched of the earth For justice thunders condemnation A better world’s in birth! No more tradition’s chains shall bind us Arise, ye slaves, no more in thrall; The earth shall rise on new foundations We have been naught we shall be all.
1984’s ‘Purple Rain’ was an incredible – and completely illogical – success. That film starred an at the time moderately successful pop star in their first acting role; an ensemble cast that was essentially made up of people that moderately successful pop star was either in a band with, was mates with, or was shagging; a script that had gone through several rewrites and rejections until eventually being shaped by a television writer building on that moderately successful pop star’s own bonkers ideas; and was also directed by an unknown debutant who’s recently edited an absolute flop. And who was far from the first choice.
The film made $70 million off a $7 million budget, picking up an Oscar as well for its troubles. Shit, thought Warner Brothers, We don’t understand it at all but this guy just shits money, maybe just do whatever He wants in future? When Prince said to Warner Brothers in 1985 that He was thinking of making another film, they greenlit the idea without even seeing a script. ‘Purple Rain’ was a monster hit when it starred a moderately successful pop star, now we’re getting the same shit again only now it’s by the biggest star in the world?? We could be talking Rocky IV numbers!!
Sigh, I guess I should explain the rules again? To be honest, if this is one of your first times reading The Most Trusted Voice in Music then you really should start with the first post from December 1st 2014 and then read through the next 791 entries (or “chapters”, as I like to think of them) until you’re ready to read this post. Necessary Evil might be oversimply referred to as a ‘Blog’, but it’s actually more of an epic tale – a poem, really – that only sampling parts of risks lessoning its artistic impact. What’s happened to this generation’s attention spans?
All albums featured on the Necessary Evil best of year countdown since 2007
There were three new Legit Bosses crowned on the the 2024 list, and here’s my ranking of their three albums so far, which will soon be added to the ongoing Hall of Fame.
And, excitingly, for the first time this year we have two artists that have brought great shame on their careers, their legacies, and their entire families by dropping out of the Gold Star Artist Hall of Fame. Both (predictably) Soccer Mommy and (perhaps surprisingly) Illuminati Hotties released records in 2024 that weren’t considered good enough for the end of year lists, so they are forever banished to the dreaded Ex-Gold Star Graveyard. There, they are both feted to rot for eternity. A ridiculously harsh ‘punishment’ for the supposed crime of releasing a record that I didn’t think was quite as good as their previous three+? Especially tough considering Soccer Mommy’s previous three albums were all released before the list shortened to 40 albums and all finished outside the top 40, so could arguably be being punished for remaining as good as they ever were?
Yes.
Sorry, SJW cuck snowflakes, take your woke ideas of fairness and ‘not treating people like shit’ back to Libtardia. This is Necessary Evil. We hit harder here.
Hey, look, I’m getting better at this. Recently, I went on a massive cull of the 2024’s greatest songs to make this list as tight and as concise as possible, so that it would be sure to represent the absolute best of the best and would be as brief and easy to write as possible. And look! There are only one hundred and forty three tracks this year!! That’s a whole seventeen less tracks than last year! This post is going to be a breeze!
OK, three weeks laternow, and I’m almost done! This post will be longer than most books you read, but to be fair most of the ‘books’ you read are Dr Who fanfic.
So, yeah, these songs are really good. And they get better as the list goes on. That’s how these lists work.
January 28th 1985 was a shade over seven months since Prince had released one of the greatest selling albums of the year – which would eventually grow to a 25 millioner amongst the best selling albums of all time – ‘Purple Rain‘ – and He had ten nominations at that night’s American Music Awards that He was attending. There was a special buzz around that night’s particular AMAs, part of which revolved around Prince going up against His eternal rival Michael Jackson in several categories. This was a non event though, as Prince won awards for Favorite Pop/Rock Album, Favorite Soul/R&B Album and Favorite Soul/R&B Song forWhen Doves Cry, while Jackson (moon)walked away with nothing. Anyway, in a series of decisions that history was sure to look kindly on, neither Prince nor Jackson could compete with Lionel Richie, who walked away with six awards including Favorite Soul/R&B Male Artist and Favorite Soul/R&B Male Artist. Prince’s performance of Purple Rain that night – which Billboard would later name as the greatest performance in the awards’ history – would ensure those decisions would look immediately ridiculous.
But the 1985 AMAs were most notable for the fact that, right after the ceremony that night, this absolute royalty of popular recording artists would – rather than spend the night covered in so much gak that their face resembled Elizabeth I and being serviced by heavily narcoticised groupies whom IDs was encouraged not to be checked by the entourage, as would usually be the case for successful music artists in the 80’s – they would all be whisked off to the Hollywood AGM studios to record We Are the World, a song written by Michael Jackson and Lionel Richie and produced by Quincy Jones to benefit ‘USA for Africa‘ (America’s version of Band Aid). It would become the fastest selling single in US history and serve as the climactic singalong at that July’s Live Aid Philadelphia concert.
I’ve got the poise of a newborn giraffe And I feel like I’ve fallen off the wagon My moves are quite clearly unchoreographed My comportment like that of a Komodo dragon
…
You deactivate my defense mechanisms I think I’m coming unglued, I have emotional whiplash I cannot brandish my trademark aloof cynicism I’ve taken up macramé, just to deal with the backlash
Oh, what’s that, Alan Sparhawk, you’ve done some experimentation on your new album? Played around with vocal and electronic effects? Crafted something different than what you’ve done previously and embraced a new sonic guise with your new record? That’s cute.
