this album (the track was not updated further for release, unlike the other "old" songs). Prince also kept the original segue of party noise at the start of the song (this time segueing from "We Can Funk" on this album instead of "The Ball" when "Joy In Repetition" was placed on Crystal Ball in 1986) which is also heard at the end of "Eye No", leading into "Alphabet St." on Lovesexy. The title track (from 1987) was updated for the album as well as "Elephants & Flowers" (from the 1988 unreleased Rave Unto the Joy Fantastic album) and "The Latest Fashion" (later given to the Time for "Corporate World" album). "Melody Cool" and "Still Would Stand All Time" were intended for Rave Unto the Joy Fantastic album and were later performed in some Lovesexy aftershows. "Still Would Stand All Time" was later considered for Batman, but was replaced by "Scandalous". The four tracks featuring the Time were originally going to be on their unreleased Corporate World album, recorded in 1989, though "The Latest Fashion" reuses music from "My Summertime Thang" from their album Pandemonium. "New Power Generation" was originally recorded in 1982 as "Bold Generation". The only truly "new" compositions recorded for the album were "Round and Round" and "Thieves in the Temple". The latter song was the final track recorded for the album, recorded in early 1990. The B-side "Get Off" would soon be incorporated into Gett Off the following year. Critical reception Graffiti Bridge received positive reviews from contemporary critics, who praised Prince's songwriting and the variety of the music while deeming it an improvement over 1988's Lovesexy. Time magazine hailed the record as a "groovable feast", while Q claimed it was "practically impossible to choose anything that doesn't deserve to be there. How long is it since that can honestly be said about a Prince album?" In Entertainment Weekly, Greg Sandow said the album was likely a "masterpiece" that found Prince rediscovering his ability to cover different styles effortlessly. Rolling Stone reviewer Paul Evans credited him for lending a "sharper focus", "harder groove", and emphasis on funk and rock rather than "the feckless genre dabbling" of albums such as Lovesexy and Around the World in a Day (1985). Evans also believed Prince's catchy compositions helped make the "omnivorous mysticism" of his lyrics "newly convincing — convincing, but still startling, sensual and freeing". Greg Kot, the Chicago Tribunes