Jordan: The Comeback is the fifth studio album by English pop band Prefab Sprout, released by Kitchenware Records and CBS on 28 August 1990. A 19-track album encompassing a variety of musical styles and themes, Jordan has been considered by the band and critics alike to be Prefab Sprout's most ambitious project. The album was produced by Thomas Dolby, who had helmed the band's acclaimed 1985 album Steve McQueen but had been unable to commit to the entirety of its 1988 follow-up From Langley Park to Memphis. Frontman Paddy McAloon divided the album thematically into four segments – straight pop material, a suite about Elvis Presley, love songs and a section on "death and fate". Often touching upon religion and celebrity, the songs allude to figures including Jesse James, Agnetha Fältskog, God and the Devil. Upon release, the album received widespread acclaim with comparisons made to the Beach Boys' Pet Sounds, the Beatles' White Album, Prince's Sign o' the Times and the work of Phil Spector. It was also a commercial success, peaking at number 7 on the UK Albums Chart. The album's singles were less successful – "Looking for Atlantis" and "We Let the Stars Go" peaked at number 51 and number 50, respectively, on the UK Singles Chart while Jordan: The EP peaked at number 35. The album was nominated for Brit Award for British Album of the Year at the 1991 Brit Awards. Background and recording Following the release of the successful From Langley Park to Memphis (1988), frontman Paddy McAloon spent around a year writing and recording demos for Prefab Sprout's next album. He created home recordings more elaborate than those for previous albums and wished for the project to resemble a Disney movie soundtrack produced by Trevor Horn. McAloon kept in contact with collaborator Thomas Dolby, described by Giles Smith of The Independent as "a producer who works from a sound-library of other-wordly squeaks and shimmers". When Dolby received a demo tape, he considered many of the songs so complete that there was little he could do to improve them. McAloon, however, felt strongly that the album needed to be made in a professional recording studio. He ultimately considered Dolby's contribution in the studio so great that, barring a few tracks, he was a de facto band member on the album. Recording commenced in June 1989, with the album title announced the same month in