Prince’s brief rockabilly fascination started, according to Dez Dickerson, with them seeing the Stray Cats in London and being so in awe of the band they both started styling their hair like them. It ended a year or two later with Prince’s ultimate take on the genre: Delirious. Along the way he churned out several lesser attempts – with B-side Horny Toad and Controversy’s Jack U Off the only two he saw fit to release – but with Delirious he found his sound and could hang up his blue suede shoes (although not his pompadour which would make several later appearances) for good. It’s little wonder why a genre initially deemed too black for country radio and too white for R’n’B stations would appeal to someone trying to escape radio segregation himself. And this may be another reason why he abandoned the genre post-1983. Little Red Corvette proved to be his skeleton key to unlock the pop, rock and R&B charts but if Delirious had bridged the divide instead would Purple Rain have been an album of synthy 8 bar blues and Elvis impressions? I shudder to think. Luckily, in this universe’s timeline Delirious remains the culmination of a flirtation. A quirky counterweight to the scary techno future that’s unfolding around it. The rest of the album casts its hooks deep into your psyche, activating dark, unexplored areas you have no name for. Delirious aims for the big red button in your sternum marked ”goofing off’. Listen to the Indigo Nights rendition and it has the same effect. Break glass in case of dangerous levels of seriousness. You can see why Eddie Murphy borrowed the title.