That album was considered the 'first shot fired' in the digital-era loudness war. Yes, it used DRC primarily as a means to make the songs as loud as possible, rather than just to glue the individual elephants I mean elements! together.
A little later on, increasing amounts of peak-limiting were combined with that DRC to get subsequent artist' albums even louder. Albums on CD finally sounded the way - Carly Simon once told her producer how she wanted her next(1986?) album to sound - like they did on WHTZ 100FM in New York! Then the major labels realized they had a problem with their legacy(pre-1990s-pre-Loudness) catalog...
..CD issues from before then were suddenly 'not loud enough'(compared to 'What's The Story, etc.) in the 'iPods' of that decade: domestic and car CD changers! And consumers were complaining. And so began the most aggressive round of 'remastering' in recorded music history, with compressed or brickwall-limited CD reissues of everything from ABBA to ZZ Top. Packaged in fancy gold- or platinum-trimmed CD cases with "DIGITALLY REMASTERED for SUPERIOR SOUND" printed on the jackets.
I've even had a few mastering engineers - on GearSlutz and Head-Fi, proclaim that those earlier original CD issues "weren't properly/ professionally" mastered: That is, not hyper-compressed and/or brickwall limited all to schitt! 🤦♂️
That last part describes what is considered 'mastering', at least in the modern popular(CHR, Hip-Hop, Country) genres, nowadays.