![]() ![]() “This character is like the fixture in a 2021 psychedelic blues. But I'm also Daddy, too, now.” Here, Clark guides us through a few of the album’s key tracks. It’s playing with it: Am I daddy's girl? I don't know. “Part of the title is literal: ‘Yeah, here he is, he's home!’ And then another part of it is ‘It’s 10 years later. “I wanted to make sure that even if anybody didn't know my personal autobiography that it would be open to interpretation as to whether Daddy is a father or Daddy is a boyfriend or Daddy is a pimp-I wanted that to be ambiguous,” she says. It’s as much about our capacity to evolve as it is embracing the humanity in our flaws. Recorded with MASSEDUCTION producer Jack Antonoff, Daddy’s Home draws heavily from the 1970s, but its title was inspired, in part, by recent events in Clark’s personal life: her father’s 2019 release from prison, where he’d served nearly a decade for his role in a stock manipulation scheme. I wanted to make new stories with older sounds.” That was the wheelhouse that I wanted to play in. “I was raised on Steely Dan records and Stevie Wonder records like Innervisions and Talking Book and Fulfillingness’ First Finale. “But there's only so far you can go with that before you're like, ‘Oh, what's over here?’” What Clark found was a looseness that came from exploring sounds she’d grown up with, “this kind of early-’70s, groove-ish, soul-ish, jazz-ish style in my head since I was a little kid,” she says. “That record was very much about structure and stricture-everything I wore was very tight, very controlled, very angular,” she tells Apple Music. Vincent mastermind Annie Clark was in search of change. ![]()
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