Quote:
Originally Posted by vivfox
The interesting thing about Oh Daddy for me is how it takes on many different forms depending on what performance I am listening to. In 1978 when I was playing the Rumours album on a daily basis it was a track I would skip over every time. It simply bored me. Then throughout my bootleg album faze in the late 70's and early 80's it was a run to the bathroom song. Because it was always performed right after Rhiannon it made it harder for me to get into because I had the powerhouse Rhiannon followed by the 'let me slow you down' Oh Daddy, when I wanted to continue rocking out. But then in the 1990's when my bootleg collection really expanded I took the time to really get to know this and greatly appreciated Christine's vocals in the live setting. The Tusk tour versions are my fave. 1980 was the peak performance of this song as far as I am concerned.
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I will admit when I bought Rumours and listened to it the first few times it was my least favorite song on the album. But over the years the music track has grown on me and it is pure magic. It makes me want to put on a cape and dance around a foggy sunrise somewhere in England. It has that impact on me. Oddly enough, Only Over You was my least favorite on Mirage the first year and Storms was my least favorite on Tusk. It took me years to appreciate those songs and realize how brilliant they are. The trouble is they are not what I would call "surface songs." They are deeper than just your typical album song. I can listen to Chris's keyboard playing forever on Oh Daddy. I really wish there was an extended 15 minute version. Mick's percussion is so cool and Lindsey's guitar meshed with Chris's playing can raise the hair on my neck.
I agree with you that Oh Daddy is hard to get that magic on stage. I also agree the Tusk tour versions are best. The Buck/Vie tour in small venues would have been such an opportunity for the song.