Clark’s song, My Baby Wants A Baby, pulls in the opposite direction, listing all the ways she’ll fail as a partner and a parent.
By the time of her last record, Masseduction, the music was so tightly coiled it seemed ready to pounce.
While making the album, Clark posted a photo from the studio, where she’d pinned up the phrase: “dead meat”.
At the time, she said the album was about exploring power and who wields it – emotionally, sexually and financially.
Backed by humming Wurlitzer organs and loping, elastic bass lines, Clark sounds relaxed, loose, even soulful.
“I realised I was obsessed with music when I was really young.
As a teenager, she got her formal education on the road, touring with her uncle’s jazz band.
And Daddy’s Home is no exception, populated by party girls who get “red wine-lipped a little early” or the high-heeled woman who’s thrown out of a playground by disapproving mothers.
“That’s maybe a little out of step with the times but, hell, everyone is a flawed person doing their best to get by.
And she’s glamorous in a way where you feel like she would stick you with a shiv if you messed with her.