St. Vincent’s ‘Daddy’s Home’ draws from many sources

“Daddy’s Home,” the latest album by St. Vincent, which is being released on Friday, reveals how much of an impact her father’s record collection had on the daring singer-songwriter. The leadoff track, the haunting funk of “Pay Your Way in Pain,” sets the playful, groove-laden tone.

St. Vincent, aka Annie Clark, goes contemporary country with the gorgeous “Somebody Like Me.” Clark surprises with a tip of the cap to Sheena Easton and takes the bouncy route with the 1980s pop queen’s “My Baby Takes the Morning Train” during the soulful “My Baby Wants a Baby.”

The title track is revelatory. The tune provides details regarding her father, who was recently released from prison after serving nine years for fraud. It’s obvious that Clark’s father has an enviable record collection since there are shades of Lou Reed, Stevie Wonder and Joni Mitchell in the mix.

The influence of Clark’s hero, David Bowie, is all over “Daddy’s Home.” It’s apt since much like the late Thin White Duke, Clark remains sonically adventurous. Clark, 38, has been very consistent since the release of her debut album, 2007’s “Marry Me.” However, after releasing seven solo albums and 2012’s “Love This Giant” with David Byrne, Clark has yet to be embraced by the mainstream.

It’s curious why the artsy chameleon hasn’t reached the upper echelon. Clark is gifted, stylish and attractive. However, she doesn’t play the game. In a music world in which fame is currency, Clark hardly screams for attention, which is laudable.

Byrne, who after recording and touring with Clark in 2012, admitted that he didn’t know her any better at the end of the jaunt than he did when they embarked on their professional relationship.

It’s not as if Clark is dishing about her father’s lost decade behind bars. The Daily Mail dug up the dirt in 2016. Even though Clark does appear in seductive attire in magazines and her album art, she usually keeps it close to the vest during interviews.

After being questioned about her sexuality after her relationship with model Cara Delevingne ran its course five years ago, Clark wouldn’t commit to a gender when it comes to relationships. She speaks of sexual fluidity and is often artfully evasive. It’s more fun to keep fans guessing when it comes to personal life and music. Less is really more.

It’s a reminder of classic Led Zeppelin and Pink Floyd albums that failed to feature members of the band on the cover of the records. It’s not quite the same with Clark, but there are similarities with those rock icons who are among her heroes. The idiosyncratic Grammy Award winner knows what she wants and gets it.

Under-heralded saxophonist Kamasi Washington, who played on the catchy track “Pills” from Clark’s 2017 album “Masseduction,’ raves about the entertainer. “There really is no one like her,” Washington said during a 2018 chat. “She is an original, and there aren’t many of those out there, so how can you not admire her work?”

Even though Clark draws from many sources throughout “Daddy’s Home,” her music is clearly her own. The Beatles, the Rolling Stones and a number of other iconoclasts have done the same. Unlike the dinosaurs of rock, Clark has much left in the tank. Who knows what she’ll do next, but I for one can’t wait.