M: I’ll take it Chris.
C: I suppose I was being sarcastic in the choruses, “Why are you right and I’m so wrong.” That was Jenny speaking. It’s loosely based on Mick’s separation from Jenny at the time. I suppose Jenny thought Mick was wrong. It’s not completely applicable. Mick’s the big daddy for sure. We always called him Big Daddy anyway.
I wrote “Oh Daddy” in the studio. I was just messing about in the studio and Lindsey goes, “That’s nice.” The actual concept of the song was playing around the Hammond organ to get the sustained chords and it turned into a bit of a folly after that, didn’t it. There’s all kinds of little things coming in and all around. I could never get the last line, and Stevie said, “Why don’t you sing this, ‘And I can’t walk away from you if I tried,’” and I thought, “Ah, I’m saved!”
Nobody told John what to play on “Oh Daddy,” he just came up with that.
M: Classic Johnny Mac. He’s like a miniature orchestra, as so very often he has that touch, that magic touch.
C: I find it impossible to believe how we managed to do it. There was all of this kind of theater going on as well, wasn’t there. I wish I could be in tonight and maybe take a bath or something.
I don’t know what that last part was on “Oh Daddy.” I’m wondering if was something where I had run out of ideas and I started going “bluh luh luh luh luh!” or if I was saying “Roll the tape back,” and the guys were so busy gabbing to each other and I wanted to stop and go back and do it again. But they decided to go ahead and put it in any way.
I used to play the chair onstage for “Second Hand News.” I must have been barking mad. I’m sure Lindsey played it in the studio. I’m sure I wouldn’t have volunteered to play a chair on a record. I’m sure I did it onstage. What the hell was that all about? How weird is that? But I was totally into it onstage; I was enjoying it.
M: I’m sure it was Lindsey’s idea. Sometimes he’d start doing it, and I’d say, “You’re doing fine,” and he’d say, “Nah nah nah.” But Chris had to do that onstage for many a month or two and bring the chair out to the front of the stage and ceremoniously play the chair. And the audience loved it.
C: And I used to get rounds of applause for it. And they must have wondered, “Is that what was on the record? Or why is she playing a chair?” It wasn’t much good afterwards, though, I’ll tell you.
M: The high-hat toward the end of “Second Hand News,” that to me was my version of creating a bacon slicer which to my mind was something the Beatles did on one of their records, where it really was one of those hand slicers and that’s where I got the idea, the “ssssSSTT! SsssSSST!” I did it with an open high-hat and the drag was onstage, I actually got a version of it, but I could never do it in the same place because I was trying to keep time with the rest of the band. On the record, I got my version of a bacon slicer, in very random places. They don’t make really any sense. They’re in time, but they’re in very odd places and they’re not uniform. We laid a few down and had to pick and choose.
C: I’m sure he laid 7,000 of them down.
M: We have to stay another three days.
C: “No, no no, it’s only 5:30. It’s not dawn yet!”
M: “It’s not dawn yet! One more slice!”
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