“Daddy’s Come Around”
Written by Paul Overstreet and Don Schlitz
#1 (1 week)
February 2, 1991
Radio & Records
#1 (1 week)
January 18, 1991
Paul Overstreet’s final No. 1 single is yet another tale of suburban domestic bliss.
The Road to No. 1
After topping the charts with the fourth single from his Sowin’ Love album, “Seein’ My Father in Me,” he scored another top five hit with the fifth single, “The Richest Man On Earth.” Overstreet then previewed his third studio album, Heroes, with “Daddy’s Come Around.”
The No. 1
Overstreet must have been listening to the radio while recording his next album, because there’s more pep to the proceedings here than was found on the hits from his previous album, even as the happy breadwinner theme of his records continues.
Here, we have Mama fed up with Daddy’s drinking and partying, so she meets him at the door and tells him a change is needed…and he changes. Turns out he loves being home and doesn’t miss his friends and is even excited to be a Daddy again. He’s even washed the dishes a couple of times!
It’s like a Kidz Bop rewrite of “Don’t Come Home a-Drinkin’ (With Lovin’ On Your Mind),” where alcoholism is a setup for a sitcom scene easily resolved, rather than being the fuel for unwanted sexual attention and potential domestic disturbance.
In a year that will see Reba McEntire’s “Fancy”, Vince Gill’s “Pocket Full of Gold”, and Ricky Van Shelton’s “Keep it Between the Lines” all reach heavy rotation, “Daddy’s Come Around” may still be the least plausible plotline on the radio dial in 1991.
The Road From No. 1
Paul Overstreet had two more top five hits from Heroes, the title track and “Ball and Chain,” which continued in the same thematic vein of his earlier hits. After a fourth single struggled to reach the top thirty, Overstreet moved on to his next studio album, Love is Strong, which failed to produce a major hit.
However, Overstreet continued to be successful as a songwriter in the nineties, particularly in the gospel field, while he made a killing financially from two hugely successful covers of “When You Say Nothing at All” – first by Alison Krauss & Union Station, then by Ronan Keating of Boyzone – eclipsing the already significant impact of Keith Whitley’s original recording.
“Daddy’s Come Around” gets a B-.