Oh Father - Critical Reception

Critical Reception

Critical response for "Oh Father" was generally positive. J. Randy Taraborrelli, author of Madonna: An Intimate Biography, commented that with "Oh Father", Madonna exposed herself by transforming her personal experience into art, making it clear to anyone how she felt about her relationship with Tony. Rooksby believed that the "psychobabble" phrases of feeling good about oneself in the song, would have made it extremely popular in the early Eighties. He added that "Oh Father" was the most compassionate and generous moment in Madonna's musical career and the track might have inspired the exploration of childhood in the music of contemporary artists like Kate Bush and Tori Amos, in particular Bush's song "The Fog" from her 1989 studio album, The Sensual World, and Amos' "Winter" from the 1992 effort, Little Earthquakes. Author Leslie C. Dunn wrote in her book Embodied Voices, that the autobiographical nature of the song brought forth a new side of Madonna. Sharing the same view, Freya Jarman-Ivens, one of the authors of Madonna's Drowned Worlds, declared "Oh Father" as a powerful statement regarding father-daughter relationships. Allen Metz, author of The Madonna Companion, described the song as a "stark ballad with a serious string arrangement". O'Brien felt that the strings were dramatic and pretentious. She described Madonna's singing as consisting of "Courtney Love-style rasp" and adding that Madonna "attacks the song with personal passion".

Lennox Samuels from The Dallas Morning News felt that the "great sense of being hurt that is present in 'Oh Father' is far more relatable than any other Madonna song." Kevin Phinney from the Austin American-Statesman called it the strongest and the most shocking song on Like a Prayer. Stephen Holden from The New York Times wrote that the orchestration of the song was "grandiloquent", while describing Madonna's delivery of the lines as an "angry triumph". Stewart Mason from Allmusic shared Holden's opinion, and described "Oh Father" as " finest ballad performance ever". He added that the "upward modulation of the chorus, accompanied by some overdubbed self-harmonies that feature a very controlled and effective use of Madonna's highest register, is sheer brilliance, giving the song a steely resolve that removes any taint of self-pity from the verses." Music journalist J. D. Considine, while reviewing Like a Prayer for Rolling Stone, believed that despite the song's "lush" string arrangement, some of the lyrics contain a disquieting degree of pain. Hadley Freeman from The Guardian commented that the confessional nature of the lyrics of "Oh Father" was what appealed to her the most in the song. Negative reception for the song was given by Mark Browning, author of David Fincher: Films That Scar, who called it one of Madonna's weakest efforts, due to the verses sounding more like musical theater than a pop song.