QueenZone discussion #1555153

mariah carey wrote: Cool Cat shouldn't be here. it's certainly better than Life is Real or Put Out The Fire

thomasquinn 32989 wrote: I honestly don't get it. There is plenty of music I don't like where I can understand why others might like it, but I can't hear anything in Cool Cat that I can imagine anyone appreciating.

thomasquinn 32989 wrote: That's the whole point - you can't imagine it. This has nothing to do with the music in question, and everything with your utter inability or refusal to consider anything that falls outside your comfort zone.

dysan wrote: For me, Cool Cat takes me back to a 1982 I didn't really experience. It's largely a nostalgic romp through the hits of those days and memories of our old house. It's odd that a tune I didn't hear at the time evokes images of that long lost past. Lifting a dreamy veil off happy carefree days playing with Lego and Star Wars figures, walking the dog as my older sister bopped to the New Romantics. Musically, again IMO, It's mainly the singing and slow groove. I DID hate it for years in the same way My Baby Does Me was (and still is) a total 'skipper'.

aristide1 wrote:

thomasquinn 32989 wrote: I honestly don't get it. There is plenty of music I don't like where I can understand why others might like it, but I can't hear anything in Cool Cat that I can imagine anyone appreciating.

thomasquinn 32989 wrote: That's the whole point - you can't imagine it. This has nothing to do with the music in question, and everything with your utter inability or refusal to consider anything that falls outside your comfort zone.

The Strange Case of Dr. Thomas and Mr. Quinn.

matt z wrote: You must mean *Dr Quinn: Medicine Woman I think it's the production of Cool Cat that wins out on it. It's pure swank but handled with gifted subtlety. Just listen to the demo (*although unmixed) w Bowie on it. It hardly sounds the same. As a piece of minimalist lounge music it's really a great song. I'm not so much talking about Freddies voice either. More about the way each instrument plugs in at parts to emphasis. The first time the keys walk at "feeling the beat of my heart" (where Bowie drops in on the demo, talking) right to the Deacon triple notes emphasizing bits in that point. I really love the space between the notes and the fact that they pulled off a vibe with so little. But, it is what it is. I STILL can't really stand STAYING POWER. I've even tried to imagine another group rearranging it. It really is a mess and people have pointed out it's similarity to Zeps OUT ON THE TILES. ..but neither "rock", or "funk" I think without the ARIF MARDIN horn section the whole thing is essentially a wreck of a cocaine nightmare of a song "And this is the part where it gets bigger, and then here's the part where it goes down and then back up again! And then i come in with falsetto!" (Everybody else) ..... well. ...that sounds ambitious. But where's the musical part of this, Fred? Point is: everybody's got a different take on it. I can imagine an alternate world where if COOL CAT had appeared on BOWIE's TONIGHT or NEVER LET ME DOWN albums it'd be sung to high praise. Instead it's just a gem for fans left at the end of an album

mariah carey wrote:

matt z wrote: You must mean *Dr Quinn: Medicine Woman I think it's the production of Cool Cat that wins out on it. It's pure swank but handled with gifted subtlety. Just listen to the demo (*although unmixed) w Bowie on it. It hardly sounds the same. As a piece of minimalist lounge music it's really a great song. I'm not so much talking about Freddies voice either. More about the way each instrument plugs in at parts to emphasis. The first time the keys walk at "feeling the beat of my heart" (where Bowie drops in on the demo, talking) right to the Deacon triple notes emphasizing bits in that point. I really love the space between the notes and the fact that they pulled off a vibe with so little. But, it is what it is. I STILL can't really stand STAYING POWER. I've even tried to imagine another group rearranging it. It really is a mess and people have pointed out it's similarity to Zeps OUT ON THE TILES. ..but neither "rock", or "funk" I think without the ARIF MARDIN horn section the whole thing is essentially a wreck of a cocaine nightmare of a song "And this is the part where it gets bigger, and then here's the part where it goes down and then back up again! And then i come in with falsetto!" (Everybody else) ..... well. ...that sounds ambitious. But where's the musical part of this, Fred? Point is: everybody's got a different take on it. I can imagine an alternate world where if COOL CAT had appeared on BOWIE's TONIGHT or NEVER LET ME DOWN albums it'd be sung to high praise. Instead it's just a gem for fans left at the end of an album

You perfectly described it. Cool Cat is incredible. I love Staying Power though, it's a very good pop song

matt z wrote: You must mean *Dr Quinn: Medicine Woman I think it's the production of Cool Cat that wins out on it. It's pure swank but handled with gifted subtlety. Just listen to the demo (*although unmixed) w Bowie on it. It hardly sounds the same. As a piece of minimalist lounge music it's really a great song. I'm not so much talking about Freddies voice either. More about the way each instrument plugs in at parts to emphasis. The first time the keys walk at "feeling the beat of my heart" (where Bowie drops in on the demo, talking) right to the Deacon triple notes emphasizing bits in that point. I really love the space between the notes and the fact that they pulled off a vibe with so little. But, it is what it is. I STILL can't really stand STAYING POWER. I've even tried to imagine another group rearranging it. It really is a mess and people have pointed out it's similarity to Zeps OUT ON THE TILES. ..but neither "rock", or "funk" I think without the ARIF MARDIN horn section the whole thing is essentially a wreck of a cocaine nightmare of a song "And this is the part where it gets bigger, and then here's the part where it goes down and then back up again! And then i come in with falsetto!" (Everybody else) ..... well. ...that sounds ambitious. But where's the musical part of this, Fred? Point is: everybody's got a different take on it. I can imagine an alternate world where if COOL CAT had appeared on BOWIE's TONIGHT or NEVER LET ME DOWN albums it'd be sung to high praise. Instead it's just a gem for fans left at the end of an album

no_stairway wrote: matt z, cool words about cool cat - really nice, totaly agree/ speaking about staying power, did you hear this cover? link

thomasquinn 32989 wrote: I honestly can't understand how anyone can hear ANY redeeming qualities in Cool Cat. I hear NOTHING that is REMOTELY listenable in that piece of crap. I voted Calling All Girls. Not a good song, but not nearly as bad as the other crimes against music listed, except perhaps Fun It.

dysan wrote: Except the video. I love that.