dysan
I know, I know. It's a cool story bro.
Thread
Posts in chronological order
Holly2003
Regarding Cool Cat and nostalgia, it's likely the same effect as Crazy Little Thing Called Love. It evokes nostalgia for the 1950s even among those who were born too late to experience that decade.
mariah carey
Cool Cat is glorious. It also could have been released as single.
dysan
I agree. I would've been a bold choice but worth a shot.
no_stairway
So now we have the hot space tracks leading! And even without chinese torture the miracle tracks are sinking.
aristide1
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
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.[/QUOTE]
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
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.
[/QUOTE]
The Strange Case of Dr. Thomas and Mr. Quinn.
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.[/QUOTE]
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
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.
[/QUOTE]
The Strange Case of Dr. Thomas and Mr. Quinn.
thomasquinn 32989
[QUOTE] [b]dysan wrote:[/b]
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'.[/QUOTE]
Ok, that I can understand - pleasant associations can attach themselves to even the most dismal of songs. I have something similar with a syrupy-sweet cover of Mockingbird Hill that happened to be constantly on the radio during a spring and summer in my early childhood that comes with good memories.
Still, those are not attributes of the song in question, in your case or mine, but of our own past. It still amazes me that Cool Cat has a small but devoted following that insists it's a good song - I just can't hear it. It's technically difficult to sing, and it's a different style from anything else on Hot Space (or elsewhere in Queen's catalog) but I still think it's poorly executed and sorely lacking in all manner of qualities, from lyrics to production to arrangement.
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'.[/QUOTE]
Ok, that I can understand - pleasant associations can attach themselves to even the most dismal of songs. I have something similar with a syrupy-sweet cover of Mockingbird Hill that happened to be constantly on the radio during a spring and summer in my early childhood that comes with good memories.
Still, those are not attributes of the song in question, in your case or mine, but of our own past. It still amazes me that Cool Cat has a small but devoted following that insists it's a good song - I just can't hear it. It's technically difficult to sing, and it's a different style from anything else on Hot Space (or elsewhere in Queen's catalog) but I still think it's poorly executed and sorely lacking in all manner of qualities, from lyrics to production to arrangement.
thomasquinn 32989
[QUOTE] [b]aristide1 wrote:[/b]
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
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.[/QUOTE]
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
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.
[/QUOTE]
The Strange Case of Dr. Thomas and Mr. Quinn.
[/QUOTE]
Yes dear, that's very nice. Now go play, adults are talking.
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
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.[/QUOTE]
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
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.
[/QUOTE]
The Strange Case of Dr. Thomas and Mr. Quinn.
[/QUOTE]
Yes dear, that's very nice. Now go play, adults are talking.
dudeofqueen
dysan, re:
>I thought Chinese Torture would've worked nicely segued into Party at the start of The Miracle.
......or had people returning it to the shops as "faulty" before getting to Track 3.
>I thought Chinese Torture would've worked nicely segued into Party at the start of The Miracle.
......or had people returning it to the shops as "faulty" before getting to Track 3.
matt z
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
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
dysan
Weirdly, Tonight gives me the same memories I've described for Hot Space.
mariah carey
[QUOTE] [b]matt z wrote:[/b]
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[/QUOTE]
You perfectly described it. Cool Cat is an incredible song. I love Staying Power though, it's a very good pop song
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[/QUOTE]
You perfectly described it. Cool Cat is an incredible song. I love Staying Power though, it's a very good pop song
mariah carey
[QUOTE] [b]mariah carey wrote:[/b]
[QUOTE] [b]matt z wrote:[/b]
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[/QUOTE]
You perfectly described it. Cool Cat is incredible. I love Staying Power though, it's a very good pop song
[/QUOTE]
[QUOTE] [b]matt z wrote:[/b]
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[/QUOTE]
You perfectly described it. Cool Cat is incredible. I love Staying Power though, it's a very good pop song
[/QUOTE]
mariah carey
dysan
I just like their weird albums. Jazz and Hot Space really are a welcome step away from what the casual punter would think of as the Queen vibe. Same reason I dig Party. I mean, WTF was going on there?