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