Born in Los Angeles, California on 15th March 1947, Cooder first attracted attention in the 1960s, playing with Captain Beefheart & his Magic Band, after having worked with Taj Mahal in The Rising Sons.
He was a session guitarist on various recording sessions with the Rolling Stones in 1968 and 1969; Cooder's contributions most notably appear on the Stones' Beggars Banquet where he shares a prominent credit with pianist, Nicky Hopkins on the back cover. He continued to appear on the succeeding albums, Let It Bleed, and Sticky Fingers, on which he contributed the haunting slide guitar solo to "Sister Morphine". Cooder is reputed to have taught Keith Richards to play in open-G tuning, now a Richards hallmark, as well as to have written the open-G signature riff of "Honky Tonk Women". He was briefly considered to fill the departed Brian Jones' place in the Rolling Stones, but reportedly Cooder and Keith Richards did not get along very well. For some time after the sessions, Cooder accused Keith Richards of "ripping him off" musically, but now refuses to talk about his experiences with the Stones. Cooder played slide guitar for the 1970 film Performance, which contained Mick Jagger's first solo single, "Memo from Turner" on which Cooder played guitar.
Throughout the 1970s Cooder released a series of Warner Brothers albums that showcased his guitar work, to some degree. In this respect, Cooder's guitar work on these records is not unlike the guitar playing of Robbie Robertson on the Band's albums: Both virtuosos emphasized song over solo. Cooder's 1970s albums spotlight, more than anything, a wide-ranging taste in music. Cooder has been seen as almost a musicologist, exploring bygone musical genres with personalized and sensitive, updated reworkings of revered originals. Cooder's 1970s albums (with the exception of Jazz) cannot be neatly pigeonholed by genre, But - to generalise broadly - it might be fair to call Cooder's first album blues; Into the Purple Valley, Boomer's Story, and Paradise and Lunch, folk + blues; Chicken Skin Music and Showtime, a unique melange of Tex-Mex and Hawaiian; Jazz, 1920s jazz; Bop till You Drop 1950s R&B and blues; and Borderline an eclectic mix of Tex-Mex with blues, R&B, and country and Get Rhythm, with more rock-based excursions.
Cooder has worked as a studio musician and has also scored many film soundtracks, of which perhaps the best known is that for the 1984 Wim Wenders film Paris, Texas. Ry Cooder based this soundtrack, and the haunting title song "Paris, Texas" on Blind Willie Johnson's "Dark Was the Night (Cold Was the Ground)", which he described as "The most soulful, transcendent piece in all music from the US." His other film work includes Walter Hill's The Long Riders (1980) and Southern Comfort (1981).
In recent years, Cooder has played a role in the increased appreciation of traditional Cuban music, due to his collaboration as producer in the Buena Vista Social Club (1997) recording, which was a worldwide hit. Wim Wenders directed a documentary film of the musicians involved, Buena Vista Social Club (1999) which was nominated for an Academy Award in 2000. Cooder worked with Tuvan throat singers for the score to the 1993 film Geronimo: An American Legend.
Cooder's solo work has been an eclectic mix, taking in dust bowl folk, blues, Tex-Mex, soul, gospel, rock, and almost everything else. He has collaborated with many important musicians, including the Rolling Stones, Little Feat, the Chieftains, John Lee Hooker, Gabby Pahinui, and Ali Farka Toure. He formed the Little Village supergroup with Nick Lowe, John Hiatt, and Jim Keltner.
Cooder's 1979 album Bop till You Drop was the first popular music album to be recorded digitally. It yielded his biggest hit, a disco/R&B cover of Elvis Presley's 1960s recording "Little Sister".
3 Cool Cats
Ry Cooder Lyrics
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3 cool cats
Parked on the corner in a beat up car
Devourin' up a liquor candy bar
Talkin' all about how sharp they are
These 3 cool cats
3 cool chicks
Walkin' down the street just swingin' their hips
Spinnin' up a bag of potato chips
And 3 cool cats did 3 big flips
For these 3 cool chicks
Up pop that first cool cat
He said, "Man, look at that
Men, do you see what I see?"
"I want the middle chick"
"And I want the little chick"
"Hey men, save one chick for me"
3 cool chicks
3 cool chicks
They look like angels from up above
3 cool cats really fell in love
3 cool chicks made 3 fools
Of these 3 cool cats
That's what they did, brothers
(3 cool chicks)
Made fools of these 3 cool cats
'Cause I'm a fool for you, baby
3 cool chicks
3 cool cats
Ry Cooder's song "3 Cool Cats" is a narrative that tells the story of three male characters who consider themselves well-dressed and attractive. They are admiring their coolness while hanging out on the corner of the street in a run-down car and eating candy bars. Suddenly, three elegant and beautiful women pass by, swinging their hips and carrying potato chip bags. The three men become smitten by the women and do acrobatic flips to impress them. One of the males claims the middle woman, a second claims the smallest chick, and a request is made to save one for the last man. However, the women capture these men's hearts entirely and make fools of them. The song ends with the repetition of the chorus, emphasizing the men's foolish reputation as a result of their love for these fabulous women.
The lyrics of the song capture the essence of the male's ego and pride, which is brought down by the beauty and charms of the three women. The three men believe they are cool and suave, but the three women prove them wrong, and they end up looking foolish. The song talks about the power of love and women's sexuality and beauty in bringing men to their knees. It also highlights the common theme of pursuing that which you cannot have and the foolishness that can come with it.
Line by Line Meaning
Parked on the corner in a beat up car
Three self-proclaimed cool guys are hanging out on the street in a rundown car.
Devourin' up a liquor candy bar
They're eating candy that contains alcohol.
Talkin' all about how sharp they are
They are bragging about how cool they think they are.
These 3 cool cats
They refer to themselves as 3 cool cats, unsuccessfully trying to look cool.
3 cool chicks
Now, the scene switches to three girls walking down the street.
Walkin' down the street just swingin' their hips
The girls are nonchalantly walking down the street in a hip-swaying motion.
Spinnin' up a bag of potato chips
One of the three girls is spinning a bag of potato chips.
And 3 cool cats did 3 big flips
The three guys got so amazed that they did three flips.
For these 3 cool chicks
The flips was intended for the girls' attention and admiration.
Up pop that first cool cat
One of the guys decided to approach the girls.
He said, "Man, look at that
He exclaimed about the girls' beauty.
Men, do you see what I see?"
He asked his friends to look at the girls.
"I want the middle chick"
He claimed the girl in the middle.
"And I want the little chick"
He also wants the smallest girl of the group.
"Hey men, save one chick for me"
He instructed his friends to leave one girl for him.
They look like angels from up above
The girls seemed innocent and beautiful to the guys.
3 cool cats really fell in love
The guys fell in love with the girls at first sight.
3 cool chicks made 3 fools
The guys acted foolishly because of the girls.
Of these 3 cool cats
The guys' coolness was challenged by the girls.
That's what they did, brothers
The girls caused the guys' foolishness.
(3 cool chicks)
The girls continued to be the center of attention.
Made fools of these 3 cool cats
The guys lost their coolness to gain the girls' attention.
'Cause I'm a fool for you, baby
The guys are willingly being foolish for the girls they love.
Lyrics © BELINDA ABERBACH STEVENSON AGAR REVOCABLE TRUST
Written by: JERRY LEIBER, MIKE STOLLER
Lyrics Licensed & Provided by LyricFind