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Released in 1995

Three Cool Cats

Written by Jerry LeiberMike Stoller

Last updated on December 3, 2016


Album This song officially appears on the Anthology 1 Official album.

Timeline This song was officially released in 1995

Related sessions

This song was recorded during the following studio sessions:

Other Leiber & Stoller songs

From Wikipedia:

Three Cool Cats” is a 1958 song written by Jerry Leiber and Mike Stoller. It was originally recorded by The Coasters and released as the B-side of their hit single, “Charlie Brown.

Three Cool Cats” was one of the fifteen songs recorded by The Beatles for their Decca Records audition on New Year’s Day in 1962 in London. The Beatles’ cover version featured George Harrison’s vocals and Pete Best on drums. The Beatles’ manager, Brian Epstein, personally chose this and the fourteen other audition numbers from the band’s Merseyside dance hall and rock club repertoire. The recording was included on the Beatles’ Anthology 1. The group also performed this song several times during the Get Back/Let It Be Sessions of January 1969. None of these have ever been officially released by EMI. […]

From Something Else Reviews:

[…] By 1959, the future Beatles became obsessed with another single: “Three Cool Cats,” the B-side to the Coasters’ “Charlie Brown.” It became a staple of their early stage shows, thus they naturally selected the song for inclusion in their Decca audition. As it turned out, “Three Cool Cats” was one of the true highlights of the Decca tapes.

According to Mark Lewisohn’s Tune In, the period found Harrison, Lennon, and McCartney constantly practicing the three-part harmonies essential to the song’s success. Then known as the Quarrymen, they would perform the track at the Casbah along with then-drummer Pete Best. After enthusiastic audience response, they kept “Three Cool Cats” in their setlists through Hamburg and their eventual return to Liverpool, most famously at the Cavern Club. Fans cheered Harrison’s lead vocals as well as Lennon and McCartney’s backing harmonies, particularly when Lennon would utter the line “Hey man, save one chick for me” in funny voices.

The Beatles’ cover of the Coasters’ “Three Cool Cats” became an obvious choice for the Decca audition. After all, the track always performed well in the clubs, and it showcased their onstage charisma.

The Beatles’ lineup for this track included Harrison on vocals and lead guitar; McCartney on backing vocals and bass; Lennon on backing vocals and rhythm guitar; and Best on drums. Harrison performs a decent guitar solo, but his voice is the star. It suggests that he sang the track with a wink, appreciating the sly lyrics. He enunciates the words, stressing how these “three cool cats” are actually penniless. Still, they try to pick up “three cool chicks” who are amusingly “splitting up a bag of potato chips.

Next comes the dialogue, with John Lennon and Paul McCartney assuming the roles of the other two “cats.” “I want that little chick!” McCartney yells, as Lennon cries out the “save one chick for me” line in bizarre voices. The three Beatles harmonize on the title phrase as well as the “three cool chicks” lines, demonstrating that their endless rehearsals had resulted in tighter vocals. (This technique would reappear in such original Beatles tracks as “Yes It Is,” “I’m a Loser,” and “Baby’s in Black,” among many others.)

Lennon and McCartney may have also been inspired by the song’s “twist ending,” a method they would employ in the Beatles’ “Drive My Car.” The three main characters suffered from the delusion that they were cool; in actuality, George Harrison reveals, “three cool chicks made three fools out of three cool cats.

Unlike other Decca tracks, “Three Cool Cats” features a more confident performance and a glimpse into the Beatles’ early stage shows. They had learned to “mach schau” during their Hamburg days, and their spirited rendition of the Coasters B-side proved they had internalized this lesson. By 1962, the Beatles had learned how to engage audiences with humor and musicianship.

While the Beatles would eventually drop the song from their concert setlists, “Three Cool Cats” remains an early favorite among fans and one of the few standouts from the infamous Decca audition. Judging from the Get Back/Let It Be sessions, the Beatles never lost affection for the track; at one point they broke into a spontaneous slower version of “Three Cool Cats,” as if reminding themselves of their previous camaraderie.


Lyrics

Three cool cats

Three cool cats

Are up on the corner in a beat up car

Splitting up a nickel candy bar

Talking all about how sharp they are

Those three cool cats


Three cool chicks

Are walking down the street

Swinging their hips

Splitting up a bag of potato chips

And three cool cats did three big flips for

Three cool chicks

Yeah, three cool chicks


Well up popped that first cool cat

He said: man look at that

Man, do you see what I see?

Well I want that middle chick

I want that little chick

Hey man save once chick for me


Well three cool chicks

Three cool chicks


Well they look like angels from up above

And three cool cats really fell in love

But three cool chicks made three fools out of

Those three cool cats

Three cool cats


Well up popped that first cool cat

He said: man look at that

Man, do you see what I see?

Well, now I want that middle chick

I want that little chick

Hey man save once chick for me, yeah


Three cool chicks

Three cool chicks


They look like angels from up above

And three cool cats really fell in love

And three cool chicks made three fools out of

These three cool cats

Three cool cats

Three cool cats

Three cool cats

Officially appears on

Bootlegs

See all bootlegs containing “Three Cool Cats

Live performances

Three Cool Cats” has been played in 3 concerts.

Latest concerts where “Three Cool Cats” has been played


Going further

Paul McCartney: Music Is Ideas. The Stories Behind the Songs (Vol. 2) 1990-2012

This new book by Luca Perasi traces Paul McCartney's post-Beatles output from 1990 to 2012 in the form of 250 song entries, filled with details about the recordings, stories behind the sessions and musical analysis. His pop albums, his forays into classical and avant-garde music, his penchant for covering old standards: a complete book to discover how these languages cross-pollinate and influence each other.

The second volume in a series that has established itself as a unique guide to take the reader on a journey into the astonishing creativity of Paul McCartney.

Read our exclusive interview with Luca Perasi

Buy on Amazon

Paul McCartney writing

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