When deciding on a particular tune to highlight for a blog entry, that decision becomes a particularly keen challenge when trying to decide among tunes that Fred Astaire broke to the public. After all, the tunes that broke out thanks to Fred Astaire’s rendition of them on the silver screen make up a list of upper-echelon legends within the already-hallowed Great American Songbook itself. One such ditty is the George and Ira Gershwin classic “I’ve Got Beginner’s Luck.” Pretty much anything the Gershwin Brothers wrote together was solid gold — some a greater degree of karats than others to be sure — and while this might be, say, 16 karat gold compared to the full 24 karats of “They Can’t Take That Away From Me” or even “Shall We Dance,” it’s a classic among classics nonetheless.
Moreover, can one think of a better tune that encapsulates the lucky feeling that a fellow experiences when happening on that special lady for the first time? Or vice-versa, for that matter? The shame of things is such that, as great as the song as it is, it has been under-performed by recording luminaries over the years, particularly when compared to other Great American Songbook favorites. Ella Fitzgerald did a version of it in 1959, and that is the only non-Astaire example of performance than comes to mind for this particular tune, and more the pity.
Nevertheless, the lyrics have that perfect eloquence that match with other Tin Pan Alley legends, as Fred Astaire himself demonstrated in the great 1937 musical “Shall We Dance.” “…There never was such a smile or such eyes of blue!” Enough said!
The great Irving Berlin has been estimated to have written 1,500 songs throughout his 60-year career (he lived to be 100 years old). A good many of this estimated 1,500 have become legendary in their own right within the Great American Songbook. Quite possibly his most-recognized musical contribution is “God Bless America,” which, when he wrote and published the song in 1939, it became so popular so quickly that it threatened to supplant the Star-Spangled Banner as our national anthem. One of the positive developments in the wake of 9-11 is that the tune has enjoyed an extra boost of popularity over the past almost-dozen years.
But that important song aside, Berlin’s contribution-in-song to American popular culture is vast, and one of his most famous — aside from the aforementioned patriotic tribute — is “Cheek to Cheek”. Enter Fred Astaire, who himself is legendary not just for his amazing dancing ability, but also for the fact that he himself broke some of the most famous tunes ever to grace the Great American Songbook, this ballad being one of them.
First sung in the film “Top Hat” (1935), which is considered by many to be the quintessential Fred-and-Ginger movie, its original version from that picture remains famous to this day. Indeed, it can be argued that not only did Fred Astaire break many famous American popular songs, but that he often performed the definitive version of them for all time.
Note that I said “often.” In this case, that is debatable, not because the version is mediocre — far from it; in fact, what Astaire clearly lacked in vocal ability, he made up for this intangible quality of making the listener/viewer “believe” the tune — but because the competition is very fierce when it comes to great singers trying to out-do each other on the ultimate version of this song.
The term “fierce competition” is not an exaggeration when one considers that Julie Andrews, Ray Anthony, Desi Arnaz, Chet Atkins, Count Basie, Tony Bennett, Connee Boswell, Rosemary Clooney, Bing Crosby, Vic Damone, Ziggy Elman, Eddie Fisher, (take a deep breath) Billie Holiday, Harry James, Joni James, Al Jolson, Steve Lawrence, Peggy Lee, Guy Lombardo, Glenn Miller, Louis Prima, Buddy Rich, Frank Sinatra (from this 1958 album “Come Dance With Me”), Rod Stewart, Mel Tormé
, and Teddy Wilson — among many others.
But one version does stand out above most others, and that is the one cut by Ella Fitzgerald and Louis Armstrong on the Verve label in 1956. Indeed, Louie and Ella as a duet recorded many tunes from the Great American Songbook; many a fine version at that (one could argue a few of which are some of humanity’s [many] greatest recordings). This particular rendition is one of the finer examples of the duo’s body of work from the latter half of the 1950s, and could rightfully be classified as one of humanity’s great records.
If the reader has never heard this version before, then the reader is in for a treat! Regardless, though, the song itself wonderfully describes the bliss one experiences when dancing with that special partner. Guys, when you’ve danced with that special girl before, you know what this song means!
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