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Cheek to Cheek

"Cheek to Cheek" is a romantic song written by Irving Berlin in 1935 specifically for the RKO musical film Top Hat, where it was introduced by Fred Astaire in a celebrated dance sequence with Ginger Rogers. The lyrics vividly capture the euphoria of close dancing, beginning with the iconic line "Heaven, I'm in heaven, and my heart beats so that I can hardly speak." Upon its release, the song became an immediate hit, reaching number one on for five weeks and earning an Academy Award nomination for Best Original Song, though it lost to "Lullaby of Broadway" from . had initially composed it for a show but revised it in to suit the film's storyline. Over the decades, "Cheek to Cheek" evolved into an enduring , with over 600 recorded covers by notable artists. One of the most acclaimed versions is the 1956 duet by and on their collaborative album , featuring Armstrong's trumpet and scat vocals alongside Fitzgerald's soaring interpretation. The song's upbeat rhythm and heartfelt lyrics have made it a staple in repertoires, influencing performances from big bands to modern vocalists. In popular culture, the Top Hat sequence remains iconic for its feathered gown and innovative choreography by , symbolizing the golden age of Hollywood musicals. Later revivals include and Lady Gaga's 2014 duet on their Grammy-winning album Cheek to Cheek, which introduced the classic to contemporary audiences. Its timeless appeal continues to evoke romance and dance-floor bliss across generations.

Background and Composition

Origins in Top Hat

"Cheek to Cheek" originated as part of the score for the 1935 RKO musical film , where composer was commissioned to create original songs for the production starring . RKO, known for its series of Astaire-Rogers vehicles in the 1930s, sought Berlin's talents to elevate the film's elements with sophisticated, dance-oriented numbers. Berlin, who had previously collaborated on but was expanding into , delivered the entire score, including this pivotal tune, during the film's and shooting phases in 1934-1935. The song serves as a central romantic highlight in Top Hat's plot, performed during a lavish sequence set at the , where Astaire's character, Jerry Travers, woos Rogers's Dale Tremont amid mistaken identities and comedic misunderstandings. This euphoric dance number underscores the budding romance, with the stars gliding across a stylized rendition of Venetian canals and terraces, symbolizing their characters' deepening affection. Berlin crafted the piece to complement the film's narrative, integrating it seamlessly into the story's progression from to . Berlin drew direct inspiration from the on-screen chemistry between Astaire and Rogers, aiming to capture their lighthearted and euphoric dance partnership in a tune that evoked effortless joy and intimacy. Having met Astaire for the first time during Top Hat's production, Berlin observed their rehearsals and adapted the song to highlight the duo's unique blend of grace and playfulness, ensuring it fit their signature style of romantic duets. This tailoring during the 1934-1935 filming period allowed the number to become a showcase for the stars' talents, with Berlin refining elements to match their improvisational energy on set.

Writing and Lyrics Development

Irving Berlin's of "Cheek to Cheek" involved an iterative , beginning with initial drafts that emphasized themes of joy and dance as a form of euphoric escape. Originally conceived in for the unproduced Broadway More Cheers under the working title "Moon Over Napoli," the song was set aside before Berlin reworked it specifically for the 1935 film . This revision transformed the into a celebration of intimacy through , drawing on Berlin's meticulous approach to refining verses over days or weeks to capture emotional highs. Central to the lyrics' development were motifs of escapism and romance, vividly illustrated by comparisons of dancing to flying and heavenly bliss. Phrases such as "Heaven, I'm in heaven" emerged from Berlin's ability to infuse personal experiences of marital happiness—stemming from his 1926 marriage to Ellin Mackay—into universal sentiments of delight, portraying the act of dancing cheek to cheek as a liberating flight from earthly cares. Berlin tailored these elements for Astaire's performance style, noting that the star's grace inspired the song's buoyant tone: "He’s a real inspiration for a writer. I’d never have written [Top Hat] without him." The result was a lyrical structure that evoked upliftment, with the chorus building to ecstatic repetition while varying imagery to sustain emotional momentum. Berlin consciously avoided over-repeating rhymes for the titular "cheek to cheek" to preserve lyrical freshness, instead pairing it with diverse end-rhymes like "speak" and "seek" to mirror the song's rhythmic flow and prevent monotony. This decision aligned with his broader craft of using and simple, homophonic rhymes to enhance accessibility without sacrificing sophistication. Written amid the Great Depression's economic hardships, the were intentionally designed to provide audiences with escapist joy, offering a momentary reprieve through romantic idealism at a time when American musicals served as beacons of optimism.

Release and Performances

Debut in the Film

"Cheek to Cheek" debuted in the 1935 Top Hat, where performed the song as a romantic duet in a stylized Venetian nightclub sequence. The number features the pair's iconic dance routine, choreographed by in collaboration with Astaire, set against a surreal backdrop evoking a dreamlike outdoor-indoor space with billowing clouds and elegant furnishings. Rogers appears in a flowing ostrich-feather gown designed by Bernard Newman, while Astaire wears a formal tuxedo, their synchronized taps and spins emphasizing the lyrics' themes of euphoric romance. Filming the sequence presented significant challenges due to Rogers' feathered dress, which shed plumes during rehearsals and takes, creating a "blizzard" effect on set and necessitating over a dozen retakes. To mitigate the issue, the wardrobe team sewed down the feathers overnight, and the production redesigned the glossy white floor to conceal fallen ones in the final shots; Astaire later nicknamed Rogers "Feathers" in reference to the ordeal. Despite these hurdles, the routine's fluid, extended takes captured the dancers' seamless chemistry, with Pan's highlighting rapid shifts and improvisational grace. Top Hat premiered in on August 29, 1935, at , with the "Cheek to Cheek" sequence emerging as a standout highlight that propelled the film's commercial triumph, grossing over $3 million against a $620,000 budget and becoming RKO's highest-earning picture of the decade. The number's allure drew record crowds, contributing $350,000 in its first three weeks alone. Contemporary critics acclaimed the sequence for epitomizing cinematic romance through Astaire and Rogers' partnership. Variety hailed the film's urbane sophistication and Berlin's score, positioning Top Hat among 1935's top pictures, while The New York Times praised the dancers' technical prowess and the number's enchanting restraint amid the production's grandeur.

Initial Recordings and Chart Success

The original recording of "Cheek to Cheek" was made by , accompanied by Leo Reisman and His Orchestra, on , 1935, for in . This session produced the vocal track released as the B-side to "" on the 78 RPM single Brunswick 7486, which hit the market in August 1935. Astaire's rendition, featuring his signature light, rhythmic delivery over a swinging big-band , captured the song's playful romance and propelled it to immediate commercial dominance. The recording achieved No. 1 status on the sheet music charts in , holding the top position for 11 weeks and remaining on the charts for a total of 18 weeks, while also topping as the year's leading song. Its success reflected the era's emphasis on sales and radio plays rather than alone, underscoring the track's broad appeal amid the rise of . The , published by Inc. in shortly after the film's release, became a staple for amateur musicians and performers, further amplifying the song's reach through home pianos and dance halls. During the swing era, "Cheek to Cheek" thrived on extensive radio , with stations featuring Astaire's version alongside big-band covers, and it emerged as a staple in dance venues across the . This ubiquity helped solidify its status as a cultural touchstone for romantic escapism.

Musical Analysis

Structure and Style

"Cheek to Cheek" follows an extended A-A-B-C-A form, spanning 72 bars, which departs from the standard 32-bar AABA structure common in popular songs. This structure includes two 16-bar A sections, followed by an 8-bar B bridge, another 8-bar B, an 8-bar C section, and a final 16-bar A, providing a more expansive canvas for the melody. The song is composed in 4/4 time, aligning with the rhythm that underpins its dance-oriented character. It begins with a leading into the , set in the key of , with temporary shifts to and for harmonic color. The features stepwise motion and occasional leaps, contributing to its lyrical flow and suitability for vocal . Syncopated rhythms in the phrasing impart a feel, enhancing the song's buoyant, danceable quality despite its roots. These rhythmic elements, combined with the ascending melodic contours in key phrases, evoke a of elevation and lightness, mirroring the physical grace of partnered dancing. In its original recording, Fred Astaire's light, conversational vocal is accompanied by the Leo Reisman Orchestra, a ensemble typical of the era's sweet dance bands, featuring prominent strings for warmth and for rhythmic punch. This instrumentation supports the song's elegant yet propulsive energy, with strings providing melodic swells and underscoring the syncopations. As a jazz , "Cheek to Cheek" fuses the structured elegance of —characterized by its moderate and smooth phrasing—with inherent potential for jazz improvisation, particularly in the extended form that allows soloists to vary the A sections. This blend has ensured its adaptability across genres, from to scat-infused renditions.

Thematic Elements

The song "Cheek to Cheek" embodies a central theme of transcendent joy derived from the intimate act of dancing, portraying it as a means of achieving unity and temporarily forgetting worldly worries in a state of euphoric harmony. Irving Berlin's lyrics evoke this through vivid imagery of heavenly bliss, as the singer declares the experience of dancing with a loved one so overwhelming that it silences speech and erases concerns, symbolizing an escape into pure romantic fulfillment. This motif of dance as a liberating force underscores the song's emotional core, where physical closeness fosters emotional transcendence and shared delight. In its depiction of gender dynamics, the song highlights mutual delight in partnership, aligning with the Astaire-Rogers era's ideals of elegant, reciprocal romance where the male lead's graceful guidance complements the female partner's responsive poise, creating an image of balanced collaboration rather than dominance. Astaire and Rogers' performance reinforces this by showcasing synchronized movements that emphasize equality in joy, reflecting cinematic aspirations for harmonious couples amid social uncertainties. As a product of the Great Depression era, "Cheek to Cheek" resonated culturally as an anthem of optimism, providing audiences with escapist glamour and hope through its celebration of love and levity during economic hardship. The Astaire-Rogers films, including this number from Top Hat, offered a tonic of joy and wistfulness, lifting spirits in a time of widespread despair by immersing viewers in a fantastical world of sophistication and affection. Interpretive variations in the song's further amplify its themes, with Astaire's playful phrasing—marked by light, rhythmic inflections and charismatic presence—infusing the with a sense of carefree romance and immediacy, making the feel accessible and spontaneous. This approach supports the refrain's repetitive structure, which reinforces the cyclical bliss of without delving into .

Covers and Interpretations

Early Covers

One of the earliest covers of "Cheek to Cheek" came shortly after its debut, with re-recording the song on June 26, , alongside the Leo Reisman Orchestra providing orchestral accompaniment. This version closely mirrored the original film's arrangement, emphasizing Astaire's smooth vocal delivery and the song's upbeat rhythm. It achieved significant commercial success, topping the charts for five weeks and earning recognition as the number-one song of on . In the post-war era, jazz interpreters brought new dimensions to the tune. A collaborative effort in 1956 featured and on the album , released in October 1956. Armstrong's gravelly vocals opened the track, followed by Fitzgerald's interpretation, with Armstrong contributing a prominent solo that deepened the jazz texture through his signature phrasing and improvisational flair. The arrangement maintained the song's original 32-bar structure but elevated it with rhythmic drive from the Oscar Peterson Quartet. Ella Fitzgerald included "Cheek to Cheek" on her 1958 album Ella Fitzgerald Sings the Irving Berlin Song Book, where she infused the performance with during a notable break, showcasing her improvisational prowess while preserving the song's romantic swing. This recording highlighted Fitzgerald's ability to blend Berlin's melody with influences, adding a layer of vocal agility to the standard's roots. Beyond recordings, the song appeared in additional film contexts during this period, including a revival in the 1946 showcase Blue Skies, where it underscored the composer's enduring appeal through ensemble numbers and dance sequences.

Modern Recordings and Legacy

In the , "Cheek to Cheek" continued to inspire collaborations that bridged generations and genres. A prominent example is the 2014 duet by and , featured on their Cheek to Cheek, which debuted at No. 1 on the and topped the Jazz Albums chart, selling 131,000 copies in its first week. The recording earned a Grammy Award for Best Traditional Pop Vocal Album at the in 2015. The song's enduring appeal has extended its presence in popular media and music production. Fred Astaire's original 1935 recording appears in the 1999 film , underscoring emotional scenes and highlighting its timeless romantic essence. "Cheek to Cheek" holds a distinguished place in American musical heritage, with over 1,000 recorded covers. Astaire's recording was inducted into the in 2000, recognizing its cultural and historical significance. The song is widely acknowledged as an American standard by ASCAP, celebrated for its role in the and its influence on and across decades.

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