“A couple years later, his Alzheimer’s just started to set on, and I said ‘let’s go into the studio now’… When I tell you that when jazz begins, this man lights up in a way that is such magic,” Gaga said. The pair’s appearance at Radio City came as part of a two-night run that ultimately became Bennett’s final live performances before retiring at the suggestion of his medical team following a diagnosis with Alzheimer’s Disease. And he goes, ‘Hey Lady’ – that’s what he calls me – ‘we need to make a Cole porter record, all Cole Porter songs, all love songs.’” “Our album Cheek to Cheek went No.1 and I called him and said, ‘Hey Tone, we’re number one all over the world with a jazz record’.
“Watching him begin his journey with Alzheimer’s years ago, I remember I wanted to make good on a promise I made to him,” she explained. Gaga also spoke with Colbert about her collaborative work with Bennett during an interview to pair with the performance. Album DescriptionEarlier this month, the duo shared a performance of Cole Porter’s “Anything Goes” from Cheek To Cheek for The Late Show With Stephen Colbert filmed earlier this year at Radio City Music Hall. See More Your browser does not support the audio element.
© Stephen Thomas Erlewine /TiVo More info Whether you like it or not depends entirely on how much you dig the way they swing. Gaga and Bennett intended to put on a razzle-dazzle show here and that's exactly what they did. Such variety helps spice up a pretty predictable set of songs - it's a familiar parade of Porter, Berlin, Ellington, Kern, with Cy Coleman & Carolyn Leigh's "Firefly" being the least-familiar tune (although Bennett has recorded it numerous times since the late '50s) - but Cheek to Cheek is a record where the music and even the songs take a backseat to the personalities. Also, Cheek to Cheek benefits from sharp arrangements and production that draw upon anything from boisterous, full-bore big bands to swinging, intimate cabaret. His ease provides a welcome tonic to Gaga's eager glee club theatrics and there are some sparks that arise from this contrast. Comparatively, Bennett takes things perhaps a shade too casually, relying on charm as much as skill. Gaga also is occasionally betrayed by her taste for camp - it's fetching when she's re-creating the splendor of 1976 within the album art but when she begins throwing out flirty asides on "Goody Goody" ("I'm no goodie, I'm a baddie"), she slips on the thin ice she's skating upon. She has the chops to sing these warhorses but she sometimes seems unsure of her skills, relying on sheer power when she'd be better off easing into a lyric. lang in 2002, while Gaga is grounded in music theater and cabaret, a background that is perhaps too apparent on Cheek to Cheek even when it serves her well.
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Bennett naturally has a long track record not just in regards to the Great American Songbook, but in presenting it to modern audiences, freshening it up for an MTV Unplugged in 1994 and cutting a full album with k.d. Furthermore, the two aren't such an odd pair. Lady Gaga and Tony Bennett sang before 2014's Cheek to Cheek - she popped up on his 2011 collection Duets II - so this standards album isn't exactly out of the blue.
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