The Greatest Oldies Music

Pop

Grammy Glory: ‘I’ve Got You Under My Skin’ – Tony Bennett and Lady Gaga

Introduction

“I’ve Got You Under My Skin” is a musical masterpiece that transcends generations. This unforgettable song features a remarkable collaboration between two musical icons, Tony Bennett and Lady Gaga. Released in 2014, this rendition of the classic tune has been capturing hearts and igniting the passion of music lovers around the world. In this article, we’ll delve into the fascinating journey of this song, explore the extraordinary artists behind it, and uncover some intriguing facts in our ‘Did You Know?’ section.Tony Bennett & Lady Gaga glow as they sing 'I've Got You Under My Skin' – Madly Odd!

Did You Know?

  • The Original Composition: “I’ve Got You Under My Skin” was originally written by the legendary composer and lyricist Cole Porter in 1936. It has since become a timeless classic, covered by numerous artists.
  • The Magical Collaboration: The rendition by Tony Bennett and Lady Gaga is part of their collaborative album, “Cheek to Cheek,” released in 2014. This album, featuring a collection of jazz and vocal standards, received critical acclaim and showcased the incredible synergy between the two artists.
  • A Match Made in Musical Heaven: Tony Bennett, known for his rich, velvety voice, and Lady Gaga, celebrated for her powerhouse vocals, may seem like an unexpected pair, but their shared passion for music and their genuine chemistry shine through in this song.
  • Awards and Recognition: “I’ve Got You Under My Skin” by Tony Bennett and Lady Gaga received Grammy Awards, including the Grammy Award for Best Traditional Pop Vocal Album, further solidifying its place in music history.
  • A Timeless Classic: Despite the years since its original composition, the song’s enduring appeal continues to captivate audiences, making it a staple in the world of jazz and pop music.

Lady Gaga, Tony Bennett drop jazz duet 'I Get A Kick Out Of You' on singer's 95th birthday, announce album | Fox News

Watch Now

Lyrics: I’ve Got You Under My Skin

[Verse 1: Tony Bennett, Lady Gaga, Both]
I’ve got you under my skin
I’ve got you deep in the heart of me
You’re so deep in my heart, you’re really a part of me
I’ve got you, yes, I do, under my skin

[Verse 2: Lady Gaga, Tony Bennett, Both]
I’ve tried so not to give in
I’ve said to myself this affair never will go so well
But why should I try to resist? When all that I know so well
I’ve got you under my skin

[Bridge: Lady Gaga]
I’d sacrifice anything, come what might
For the sake of having you near
In spite of a warning voice that comes in the night
And repeats and repeats in my ear

[Verse 3: Tony Bennett, Tony Bennett & Lady Gaga]
“Don’t you know, little fool, you never can win
Use your mentality, wake up to reality”
But each time I do, just the thought of you makes me stop before I begin
‘Cause I’ve got you under my skin

[Verse 4: Tony Bennett, Lady Gaga, Both]
“Don’t you know, little fool, you never can win
Use your mentality, wake up to reality”
But each time that I do, just the thought of you makes me stop before I begin
‘Cause I’ve got you under my skin
And I’ll love you like a tattoo under my skin, under my skin
Yes, I’ve got you under my skin

Related Post

In a photograph filled with warmth and love, Lisa Marie Presley is seen surrounded by her children, Benjamin and Riley. Their tender closeness speaks volumes about the bond they shared — not of fame, but of a mother’s eternal love for her children. Despite the fame, Lisa’s true joy was being “Mom,” and after the heartbreaking loss of her son Benjamin, her grief evolved into a quiet, spiritual love that transcends death. Now, Riley continues to carry her mother’s legacy forward, embodying both resilience and grace, reminding us that love never truly fades, but lives on in the heart and memories of those left behind.

The Partridge Family – I’ll Meet You Halfway

The Partridge Family – Doesn’t Somebody Want to Be Wanted

You Missed

Country

Jerry Reed found the chorus while driving, with the engine and highway providing their own rhythm. Hal Needham’s production of Smokey and the Bandit was running short on time, and the film needed music that could match its roadbound chaos. Once the hook came together, Reed wanted to capture it before it slipped away. He acted immediately, without waiting for a studio booking or a meeting. Pulling over, he contacted songwriter Dick Feller and asked him to supply the verses. Feller completed the missing sections in roughly two hours. The collaboration was quick and practical, shaped by the film’s schedule, but the song’s energy felt natural. Their goal was to accompany a man on the move and keep pace with the action. Chart success wasn’t what drove them. Needham heard the rough demo and recognized the sound his movie needed. Its unpolished character helped give it life, something an elaborate production might have weakened. Reed later tightened the recording for release, though the essential song had taken shape by the time he reached his driveway. It went on to reach number two on the charts and earn a lasting place in American culture. What began as an idea on a solitary drive became an anthem because Reed recognized its promise and moved quickly enough to keep it.

Country

At eighty-six years old, Charley Pride stepped under the harsh glare of the CMA stage lights and confessed to the audience that he was as nervous as a man could be. It was November 11, 2020, and the heavy weight of a global pandemic had turned the industry inward, making the simple act of standing before a microphone feel like an act of bravery. Beside him, Jimmie Allen provided a bridge between generations as they performed the familiar, gentle chords of “Kiss an Angel Good Mornin’.” For those watching, it was a moment of grace, a return to the voice that had anchored country radio for decades, even if the air in the room felt thin and uncertain. He accepted the Willie Nelson Lifetime Achievement Award with the quiet humility that had defined his climb from Sledge, Mississippi, to the top of the Billboard charts. No one in that room, perhaps not even Charley himself, understood that the rhythm of his life was about to stop. The celebration was a flash of normalcy in a year defined by isolation, a brief convergence of music and history that masked the fragility of the moment. He carried his success with the same steady cadence he always had, unaware that his public life was drawing to a close. Thirty-one days after that final performance, the news arrived from Dallas that the world had lost one of its most enduring voices to complications from COVID-19. The suddenness of his passing left a void that stripped the industry of a pioneer who had navigated the landscape of music with nothing but a guitar and a persistent, baritone resolve. There was no encore, no final stadium tour to bid farewell, only the memory of a man who spent his last days giving the world one more song.

Country

GLEN CAMPBELL LOST HIS PLACE IN THE SOLO. THEN HE FOUND SOMETHING NEW. Ashley Campbell stood beside her father, holding her banjo, when his familiar solo in Wichita Lineman took an unexpected turn. Under the venue’s glaring lights, the precise playing audiences had trusted for years suddenly faltered. Glen’s fingers, so central to the Nashville Sound, seemed unable to find the next passage. The rhythm section hesitated, and uncertainty spread through the arena as Ashley watched him search for music that had briefly escaped him. But he kept playing. Rather than stop, Glen shaped a melody nobody had rehearsed, following the notes into an improvisation absent from every recorded version. It had the intimacy of someone reaching back through his own musical history. Names and places might be slipping from his memory, yet his feel for harmony still guided his hands. The audience had expected a familiar performance; what they heard instead felt unusually personal and honest. Ashley carried that moment into her own life as a musician. Watching him find a way forward taught her that professionalism involved more than playing every chord correctly. It also required the courage to continue when certainty disappeared. Later, as those years beside him found their way into her songwriting, she remembered the disorder and brilliance of that solo. Its beauty came from the distance between what everyone expected and what her father could still offer.

Country

“I’m not ready for Conway to close the show yet,” Reba McEntire said, her voice wavering in the solemn hush of the Hendersonville church. It was a sentiment shared by everyone in the room, from the titans of country music like Naomi Judd and Mickey Gilley to the thousands of fans who had traveled from all over to pay their respects. For decades, it had been a reliable, comforting ritual: Conway would walk out, say those three words—‘Hello, darlin’’—and the world would hold its breath until the final chord rang out. But the reality of June 5, 1993, had shattered that rhythm with cruel efficiency. The industry, often defined by its shifting trends and temporary heroes, suddenly found itself anchored by the gravity of his departure. Porter Wagoner, an old hand at the business, remembered the man who had let the fans decide his fate, trusting them more than the labels or the critics. There was a unique dignity in how Conway had lived, remaining a steadfast, constant presence even as the business changed around him. Now, the space he occupied was empty, and no one wanted to be the one to usher the finality of it all. As the service concluded, the realization settled over the crowd that the show had truly reached its end. There would be no more tours, no more buses rolling across the plains of Missouri, and no more closing numbers. The legend had left the stage, and the house lights were finally coming up on a career that would be remembered for its sheer, uncompromising consistency.