Puttin' On the Ritz
"Puttin' On the Ritz" is a song written by Irving Berlin. He wrote it in May 1927 and first published it on December 2, 1929.[1] It was registered as an unpublished song on August 24, 1927 and again on July 27, 1928.[1] It was introduced by Harry Richman and chorus in the musical film Puttin' On the Ritz (1930). According to The Complete Lyrics of Irving Berlin, this was the first song in film to be sung by an interracial ensemble.[1] The title derives from the slang expression "to put on the Ritz", meaning to dress very fashionably. This expression was inspired by the opulent Ritz Hotel in London.
For other uses, see Puttin' On the Ritz (disambiguation).
Hit phonograph records of the tune in its original period of popularity of 1929–1930 were recorded by Harry Richman and by Fred Astaire, with whom the song is particularly associated. Every other record label had their own version of this popular song (Columbia, Brunswick, Victor, and all of the dime store labels). Richman's Brunswick version of the song became the number-one selling record in America.[1]
The song received renewed popularity in 1974 when it was performed by Gene Wilder and Peter Boyle in the film Young Frankenstein. Their version of "Puttin' On the Ritz" was ranked 84th in the American Film Institute's 2004 list, 100 Years...100 Songs. In 1982, Taco, a Dutch musician, recorded and released a modernized version of the song. Accompanied by a music video that aired on MTV and other music video networks, Taco's cover became a Top 10 hit in the United States, Canada, and much of Europe. Kenny Yarbrough also recorded a cover of the song; this version was used as theme music for the short-lived 1991 sitcom Top of the Heap.
Musical structure[edit]
The song is in AABA form, with a verse.[2] According to John Mueller, the central device in the A section is the "use of delayed rhythmic resolution: a staggering, off-balance passage, emphasized by the unorthodox stresses in the lyric, suddenly resolves satisfyingly on a held note, followed by the forceful assertion of the title phrase." The marchlike B section, which is only barely syncopated, acts as a contrast to the previous rhythmic complexities.[2] Alec Wilder, in his study of American popular song, stated that the song's rhythmic pattern is "the most complex and provocative I have ever come upon."[2]