Cher shares her love of pure pop
You need major star power or major balls to tackle an album of ABBA covers. Thankfully Cherilyn Sarkisian has both. In spades.
After stealing the Mamma Mia film sequel, she clearly got the taste for Cher-ifying some of the best pop songs in history.
Dancing Queen sounds pretty much like the original, because why change it? Cher has one of the most identifiable voices in pop culture, with or without the now trademark Auto-Tune.
That button gets a work out on Gimme! Gimme! Gimme! — here ABBA’s 1979 disco banger is given a modern tweak.
SOS is another that takes advantage of production innovations since 1975.
Waterloo now sounds like Goldfrapp at Eurovision. It’s good to hear Cher singing — and being Auto-Tuned — over a live band again on Mamma Mia. The Name of the Game is given a deep bass groove and Cher handles both Agnetha and Anna-Frid’s vocal parts, playing call and response in the chorus with herself.
Chiquitita fully commits to a Latin vibe, Fernando re-uses the Benny Andersson production from the movie sountrack and while it sounds fantastic, it’s identical to the original, which is why producer Mark Taylor (Believe) was needed to stop this being just celebrity karaoke.
The Winner Takes it All is stunning; the perfect example of speeding up a ballad without desecrating the original, and Cher knows how to deliver ABBA’s most personal hit — it’s now relationship murder on the dancefloor.
The reverse works on another divorce post-mortem,
One of Us, stripping back the 1981 beats to become a 2018 torch ballad with a true powerhouse vocal bursting with 72 years of emotion and experience. A Cher delight.
VERDICT The campest album ever made?