Cher shares her love of pure pop

Herald Sun - Hit - - MUSIC - With CAMERON ADAMS

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?

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.