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Dear and ABBA have both lived several lives in the decades since their arrival, so maybe it was only a matter of time before they ended up. As the two megastars seventies experience the public "occasions" of all kinds (the musical jukebox blockbuster Mamma Mia! Here we go againthe almost inexplicable success can demonstrate that neither one nor the other has ever really left public consciousness too long), the idea of the Cher overflowing with sensuality, bursting with sensations and s & rsquo; Attacker to the emotional kitsch of the most enduring and influential exports of Swedish pop out.
Dancing queen, Cher's 26th album, is surprisingly the first album tribute of the diva to an artist. With previous versions as 3614 Jackson Highway and Stars Fully dedicated to various covers of popular rock and pop songs, it's almost ridiculous that it took him so long to find a single artist worthy of an entire LP, worthy of loving remakes. While Jackson Highway and Stars found a budding young star star, Cher, trying the folk and blues of these particular song choices, as if they were farewell tour wigs, the 72-year-olds are not only making d & rsquo; ABBA as if they had been written for it instead, but as they firmly belong in 2018, a feat considering the sometimes delightfully dated production and performance of many of ABBA's great hits.
Working with producer Mark Taylor who helped seal Cher's legacy with the game "Believe" in the late '90s, she discovers subtle changes that update the ABBA classics without stripping them. success. "Gimme! Gimme! Gimme! ("A man after midnight"), "SOS" and "Mamma Mia" are given enough time to move from optimistic radio pop to club bangers, beating every beat.
Cher takes the ballad even more seriously, wishing to convey the emotional weight of ABBA's story (the four members were made up of two married couples who divorced each other during their lifetime, inspiring much darker material in their lives. subsequent albums). Like ABBA itself, gravity falls on the last moments: "The winner takes everything in hand" and "One of Us" are two of the most eviscerated and emotional emotional reflections of the quartet. Dear offers everyone an incredible vulnerability. "One of Us", in particular, sees the greatest musical change of all songs; the original is a pop, tropical, half-tempo moment that almost disguises the sadness of the lyrics. But this sadness can never hide from Cher, who strips her of strings, piano and vocals, making sure that you can feel every ego outpouring on the track.
Even at the end, one has the impression that Cher still has more ABBA love to give, even though it covers an incredibly broad representation of the band in just 10 songs. But it's about Cher, a pop diva who keeps surprising past expectations and never gives you the same result twice.
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