‘Dancing Queen’ New Album: Cher Honors ABBA, ‘Mamma Mia
In light of the measure of advancement engaged with “Mamma Mia!” and its 2018 spin-off, I couldn’t get these tunes out of my head — and I figure Cher felt a similar way.
One of only a handful couple of melodies I knew before watching “Mamma Mia!” was “Dancing Queen.” Even on the off chance that you haven’t know about ABBA previously, you likely know this tune. My father used to tune in to radio stations that played ’70s and ’80s music, so incidentally I heard the melody.
Cher kept a ton of ABBA’s sound in every one of the tunes yet at the same time figured out how to make it her very own by including a greater amount of her mark pop-y vibes, carrying the tunes into the 21st century. The instrumentals clearly point toward ABBA, yet the vocals are all Cher. All things considered, Cher and ABBA are both vocal powerhouses, so it’s difficult to befuddle the two.
Aside from the way that every one of these tunes are notorious and are a piece of a notable motion picture establishment, this is certainly a collection you can sing and move along to, and everything is exceptionally snappy and peppy. It still certainly keeps up those melodic angles I saw and adored in the motion pictures, which interpreted well on this collection.
Cher did and remarkable employment in catching the feeling of the tune “The Winner Takes It All.” It was a dismal tune in the film, and I could feel that equivalent feeling while at the same time listening it to from Cher. I was anticipating hearing Cher’s rendition of “Mamma Mia” and “Dancing Queen” (obviously), and she completed an extraordinary activity with those, as well. These two are as yet my top picks.
Another most loved I could add on to my rundown is “Chiquitita.” I like the message and its cheery nature.
On the off chance that I needed to avoid a melody, it would be “Waterloo.” To be reasonable however, I didn’t generally like the tune when I viewed the motion picture, and my feeling hasn’t changed.
“The Name Of The Game” is another melody to me, and it positions nearer to the base on this collection. It lost a considerable measure of its ABBA roots and strayed far from its blending and Cher. This melody is more about a pop-y hit than ABBA — or Cher, besides.
I’ve never been excessively excited about the autotune drift in popular music, and the utilization of this pestered me a little in this collection. I think Cher stands well individually and doesn’t require autotune.