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Mamma Mia: Cher turns heads on ABBA

ABBA have become an industry on par with IKEA.

The Swedish popmaskine is a billion dollar business with the museum, musical and feature films, benefitting from the quartet's golden treasury of song.

’Gold: Greatest Hits’ has sold more than 30 million copies, and the band's roughly 40-year-old parade of schlagere is still not to slide up.

Cher trying on the tribute album titled ’Dancing Queen’, but despite a rather uninspired effort she is able not to destroy the classics.

based on its role in succesfilmen ’Mamma Mia! Here We Go Again’ applauderer the californian diva ABBA without pill much by originalversionerne, there is something of the closest one comes popperfektion.

in General, there is a little more bottom in the beatene on cher's versions, and the disc will function optimally for any homooptog, but dunkeriet skamferer some extent, songs such as ’Waterloo’ and ’The Winner Takes It All’.

cher's sense of bombastic melodrama garments, to turn the peerless ’Gimme! Gimme! Gimme! (A Man After Midnight)’, which glitters and glistens in a degree so her rich status as bøsseikon hardly be less.

’Dancing Queen’ is, however, quite predictable, and one should far down in the nuances of finding the details that justify the disc's existence as anything other than highly informal entertainment.

The droning groove under ’The Name of the Game’ is supplied, however, a discrete dubeffekt, but cher's most personal stamp on the repertoire is not surprising her deep, strangely attractive, and easily recognizable tone of voice, which, of course, be manipulated with Auto-Tune.

The great strength of ABBA's Björn Ulvaeus and Benny andersson's irresistible melodies, which the group delivered added an unspoilt charm you miss in cher's something calculated and the unnecessary celebration of the fantastic four.

’Dancing Queen’ feels more like a product than a plate.

the Cover of the 40 minute long 'Dancing Queen', which is produced by cher's longstanding collaborator Mark Taylor.

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