No-one, then, expects anything from Cher other than enjoyable music. Yet it’s still disappointing when Closer To The Truth kicks off with the generic EDM of Woman’s World, a song which suggests producer Paul Oakenfold hasn’t heard any music since 1999. Indeed, it could have been lifted from either of Cher’s dance albums of the period, rehashing as it does a recipe which had already become stale by the time of her ‘retirement’ from music. Part of the earth-shattering success of Believe lay in its brave novelty, but by the dying moments of exhausting second track Take It Like A Man, a wannabe gay anthem replete with DOA innuendo and copious use of vocoder, any hopes of Closer To The Truth employing a similarly revitalising daring are dashed.
In retrospect I’m not entirely sure why I so anticipated a new album from an artist hardly renowned for churning out good albums…the only Cher album most people would even be able to name is Believe and part of that would be guesswork. So I was disappointed but never mind. I’ll still go and see her in concert and no doubt love it.