If Cher wasn't giving up on the singing malarkey, she certainly wasn't giving up her heroine-addicted husband, so why not combine her to biggest pleasures? Fortunately, love is the only drug here. Cher's 1979 disco albums were hardly the bold new direction no one saw coming. There were definite stepping stones in this direction: The Cher Show in '75 showcased the genre, particularly on a duet where Cher makes a compelling attempt to hold her own alongside Patti Labelle; and her solo covers of Rescue Me had a brisk dance pace and Knock On Wood illustrated a knack to soak up a wide array of influences, but still maintain her unique identity. One musical oeuvre that hinted at what was to come with her Cassablanca years is her rather baffling attempt to have another go at the husband and wife duo thing with her spouse of 4 years Gregg Allman. The album is also the last thread of the singer's tender soft-rock balladry, and what a discreet bow it is. Despite not charting and an outpouring of dismal reviews, Two The Hard Way has reportedly sold 500,000 copies worldwide.
The cover You've Really Got A Hold On Me is a faithful one whether their relationship was or not. Like themselves, I'm a bit split on this one. Going together like cheese and a grater, their vocals sound decent if unspectacular on I Found You, Love. Cher let's loose a bit and the faceless discotheque grooves make me think of the classic films The Bitch and The Stud (how ironic). Move Me sounds like a lesser Heaven Must be Missing An Angel. Love's rueful strain is felt on Can You Fool, a sweet ballad resting on glimmering keyboards and country inflection. The corn is cranked high, but if you can get past it, the track is nice enough (her falsetto also makes a cameo). Proving everyone wrong, We're Gonna Make It was fighting a losing battle in more sense than one. The track itself has an engaging strut should one be that way inclined, and there's some emphatic hollering to no melody in particular. "I love you better than your own kid did" is Cher's proud boast on Do What You Gotta Do, one of the album's highlights. Sensual MOR slump In For The Night is more of those two blowing their own trumpet, with plenty of sax on the horizon if nothing else. Blowing his wad first, Shadow Dream Song is Greg's solo song. Cher's number, Islands, is a nice enough after-hours ballad. The voice is getting very masculine as the emotion wells up. The lump in her throat must have looked like the kind of Adam's apple Chaz has had his heart set on for years. I Love Making Love To You (aka, Are You Listening Sonny?) is one more funky disco-lite MOR number for the road ("I want you to fill me with your soul ... I love when you give it to me" etc). Love Me gives little reason to. However, Cher's final plea "please love me" is one the lingers with an obvious pathos.
|Cher decided to nip their marriage in the bud.|