Today we find out what, if any, crossover there is between the Jukebox and RuPaul’s Drag Race.
[Video][Website]
[4.57]
Edward Okulicz: There are a few differences between “Woman’s World” and that out-of-nowhere and delightful run of dance hits Cher released in the late 90s. Firstly, they were very modern dance-pop tracks that still stack up fine today, whereas this sounds dated. Secondly, Cher has a great voice and it was a pleasant shock to hear it in a dance context, whereas this has to stand on fall on the quality of the song. Thirdly, they were better songs with bigger gimmicks. And finall, they had a wider set of utilities than just being obvious additions to a drag queen’s lip-sync repertoire. And for the latter I’d take “The Music’s No Good Without You” over this, easy.
[4]
Ian Mathers: Minus a point or two for the draggy intro, which makes the song sound dispiriting and Cher’s wonderful voice sound weird, but once the boshing starts, all is right in the world. Unlike another song we’re covering today, this is a track about a wronged woman that warrants her dubbing herself a tornado.
[7]
Will Adams: That this sounds like it could have been released alongside the now three-years-old “Celebration” is indicative either of Paul Oakenfold’s personal barrel scraping or of dancepop’s general unwillingness to push against boundaries. I’m feeling cynical today, so I suspect it might be both.
[3]
Alfred Soto: The most influential dance vocal stylist of the last twenty years reminds us that not only was there was once a place for sisterly anthems but that she once scored a sizable dance hit with a track called “Strong Enough.”
[4]
Patrick St. Michel: Pretty generic sounding club filler, but Cher’s voice at least lends this one distinctive characteristic.
[5]
Anthony Easton: If I give this a decent grade, can I go back to listening to “Gypsies, Tramps and Thieves” — Cher’s true feminist anthem?
[5]
Brad Shoup: If Cher’s trying to reclaim the club as a straight female space… lots of luck. Obviously she’s not trying anything of the sort, but she goes to the title about 300 times, so I’ve got lots of time to mull over its implications. She sounds great; would probably sound in control even without the standard production assistance, and she slips on a neat cadence (“everyBO-dy in-the-club, stand up now”) during the bridge. It’s perfectly noble – and perfectly boring – fanservice bosh.
[4]