Artist: Cher
Genre(s):
Pop
Folk: Folk-Rock
Dance: Pop
Rock
Rock: Pop-Rock
Dance
Rock: Soft Rock
Discography:
Greatest Hits Volume 1 (Remastered)
Year: 2005
Tracks: 18
The Very Best Of Cher (2003)
Year: 2003
Tracks: 21
The very best of Cher
Year: 2003
Tracks: 18
Live: The Farewell Tour
Year: 2003
Tracks: 18
Divas Las Vegas
Year: 2002
Tracks: 1
Living Proof
Year: 2001
Tracks: 12
The Way of Love: The Cher Collection (CD 2)
Year: 2000
Tracks: 20
The Way of Love: The Cher Collection (CD 1)
Year: 2000
Tracks: 20
Not Com.Mercial
Year: 2000
Tracks: 10
Golden Collection
Year: 2000
Tracks: 19
Ultra Hits
Year: 1999
Tracks: 19
The Greatest Hits
Year: 1999
Tracks: 19
If I Could Turn Back Time: Greatest Hits
Year: 1999
Tracks: 17
If I Could Turn Back Time (Cher's Greatest Hits)
Year: 1999
Tracks: 17
Black Rose
Year: 1999
Tracks: 8
Believe
Year: 1999
Tracks: 10
It's a Man's World
Year: 1995
Tracks: 14
Cher - Greatest Hits: 1965-1992
Year: 1992
Tracks: 16
The Best of Sonny and Cher - Beat Goes On
Year: 1991
Tracks: 21
Love Hurts
Year: 1991
Tracks: 12
Heart of Stone
Year: 1989
Tracks: 12
I'd Rather Believe in You
Year: 1976
Tracks: 10
With Your Cher
Year: 1967
Tracks: 14
Collection 2
Year:
Tracks: 19
Collection 1
Year:
Tracks: 19
Cher has had trey careers that place her indelibly in the public cognizance, and deuce take been in association with her then-husband, composer/producer/singer Salvatore "Sonny boy" Bono (February 16, 1935-January 8, 1998). She charted major hit records in the 1960s and 1970s, working in idioms ranging from early '60s girl group-style ballads to Jackie Deshannon folk-influenced pop, to adult contemporary pop in the manner of later Dusty Springfield. She as well embarked on an playacting career, ab initio in the late sixties in association with her run as section of Sonny & Cher but by and by on her own, which lED to a series of more and more dressed and compelling performances in Silkwood, Mask and Lunatic, for which she won the Academy Award for Best Actress.
Cherilyn Sarkisian was innate in California in 1946; she was 17 when she number 1 met Salvatore "Sonny boy" Bono, a ballad maker and protégé of producer Phil Spector. Bono brought her to Spector, world Health Organization exploited her as a computer backup isaac Merrit Singer and produced one individual by her, a gaud Beatles tribute phonograph record called "Ringo I Love You" issued under the name Bonnie Jo Mason. It disappeared without a trace, simply the couplet were undaunted -- they emerged as a duo, initially called Caesar & Cleo, by and by that year, and burn "The Letter," "Do You Wanna Dance" and "Love Is Strange."
Sidney Caesar & Cleo didn't bother the chart compilers with any degree of achiever, simply late in 1964, Cher (then known as Cherilyn) was signed to Liberty Records' Imperial imprint, and Bono came along as producer. A Spector-ish variation of "Dream Baby" managed to get airplay in Los Angeles, becoming a local dispatch, and they suspected they were onto something. That same month, Sonny & Cher, as they were directly known, signed to Reprise Records and released their number 1 single, "Baby Don't Go." The song became a major local rack up in Los Angeles, after which the duet jumped from Reprise to the Atco label, a part of Atlantic Records. In April 1965 their number 1 single, "Just now You" was released and rosiness to issue 20 on the charts. The brace was on its way, and Cher likewise had Imperial Records afterward her for a bit individual. The couple had seen the Byrds pioneer commercial folk-rock with Bob Dylan's "Mr. Tambourine Man," and had witnessed them performing another Dylan turn, "All I Really Want to Do" at a golf club in Los Angeles. The mathematical group intended to issuing their own transcription of "All I Really Want to Do," only Cher, with Sonny producing, outfox them to the punch with her have recording of the song.
She chased a dual calling for the succeeding two years, cutting solo recordings under Sonny's steering that regularly charted, and duets with her hubby for Atco. A month after "All I Really Want to Do," they released "I Got You Babe," which was one of the biggest-selling and near love pop/rock hits of the mid-'60s, and the couple's key signature tune crosswise deuce eras of success. Cher's solo career all over up slenderly overshadowed by her turn with Sonny & Cher, only at the time she was to the full competitive on her own terms -- her low gear LP reached the Billboard Top 20 and was on the albums charts for hexad months. "Spang Bang (My Baby Shot Me Down)" was some other attain, a million-seller that made routine terzetto in America and England, and she made the Top Ten erstwhile more with her 1967 individual "You Better Sit Down Kids." The latter sung, written by Bono (and which was likewise a attain for Glen Campbell), dealt with disunite, an unusual topic for a sixties pop track record, and was one of a series of releases on which Cher's music abroach difficult areas -- others were "I Feel Something's in the Air," which dealt with unwanted maternity, and "Mama (When My Dollies Have Babies)," both scripted by Bono.
Cher's solo career at Imperial, which had created some political problems for the distich at Atlantic, over with the backsliding of her take in 1967, and she stirred to Atlantic. Ironically, it was this move that contributed the infelicitous reversal of the couple's fortunes at the end of the decade.
By the end of the sixties, Sonny & Cher were no longer marketing records. A series of commercial missteps, conjugated with a change in populace taste, had precipitously curtailed their gross revenue, and a pair of movies (Good Times, Chastity) had lost millions. Additionally, they were no longer recording for Atlantic -- though they were still under sign on to them -- outstanding to the label's determination to consume Cher's solo recordings extinct of Sonny's custody and set apart a new producer to her.
Conjugate with the presentation of a beak from the Internal Revenue Service for $200,000 in indorse taxes, these events left the distich in fearful financial straights at the end of the sixties. They were forced to play golf-club dates, opening for artists like Pat Boone, and it was thither that their bit calling, and a second career for Cher, took form. A new contract with Decca Records in 1971, conjugate with a luck at a summer surrogate gig on the CBS television receiver network, brought them a second gear probability at success.
The try on television was a success, as the match proved to be as mirthful as they were musically various. It took a small yearner to discover a raw formula for Cher's music -- her initial individual on Decca's Kapp pronounce, "Classified 1A," written by Bono, was a failure; a unplayful birdcall dealing with a girl's feelings for a young man killed in Vietnam; it was topical in all the wrong shipway to become a pop chart achiever. Producer Snuff Garrett was recruited to work with her, and he establish a series of songs that were complete for Cher's maturing talent.
"Gypsies, Tramps and Thieves," a conscious attempt to emulate Springfield's "Word of a Preacher Man" (which also recalled Cher's have "Sleep with Bang") was released late in 1971 and became a number one hit and a million-seller. To some listeners, "Gypsies, Tramps and Thieves" was the epitome of schlocky pop/rock, merely the song's topic subject, unusual pacing changes, and an incredibly memorable chorus-hook became a vehicle for a transcendent performance by the isaac Bashevis Singer, grading Cher's ripening as an creative person (the B-side, "I Hate to Sleep Alone," written by Peggy Clinger of the Clinger Sisters, inquisitively sufficiency, managed to echo Sonny's Spector-influenced productions from the Imperial age). A follow-up record album, featuring her covers of contemporary hits such as "Fire and Rain," sold well too, and her next single, "The Way of Love," a revival of a mid-'60s Kathy Kirby hit, solidified the image of a new, more than confident and herculean Cher. And the debut of the couple's regular network diversity series on CBS in January 1972 brought them back to the centre of American and international popular acculturation in a more mature, wittier pretext, and one that hard much more on Cher as a personality.
Her 1960s music ran the gamut from Spector-style miniature teen-pop symphonies to covers of present-day adult pop ("It's Not Unusual") and folk-rock, all cut under Bono's counseling. Her phonation wasn't very fat or powerful, only it was expressive and surrounded by Bono's effulgent Spector creations, and she could position over an near unsuitably cheerful sounding interpretation of "The Bells of Rhymney" or "Blowin' in the Wind." By contrast, her early seventies material, solo or with Sonny, had a more grownup item of view and personality. Gypsies, Tramps and Thieves" and the after number one solo hits "Half-breed" and "Glowering Lady" were dramatic, highly intense performances, nigh as practically "acted" as song dynasty, and very different from her sixties output.
In 1974, it was revealed that the couple's marriage was coming to an end. Ironically, Cher came kO'd of this split more fix than her husband, despite his having guided her career for a decade and having all of the real breeding in the amusement patronage. She embarked on an acting career, even as she continued to make headlines for her romantic exploits, including an affair with (and deuce marriages to) Gregg Allman. She became a far better actress than she was a isaac M. Singer, outset revealed in Mike Nichols' Silkwood (1983) and then in Peter Bogdanovich's Mask (1985) and George Miller's The Witches of Eastwick (1987). Her acting peers caught on to the worth of her ferment in time for an Academy Award for Best Actress for her functioning in Norman Jewison's 1987 romanticist comedy Lunatic.
Since the mid-'70s, Cher has been known more than for her acting than for her music, although she has continued to book for numerous labels, including Columbia, and in 1998 scored an international chart-topping crush with the club-friendly single "Trust." She is, by Garrett's analysis, more than of a hairdresser than a isaac M. Singer, and well-nigh as practically a personality as an actress, near a contemporary Helen Morgan (Showboat, etc.) with better portion in life and career.
