in the country. It also topped the United States' Billboard Hot 100 chart for four weeks, selling over 1.8 million units in the country as of December 1999, and earned Cher a place in the Guinness Book of World Records as the oldest female solo artist to top the chart. It remains the singer's most successful single to date, and one of the best-selling singles of all time, with sales of over 10 million copies worldwide. "Believe" received critical acclaim, and has an electronic vocal effect proposed by Cher, and was the first commercial recording to feature Auto-Tune—an audio processor originally intended to disguise or correct off-key inaccuracies in vocal music recordings—as a deliberate creative effect; after the success of the song, the technique became known as the "Cher effect" and has since been widely used in popular music. The album's second single, "Strong Enough", was released on February 19, 1999. It peaked at number one in Hungary and attained a top ten position in Austria, Belgium, Denmark, Finland, France, Germany, Italy, New Zealand, Spain, Switzerland and the United Kingdom. Due to a "loss" of radio airplay and promotion, the song had a modest success in the United States, peaking at number fifty-seven on the Billboard Hot 100, while reaching the number one on the Hot Dance Club Play chart for one week. "All or Nothing" was released on June 7, 1999, as the third single outside the United States. It peaked inside the top ten in Finland and Hungary; the song had a moderate success on the charts elsewhere, peaking at number twelve on the UK Singles Chart, while reaching number fourteen in Denmark. "Dov'è l'amore" was released as the album's fourth and final single on October 25, 1999. It became a top-ten hit in Finland, Greece, Italy and Spain. Along with its predecessor, the song was released in the United States as a maxi single, but failed to reach the Hot 100. "All or Nothing" and "Dov'è l'amore" peaked separately on the Hot Dance Club Play at number one and number five respectively. Critical reception Upon release, the album received mixed responses from international music critics. AllMusic's Michael Gallucci called Believe Cher's "latest playground move" and said that she "merely moves through the beat factory with one drab vocal range into one endless, and personality-free, thump session" and "determinedly, if not wholeheartedly, clinging to the tail end of