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NOVEMBER
26,
2018
A RECENT INTERVIEW WITH TINA TURNER ON THE BBC!!!
To celebrate the icon's 79th birthday, we here at ROCKWIRED took it upon ourselves to share with you some our favorite moments from TINA TURNER's illustrious past. This listing is in no particular order. ![]() er
days as Mrs. TURNER were coming to an end and you can almost see the
light at the end of the tunnel gleaming in her eyes. Or was
that
the woman's own fiery ambition? In any event, it made for one of the
more memorable moments in THE WHO's ambitiuous rock opera TOMMY. It
scared the hell out of me when I was a kid who only knew the TINA
TURNER that was alive and cracking on MTV. By all reports, TURNER has
lived a clean life so seeing her brandishing a syringe and the
realistic facial twitching makes us wonder where the hell this woman's
motivation was coming from. Was she studying the decline of her husband
at the time? Who knows? Alongside enthralling us with her fiery,
crimson presence and electrifying vocals, TINA TURNER - the
actress - made her acting debut without speaking a word. FROM THE FILM "TOMMY" ![]() he
United States had some cool music shows such as BURT SUGARMAN's
MIDNIGHT SPECIAL and DON KERSHNER'S IN CONCERT, but GERMANY had one up
on us with MUSIKLADEN, which featured videotaped live performances of
the days leading rock acts and gave the visuals some trippy,
psychedelic effects. Who better than IKE & TINA to
grace the
screen with the energetic dance moves of TINA and IKETTES. PROUD MARY
had put the band on the map but the performances of such rock standards
as THE BEATLES' GET BACK, THE STONES' HUNKY TONK WOMAN and
ARETHA's RESPECT (a stomping interpretation which
owes more
of a debt to OTIS REDDING than the QUEEN OF SOUL) showed viewers that
IKE AND TINA were all about the live performance as opposed to being a
studio band putting out the hits. RESPECT PROUD MARY HONKY TONK WOMAN GET BACK ![]() n
an appearance in SOUL TRAIN, TURNER had said that one of the things she
enjoys is driving out to the country and feeling like a woman. When
it came time for her to put out her first ever solo album, she did just
that. Yes, her debut album was a country album complete with material
from the likes of KRIS KRISTOFFERSON, BOB DYLAN, JAMES TAYLOR and DOLLY
PARTON but the effort cooks with the gritty soulful approach that we've
come to expect from TURNER. Unfortunately, the record buying public at
the time wasn't having any of it and the album faded away. To this day,
it has not been made available as a re-issue. In these times when
Country is king, it would be interesting to see this album
see
the light of day once again. Of all of TINA's solo albums prior to
PRIVATE DANCER, this one has aged the best with convincing
takes on country music classics such as IF YOU LOVE ME LET ME KNOW and
THERE'LL ALWAYS BE MUSIC. The one original cut - BAYOU SONG - is
a sultry, bluesy number that deserved as much attention as anything by
BOBBIE GENTRY at that time. BAYOU SONG IF YOU LOVE ME LET ME KNOW THERE'LL ALWAYS BE MUSIC ![]() ad
TURNER's country debut been accepted by thre masses in the way that
CHARLIE PRIDE or even THE POINTER SISTERS had, (anyone
remember FAIRYTALE?) who knows what trajectory the woman's career
would've taken. TINA TURNS THE COUNTRY ON was one hell of a first step
creatively if not commercially. A year later, TURNER tried her hand at
the approach that had seemed to work best - covering tunes from English
rockers and giving the material a soulful varnish. The resulting album
is ACID QUEEN - released a year before her captivating screen debut as
that very same character in the rock opera TOMMY. Her version
of LED ZEPPELIN's WHOLE LOTTA LOVE makes you want to really get down
and make love with somebody. UNDER MY THUMB maintains a resilient
soulful stomp worthy of the best of BOBBY WOMACK (that's KIM CARNES on
the backing vocals) and BABY BABY GET IT ON is an electrifying soul
rocker penned and co-sung by IKE. If you ask us that one song alone is
one hell of a swansong from the once dynamic duo. In retrospect, the
incendiary funk rocker is a house on fire signaling the end of the
TURNER's union. WHOLE LOTTA LOVE UNDER MY THUMB BABY BABY GET IT ON ![]() hat do you
do when you find yourself at the top of the world with a hit album like
PRIVATE DANCER, a string of top ten hits, four GRAMMY wins and yet you
still have people wanting to ask about your past - more specifically,
your violent marriage? You call up KURT LODER and the two of you start
working on a book about your life. Before I, TINA, rock n roll
biographies were written after the subject of the biography was dead
(ELVIS PRESLEY, JIM MORRISON, JANIS JOPLIN). With I TINA, the subject
is very much alive and makes no apologies for the life that has lived
and the mistakes that have been made. This tale of rock n roll
survival was instrumental in crystallizing the epic story of TINA's
rise from the backwoods of Tennessee to the top of the world. Sure, we
would've mentioned the 1993 biopic WHAT'S LOVE GOT TO DO WITH IT? but
the fellas at DISNEY treated this rich and engaging biography with a
very light coat of paint and too many wailing histrionics
from it's star ANGELA BASSETT. I TINA is an epic story with a Homeric
heroine to root for. THE
ARTiCLE WiLL CONTiNUE
FOLLOWiNG THE ADVERTiSEMENT BELOW ![]() ![]() his
was the musical comeback that all
musical comebacks have been judged by. Forget about ELVIS in '68.
TINA TURNER in 1984 showed the whole damned world what survival of
the fittest in rock n roll was all about with the release of her
fifth solo album PRIVATE DANCER. The tumultuous relationship between
her and husband and band leader IKE TURNER resulted in a climactic
battle in Dallas Texas which according to pop legend had TINA running
for her life. The marriage marked by years of physical abuse ended
with TINA having to start over from square one but this time, the
goal was world domination. The first release from PRIVATE DANCER was
a pristine cover of AL GREENE's LET'S STAY TOGETHER but before long,
TINA would have the world on it's ear with what has come to be her
signature solo classic WHAT'S LOVE GOT TO DO WITH IT – a
reggae-fied piece of eighties soul pop marked by TINA's distinctive
purr. Other performances include the positively churning BETTER BE
GOOD TO ME, a EURYTHMICS-styled cover of the ANN PEEBLES classic I
CAN”T STAND THE RAIN, the exquisite jazz rock title track brought
to her by MARK KNOPFLER and the all out rock n roll rant STEEL CLAW
featuring a fierce JEFF BECK on guitar. LET'S STAY TOGETHER WHAT'S LOVE GOT TO DO WITH IT? BETTER BE GOOD TO ME PRiVATE DANCER ![]() t should
be mentioned that TINA TURNER turned down the role of SHUG AVERY in
STEVEN SPIELBERG's 1985 OSCAR-nominated film THE COLOR PURPLE in favor
of working with director GEORGE MILLER for the third installment of the
MAD MAX films. BEYOND THUNDERDOME took the series into uncharted
territory with it's massive budget. The extra money helped and BEYOND
THUNDERDOME was a box office smash where TURNER finally got to show
what she was made of as an actress playing the morally ambiguous AUNTIE
ENTITY - a villainess with a tremendous sense of fairness. It's been
said that director GEORGE MILLER had to talk TINA out of doing her own
stunts. The film also gave TURNER the chance to shine musically with
two contributions to the film's soundtrack. WE DON'T NEED ANOTHER HERO
is the subdued, cynical outlook on a messiah complex that people
remember the most with it's pulsating reggae beat a'la WHAT'S LOVE...
but the better moment is the HOLLY KNIGHT penned ONE OF THE LIVING. The
strident, apocalyptic-themed rocker earned the woman her fifth GRAMMY
for BEST FEMALE ROCK PERFORMANCE yet is not available on any greatest
hits collection. ONE OF THE LIVING WE DON'T NEED ANOTHER HERO ![]() o
say that expectations were high following PRIVATE DANCER was
an understatement. They were to the moon! Was it possible to
capture lighting in a bottle twice? The answer is 'no' but TINA and her
producers and songwriters have a lot of fun trying. BREAK EVERY RULE
repeats the multiple producer approach of PRIVATE DANCER and boasts
songs from rock n roll giants such as DAVID BOWIE and MARK KNOPFLER.
Even the sound is more varied this time with some country and western
flourishes (WHAT YOU GET IS WHAT YOU SEE). You've even got BRYAN ADAMS
pushing TURNER into metal territory with the glorious rocker BACK WHERE
YOU STARTED which is probably the album's finest moment. The
introspective title track plays like a sequel to I MIGHT'VE BEEN QUEEN
from PRIVATE DANCER and TYPICAL MALE demonstrates the woman's finesse
at delivering seamless Adult Contemporary Pop in the vein of WHAT'S
LOVE...Like the mid to late eighties, the music on BREAK EVERY RULE is
all over the place and thirty years after the fact, that is what makes
it such an enjoyable listen. BACK WHERE YOU STARTED WHAT YOU GET iS WHAT YOU SEE TYPiCAL MALE ![]() ike her
1966 solo single RIVER DEEP MOUNTAIN HIGH, TINA's 1989 solo album
FOREIGN AFFAIR proved that the woman's faithfull audience was the
European audience. The album only reached Gold status Stateside but her
single THE BEST - which has become the woman's signature tune - did
manage to become a top twenty hit. The album went platinum throughout
much of Europe and a 1990 world tour for the album never made it to the
States. FOREIGN
AFFAIR is a return to some of the gutbucket sensibilities of the
woman's youth with songs like STEAMY WINDOWS which recall NUTBUSH CITY
LIMITS and UNDERCOVER AGENT FOR THE BLUES - a blues rock number that
could've gone head to head with ALLANAH MYLES' BLACK VELVLET. Both
songs were penned by blues rocker TONY JOE WHITE. If the album boasted
more material such as this, TINA would've had a classic on her hands
but unfortunately, FOREIGN AFFAIR reached for more bland Adult
Contemporary numbers that could've been done by anyone. Outside of THE
BEST, where was that devil-make-care, incendiary rocker that was going
ot come in and save the day? It never shows up.THE BEST STEAMY WiNDOWS UNDERCOVER AGENT OF THE BLUES ![]() f it
hadn't been for TINA recording RIVER DEEP MOUNTAIN HIGH, Europe's love
affair with the girl from Nutbush would never have been kindled. The
woman's bellowing, soulful voice over the lush WALL OF SOUND
orchestra singing of the joys of a first love sounds like a dynamite
pop moment on paper. Unfortunately, songwriter and producer PHIL
SPECTOR's desire to record in mono as opposed ot stereo hurt the song
sonically, causing the single to fail inthe U.S. Others have cited such
reasons as the sound being to white while the vocals sounded too black
or that the song was simply out of step with black music at that time.
In any event, the failure of the song sent SPECTOR into a retreat from
the music business. However, the single found a home on the airwaves
throughout Great Britain, inspiring the ROLLING STONES to
offer IKE & TINA a spot on their tour of Europe that year. ORIGINAL 1966 PROMO FOR RIVER DEEP MOUNTAIN HIGH ![]() KE and
TINA could take a song by anybody and put "some muthafuckin'
stank on it" but there were time when the duo felt they needed to rely
on themselves to come up with a hit. The only time that it ever proved
successful in a commercial sense was the 1974 hit NUTBUSH CITY LIMITS -
a punchy, soul rocker delivered with screaming abandon that tells of
the god foresaken rustic setting that ANNA MAE BULLOCK grew up in.
Real life has also informed some of the other songs that TINA
TURNER has penned such as FEEL GOOD with it's telling lines "I had
trouble with my father/ I had problems with my mother / and
discontentment with myself."
In the song UP IN HEAH, TURNER tells a story of
backsliding on ones faith, living a life of sin without a friend in the
world and being the "Daughter of evil". Given the woman's situation,
who better to pen a song about being damned if you d and damned if you
don't? Sadly,
the woman's songwriting never continued after leaving IKE. NUTBUSH CITY LIMITS UP IN HEAH FEEL GOOD
BRiAN LUSH (FOUNDER,
EDiTOR-iN-CHiEF)CONTACT
BRiAN LUSH AT:
djlush@rockwired.com
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