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: /____\ : >>> Ike And Tina Turner: The Essential <<<
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:..:... Supplier : SER 2006 Release Date : 05/31/2006 ...:..:
: : Ripper : SER 2006 Street Date : 00/00/2006 :..:...
...:..: Genre : Soul Source : CD : :
: : Label : EMI/Capitol Tracks : 15 Tracks ...:..:
: : Quality : VBR/APS/44.1kHz Channels : Joint Stereo : :
:..:... Language : English Size : 65,7 MB :..:...
: : Software : EAC v0.95 Beta 3 Encoder : LAME v3.90.3 : :
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As husband and wife, Ike & Tina Turner headed up one of the most
potent live acts on the R&B circuit during the '60s and early '70s.
Guitarist and bandleader Ike kept his ensemble tight and well-drilled
while throwing in his own distinctively twangy plucking; lead vocalist
Tina was a ferocious whirlwind of power and energy, a raw sexual
dynamo who was impossible to contain when she hit the stage, leading
some critics to call her the first female singer to embody the true
spirit of rock & roll. In their prime, the Ike & Tina Turner Revue
specialized in a hard-driving, funked-up hybrid of soul and rock that,
in its best moments, rose to a visceral frenzy that few R&B acts of
any era could hope to match. Effusively praised by white rock
luminaries like the Rolling Stones and Janis Joplin, Tina was
unquestionably the star of the show, with a hugely powerful, raspy
voice that ranks among the all-time soul greats. For all their concert
presence, the Turners sometimes had problems translating their strong
points to record; they cut singles for an endless succession of large
and small independent labels throughout their career, and suffered
from a shortage of the strong original material that artists with more
stable homes (Motown, Atlantic, Stax, etc.) often enjoyed. The
couple's well-documented marital difficulties (a mild way of
describing Ike's violent, drug-fueled cruelty) eventually dissolved
their partnership in the mid-'70s. Tina, of course, went on to become
an icon and a symbol of survival after the resurgence of her solo
career in the '80s, but it was the years she spent with Ike that made
the purely musical part of her legend.
Izear Luster "Ike" Turner, Jr. was born in Clarksdale, MS, in 1931;
initially a pianist, he formed his first band in high school and put
together the Kings of Rhythm in the late '40s. In 1951, that group cut
the pivotal "Rocket 88," a tune often pinpointed as the first ever
rock & roll record; however, since sax player Jackie Brenston took the
vocal, the song was credited to Brenston & His Delta Cats rather than
Turner & the Kings of Rhythm. Not long after, Turner switched from
piano to guitar, and he and his band became a prolific session outfit
in Memphis, backing various Sun artists and bluesmen during the early
'50s. Turner moved the Kings of Rhythm to East St. Louis in the mid
-'50s, where they became kingpins of the local R&B circuit. In 1956,
he met a teenage, gospel-trained singer from Nutbush, TN, named Anna
Mae Bullock, and promised her a chance to sing with his band. That
chance kept failing to materialize, until one night Bullock simply
grabbed the microphone and started belting. Impressed, Turner made her
a part of his revue, changing her name to Tina. After Tina became
pregnant by the band's saxophonist, Raymond Hill, she moved into
Turner's house, an arrangement that led to their own relationship; the
two were married in 1958 and soon had a child of their own.
In late 1959, Turner's band entered the studio to cut a song called "A
Fool in Love" for the Sue Records label. The scheduled male vocalist
failed to show up for the session, and Tina was pressed into service.
Released in 1960, "A Fool in Love" shot to the number two spot on the
R&B charts, also making the pop Top 30. Tina was now clearly the focal
point of the act, which Turner rechristened the Ike & Tina Turner
Revue; with a large, horn-filled ensemble and a group of leggy backup
singers dubbed the Ikettes (who complemented Tina's short-skirted,
uninhibited gyrating), the Revue eventually developed a reputation for
putting on one of the most exciting live shows in R&B. The R&B-chart
hits came fast and furious during the early '60s: 1961's "I Idolize
You" (number five) and "It's Gonna Work Out Fine" (number two), 1962's
"Poor Fool" (number four) and "Tra La La La La" (number nine). It was
an impressive run, but the well went dry over the next several years;
Ike supplied much of the band's original material, and although he was
responsible for many of the early successes, he simply wasn't a world
-class songwriter who could deliver hit-caliber tunes with regularity.
Much of the Revue's repertoire consisted of bluesy, chitlin circuit
R&B that wasn't exceptionally memorable. Ike & Tina branched out from
Sue Records and spent the next few years issuing records on additional
labels, including Kent, Modern, and Loma. While they had some
undeniable high points and several chart entries, none reached the
level of their initial run of Top Ten hits.
In 1966, the Turners worked with legendary producer Phil Spector, who
was seeking a way to restore his artistic and commercial standing at
the forefront of pop music in the wake of advances by the Beach Boys
and Beatles. The powerful instrument that was Tina's voice appealed to
Spector's sense of grandeur, and he conceived of a massive-scale
production framing that voice that would rank as his greatest
masterpiece. Ike already had a reputation for demanding control, and
Spector struck his deal accordingly: although the records would be
fully credited to Ike & Tina Turner, Ike would not be allowed to enter
the studio or alter the finished recordings (in effect, Spector was
paying him not to meddle). The centerpiece of Spector's collaboration
with Tina was "River Deep - Mountain High," a monumental pop symphony
that cost over $22,000 to produce (in 1966, this was a whopping sum
for an album, let alone a single). The single represented Spector's
so-called Wall of Sound style at its most gloriously excessive, and
Tina's was one of the few voices in popular music strong enough to cut
through the monolithic orchestral backing. With the high cost and his
own slipping stature, Spector was betting the farm on "River Deep
- Mountain High," and although it rocketed into the British Top Five
and made Tina a star in the U.K., it flopped in America, where its
mixture of black and white musical aesthetics was still slightly ahead
of its time. A crushed Spector retreated from the music business not
long after, and his Philles label yanked the accompanying album of the
same name from American release (Spector wound up producing only five
of the 12 cuts). Although some critics dismiss "River Deep - Mountain
High" as overproduced bombast, many still consider it one of rock's
greatest singles; George Harrison famously described it as "a perfect
record from start to finish."
After the Spector deal fell through, Ike & Tina returned to their
somewhat mercenary recording habits, cutting songs for Modern and
Innis, then moving to Minit and Blue Thumb in 1969. That year, they
went on the road as the opening act for the Rolling Stones, and Ike
slightly retooled the Revue's sound to appeal to white rock audiences
in addition to their core black following. In 1970, they signed with
Liberty/United Artists and recorded Come Together, which incorporated
contemporary rock & roll covers into their repertoire; versions of the
Beatles' title track and Sly & the Family Stone's "I Want to Take You
Higher" made the R&B Top 30. Released later that year, Workin'
Together became the most popular album of their career, making the Top
25 on the strength of a storming reinterpretation of CCR's "Proud
Mary." Featuring a notorious spoken intro by Tina, the "nice...and
rough" version of "Proud Mary" gave Ike & Tina their first Top Five
hit on the pop charts, and returned them to the same heights on the
R&B side as well; it also won them a Grammy. The covers gimmick
couldn't last forever, though, and their formula soon grew
predictable; their last major success was 1973's "Nutbush City
Limits," a semi-autobiographical song written by Tina that made the
R&B Top 20 and just missed that placing on the pop side. By that
point, Tina had grown increasingly uninterested in the duo's well
-established act, and was tiring of the largely unchallenging material
she continued to perform.
Unfortunately, the music itself wasn't the only factor in Ike & Tina's
downturn. As a bandleader, Ike had long been a disciplinarian, but
during the '60s he developed severe addictions to alcohol and,
especially, cocaine. Wanting to maintain control over the star of his
show at any cost, Turner kept his wife in line through an increasingly
violent pattern of emotional and physical abuse; often drug-related,
his flights of rage could result in severe beatings or burns that
pushed Tina to attempt suicide in 1968, according to her
autobiography. She continued to endure Ike's dominance through the
early '70s, and her performances were clearly weary by the end;
finally, she walked out on her husband and generally declined to
pursue claims for financial compensation from their work together.
Their divorce became official in 1976. After a long period of
struggle, Tina re-emerged triumphantly in the '80s as a superstar solo
act; Ike, meanwhile, ran his own recording studio for a time, but his
drug problems worsened, resulting in several arrests. Sadly, and
perhaps fittingly, he was serving prison time when he and his former
wife were jointly inducted into the Rock and Roll Hall of Fame in
1991, and was unable to attend the ceremony.
http://www.iketurner.com
http://www.tina-turner.nl
Tracks:
01. Nutbush City Limits (2:58)
02. I Heard It Through The Grapevine (Live) (3:24)
03. I Want To Take You Higher (2:52)
04. Come Together (3:39)
05. Honky Tonk Women (3:09)
06. Proud Mary (4:56)
07. River Deep - Mountain High (3:27)
08. It's Gonna Work Out Fine (3:02)
09. Sweet Rhode Island Red (3:14)
10. A Fool In Love (2:51)
11. I Idolize You (2:50)
12. Poor Fool (2:32)
13. Sexy Ida (Part 1) (2:29)
14. Sexy Ida (Part 2) (3:01)
15. Workin' Together (3:31)
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