At this point, Ike and Tina Turner are probably better known for their marital discord than for any of their records. And in fact, even at their prime they were never consistent hitmakers, but they've always been famous. How does that happen? They're like the Sharon Stone of R&B: nobody can name a good movie Sharon Stone has ever been in (okay, I'll give you Total Recall), and she hasn't had a box office success in fifteen years, but she's one of the most famous people in the world. Anyway, after Tina's book detailing Ike's abuse became a hit movie (and he was sent to prison for unrelated crimes), Ike's name became synonymous with villainy, and revisionist music historians overcompensated by concocting wild claims for his innovations as a guitarist and even occasionally crediting him with inventing rock and roll. (Reminds me of the Supremes fans who claim that Florence Ballard - or less frequently, Mary Wilson - was the real singer in the group, when in fact we wouldn't even know who Ballard and Wilson were if they had been solo artists instead of backing Diana Ross.)
Ike and Tina toured and recorded relentlessly through the 60s and early 70s, for a jumble of different labels and in a variety of styles. Though they wrote many of their own songs, they became best known for turning songs initially by white rockers into their own hits by making them more low-down and raucous... the mirror image of James Taylor, you might say. And one cool thing about Tina's career is that she hit almost every genre that's existed in US pop music over the last fifty years - girl group, R&B, blues, soul, funk, dinosaur rock, disco, electropop - straight through to Adult Contemporary. Combine that with the fact that she's covered almost every songwriter who ever put pen to paper, and her ouvre may be the closest approximation you can find of a pop survey course.
Ike and Tina toured and recorded relentlessly through the 60s and early 70s, for a jumble of different labels and in a variety of styles. Though they wrote many of their own songs, they became best known for turning songs initially by white rockers into their own hits by making them more low-down and raucous... the mirror image of James Taylor, you might say. And one cool thing about Tina's career is that she hit almost every genre that's existed in US pop music over the last fifty years - girl group, R&B, blues, soul, funk, dinosaur rock, disco, electropop - straight through to Adult Contemporary. Combine that with the fact that she's covered almost every songwriter who ever put pen to paper, and her ouvre may be the closest approximation you can find of a pop survey course.
Warren Dawson - bass
Soko Richardson - drums
Jackie Clark - guitar
Ike Turner - organ
J.D. Reed, Mary Reed - sax
Edward Burks - trombone
McKinley Johnson - trumpet
Soko Richardson - drums
Jackie Clark - guitar
Ike Turner - organ
J.D. Reed, Mary Reed - sax
Edward Burks - trombone
McKinley Johnson - trumpet
Nuff Said (1971)
Another big concept shift, as these "songs" are mostly just a collection of unstructured vamps distinguished by Tina's repeated interjections (the two-part title track; "Tell The Truth"). Which may bring to mind James Brown's early 70s output, but these tunes are organ-driven Stax soul ("Sweet Flustrations") rather than Brown's syncopated funk. Only "Moving Into Trip Style - A Trip Child" is an actual song, and it borrows substantially from both "Proud Mary" and Sly's "Everyday People." Curiously, for a record with so little actual songwriting there's a long list of songwriters: Leon Ware co-wrote half the tunes, usually with one or more of the Turners ("Tell The Truth"). Ailene wrote another tune, "Baby (What You Want Me To Do)," and pitched in on "Pick Me Up (Take Me Where Your Home Is)." Produced and arranged by Ike Turner.
Another big concept shift, as these "songs" are mostly just a collection of unstructured vamps distinguished by Tina's repeated interjections (the two-part title track; "Tell The Truth"). Which may bring to mind James Brown's early 70s output, but these tunes are organ-driven Stax soul ("Sweet Flustrations") rather than Brown's syncopated funk. Only "Moving Into Trip Style - A Trip Child" is an actual song, and it borrows substantially from both "Proud Mary" and Sly's "Everyday People." Curiously, for a record with so little actual songwriting there's a long list of songwriters: Leon Ware co-wrote half the tunes, usually with one or more of the Turners ("Tell The Truth"). Ailene wrote another tune, "Baby (What You Want Me To Do)," and pitched in on "Pick Me Up (Take Me Where Your Home Is)." Produced and arranged by Ike Turner.
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OdpowiedzUsuńThanks for this one my friend
OdpowiedzUsuńCheers from Paris
Bertrand