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Colt1861Navy

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Re: Colt1861Navy post# 889

Monday, 07/15/2002 10:26:11 PM

Monday, July 15, 2002 10:26:11 PM

Post# of 1767
Rock 'n' Roll Artists A-Z...Tina Turner

http://www.tina-turner.com/

http://www.divastation.com/tina_turner/tturner_bio.html

Tina's Life Story

"Nobody has had a life like mine - not even Joan Collins"...Tina

Tina Turner is back! With her trademark passion and a speed of delivery that would wear out wannabes a third her age, Tina Turner has completed a brand new studio album and will mark her big birthday with the best present her fans could wish for. At the end of November, the most indestructible original voice in soul music celebrates six decades on planet earth, and while her contemporaries might be thinking of gentle retirement, Tina will be back in the thick of what she does (simply) the best.

Her all-new studio album Twenty Four Seven, released by on Feburary 1, sees Tina teaming up with some of the sharpest cutting-edge writers producers in contemporary pop and soul, as well as some of her favourite collaborators from previous projects. The album is introduced by When The Heartache Is Over, co-written by John Reid of the Nightcrawlers and Graham Stack and produced by Brian Rawling and Mark Taylor, the Metro team behind Cher's multi-million-selling success with Believe. Within days of going to radio in September, the single became Europe's most-added track.

When you play these 11 new cuts and hear Tina at her full, familiar vocal throttle, you realise no one's come close to usurping this particular soul queen since we last heard her on album in the spring of 1996 with the UK platinum-seller Wildest Dreams.

When you add a cast list that includes a cameo from Bryan Adams on Without You, the never-before-recorded Bee Gees song I Will Be There, and tracks written by such seasoned talents as Terry Britten, Graham Lyle, Johnny Douglas and the Absolute production team, fame, you know that Tina's unique, high-octane soul testifying is ready for 2000 and beyond. "These are all great songs lyrically and they all sound like a modern version of gospel music," enthuses Tina. "I really enjoy the album on that level."

She lives these days in Switzerland, happy to lead a relaxed off duty life in her time away after the immense world tour that accompanied Wildest Dream, but now energised by another new challenge. "I got a break from the music world, I always need to detox from the business," she says. "But now I'm ready for it."

Twenty Four Seven was conceived after Tina's performance at VH-1's Divas show this past spring, and came together with such speed and drive that manager Roger Davies was soon able to tell the label people-EMI around the world, Virgin in North America-to get the troops in training for a whole new Tina Turner album before the 20th century was out.

Flying back to London, she visited the Metro team at their south London HQ and was fired up by their energy and enthusiasm for creating old-fashioned, irresistible pop melodies. Singing along to their demos in the studio, the decision to go for an album was made there and then. Recording began in earnest in June and July, and no one wanted to miss the opportunity to get involved with a legend.

Tina Turner's solo career famously ignited 15 years ago, but we all know the epic tale that had already spun out before Private Dancer came to be. When you look at the dates, you might think your calculator is on the blink. That voracious passion for baring her soul in the studio and on stage has now been on public record for more than 45 years. In her seminal soul tome Nowhere To Run, writer Gerri Hirshey talks of the vocal performance at a 1953 session by a barely teenage Tina as sounding like "a starving child singing for its supper," and the better part of half a century later she still has that same appetite.

Born in Brownsville, Tennessee and raised nearby in the "li'l ol' town" of Nutbush just like the song says, Anna Mae Bullock and her older sister Alline relocated to St.Louis in 1956. She knew rejection only too well even then, the sisters having been deserted by their mother and later their father, and when Annie first asked the leader of local club favourites the Kings of Rhythm if she could sing with them, the answer from Ike Turner was another firm no.

Persistence, as we know, paid off. Ike and Tina, as she now was, were married in 1958 and Tina began regular work as the band's singer, but their first historic single together still only happened by one of those fateful chances that the record industry seems to specialise in. In the autumn of 1960, the session singer booked to record Ike's A Fool In Love didn't show. Tina stepped in, an R&B smash and US Top 30 pop crossover ensued, and soon the band was going by a new name: the Ike & Tina Turner Revue.

The duo's track record in the '60s and early '70s, both on cast-iron anthems like River Deep, Mountain High and Nutbush City Limits and lesser-feted soul classics like I Can't Believe What You Say, is the stuff of legend, as, sadly, is the violent disintegration of the Turners' marriage. But, emboldened by her newly-found Buddhist faith and big-screen solo success as the Acid Queen in The Who's Tommy, Tina struck out on her own in the summer of 1976.

At first, she stood at the bottom of what seemed an impossible mountain of debts and disinterest from the industry. While other soul divas made good in a world that she had inspired them to enter, Tina was living for a time on food stamps. Her name still got her onto TV game shows and then the supper club circuit in Las Vegas, then in 1979, Tina met Roger Davies, a young Australian manager who'd recently relocated to Los Angeles and took the challenge of redefining one of the great lost vocalists and performers of the age.

With Davies' help, Turner refound the rock 'n' roll raunch of her best records, infused it with her intuitive soulfulness, and started again. A 1981 support slot on the Rolling Stones' US tour led to an invitation from Heaven 17's Ian Craig Marsh and Martyn Ware for Tina to take part on their multi-artist Music Of Quality And Distinction Volume 1 album. Before the end of 1982, she had a new solo deal with Capitol Records.

By the summer of 1984, fuelled by the acclaim that met the leadoff single What's Love Got To Do With It, Private Dancer was on its way to world sales of 11 million.

What's followed has been an extraordinary catalogue of collaborations and achievements on record, on the big screen and as an author: a role as Aunty Entity alongside Mel Gibson in Mad Max: Beyond Thunderdome; a duet with Mick Jagger at the greatest live event in music history, Live Aid; a raft of Grammy Awards; a bestselling autobiography, I, Tina, leading to the hit biopic What's Love Got To Do With It; record and concert dates with avowed Turner fans like Bryan Adams, Rod Stewart, Elton John, David Bowie, Eric Clapton and Mark Knopfler; and record-breaking concert tours including sellout shows in such singular locations as the Maracana Stadium in Rio and England's Woburn Abbey;her U2 penned smash hit from the Bond movie Goldeneye and her stadium tour of Europe in 96/96 saw her smash box office records in ten countries playing to over 3 million people.

*********************************
It seems like, between the feature film what's love got to do with it and the best-selling autobiography upon which it is based, i, tina, there's not a person alive who isn't familiar with the cinderella story that is tina turner's life. born anna mae bullock to tenant farmworkers in 1939, turner longed to escape the poverty and hardship of her hometown, nut bush, tennessee. salvation, however, would not come until 1956, when a seventeen year-old anna mae moved to st. louis to live with her mother and sister. older and more sophisticated, turner's sister, alline, took her young charge under her wing, exposing her to the bustling st. louis nightlife, of which she had already become an avid participant. it was at one of these evening outings that anna mae met ike turner, band leader of the local sensation, the kings of rhythm. a spectacular impromptu audition in front of a standing-room only crowd earned the would-be diva a spot as front woman for the kings, who soon came to be known as the ike and tina turner review.

perhaps the most highly-publicized aspect of turner's marriage to ike is the abuse that became an integral part of their relationship. for years, turner suffered in silence as her so-called husband used fear and intimidation to control his siren; despite being a skilled musician, ike realized that it was tina who was drawing the crowds and creating the record-selling hits. more than a decade of abuse came to a head when tina left ike with precious more than a gas card and a handful of change to her name. the ensuing divorce left tina responsible for months of unperformed bookings putting her deep into debt, even as she lived in fear of ike's retaliation. the early 1980s saw tina turner reemerge like a phoenix from the flames, with a new recording career and a highly-visible role in the mel gibson star vehicle mad max III: beyond thunderdome. with the release of private dancer, turner was back on top of her game, and has stayed there ever since. most recently, turner's status within the industry has been recognized with an invitation to perform at vh1's divas live 99 alongside fellow divas cher and whitney houston.

but the story of tina turner goes much, much deeper than what one can read in the pages of a book or view on the silver screen. tina turner is a cultural icon on par with billie holiday, aretha franklin or madonna. having overcome poverty and hardship to become one of the most successful entertainers in the industry, tina turner has broken down the racist and sexist walls that have insulated the world of rock music, paving the way for artists ranging from janis joplin to me'shell ndgeocello. her role as a feminist icon extends further, as her appeal as a woman and a performer shines brightly into her fifties. and, of course, the personal tribulations that affliected her relationship with her former husband reveals a determination and strength upon which anybody undergoing desperate times can draw to see their way through. when asked, once, why she chose to sing rock music, as opposed to the rhythm & blues most often associated with african-american artists, turner replied that she preferred rock because it tended to deal with happier subjects. and so, a young, troubled girl unwittingly comes to personify the expression "women in rock" by trying to give voice to her soul's pain. given all that she has undergone and all that she has come to represent, the term "diva" almost seems too diminutive.

Discography

http://www.divastation.com/tina_turner/tturner_discs.html

Photos

http://www.divastation.com/tina_turner/tturner_photos.html

News

http://www.divastation.com/tina_turner/tturner_news.html



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