One of these, a rendition of Otis Redding’s “I’ve Been Loving You Too Long,” reached No.
Groping for hits in the late ’60s, the Turners frequently relied on covers for material. Nonetheless, the towering number sports what may be Turner’s most intense vocal performance it was inducted into the Grammy Hall of Fame in 1999. 88 in the States, and proved to be the most crushing commercial debacle of Spector’s career. Though it reached the top five in the U.K., “River Deep” peaked at No. It also became one of the most storied flops in U.S. Penned by Spector, Jeff Barry and Ellie Greenwich and cut in March 1966 with a huge, thunderous orchestra at Hollywood’s Gold Star Studio, “River Deep, Mountain High” was the apotheosis of the producer’s fabled “Wall of Sound.” The architect of several huge-sounding hit pop 45s by the Ronettes, the Crystals and other R&B-skewed acts, Spector paid Ike Turner $20,000 to sit on the sidelines, and employed Tina as the lead vocalist on a single he envisioned as his crowning achievement. Show” – the Turners were approached by producer Phil Spector, who had conducted the “TNT Show” house band. After a 1965 appearance in “The Big TNT Show” – a concert attraction screened in moviehouses, like its precursor “The T.A.M.I. However, the act’s high-voltage live performances and dynamic frontwoman continued to draw attention. The Ike & Tina Turner Revue bounced from label to label, and none of their mid-’60s singles secured chart traction. 5, 1960), “It’s Gonna Work Out Fine” (No. Several other major R&B singles followed on Sue: “I Idolize You” (No. (She bore Turner’s son Ronald that same year, but the musicians would not wed until 1962.) At Murray’s suggestion, Ike Turner rechristened his newly minted lead vocalist Tina Turner. In 1960, after vocalist Art Lassiter failed to show up for a recording session, she was drafted to take the lead on a new Turner-penned song, “A Fool in Love.” The tape found its way to Juggy Murray, president of the indie R&B label Sue Records.
She soon became involved with Kings of Rhythm saxophonist Raymond Hill, and bore him a son, also named Raymond, at 19.
Turner – already a veteran guitarist, keyboardist, bandleader and indie-label A&R man – was impressed enough to give the neophyte musician a spot as a backup singer, billed as “Little Ann,” in his group. Though she had no musical experience outside the church choir, she managed to sit in, at a 1958 engagement at Club Manhattan, with Ike Turner’s Kings of Rhythm. Louis.Īfter graduating from high school, she began working as a nurse’s aide, but also started frequenting St. At 16, the girls were reunited with their mother in St. With older her sister Ruby, she was shuttled between various relatives as a child her mother left her abusive father when she was 11. (a locale she would commemorate in the self-penned 1973 song “Nutbush City Limits”). She was born Anna Mae Bullock in the farming community of Nutbush, Tenn. Turner was still in her teens when she began recording with future husband Ike Turner their tumultuous partnership produced 15 years of popular singles, culminating in the 1971 crossover smash “Proud Mary.” However, in 1976 the vocalist fled her abusive marriage she detailed her violence-scarred relationship in the 1986 bestseller “I, Tina,” which served as the basis for the 1993 biopic “What’s Love Got to Do With It.” The winner of eight Grammys, Turner was a 1991 Rock and Roll Hall of Fame inductee, and was recognized at the 2005 Kennedy Center Honors for her career achievements. Raw-voiced, leggy, peripatetic and provocative onstage, the magnetic Turner segued effortlessly into bigscreen roles, appearing as the Acid Queen in Ken Russell’s 1975 adaptation of the Who’s rock opera “Tommy” and as villainess Aunty Entity in George Miller’s action sequel “Mad Max Beyond Thunderdome.” She sang the title song, penned by Bono and the Edge of U2, for the 1995 James Bond pic “GoldenEye.”
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