AnyBlogDotCom: Tina Turner (solo) album by album

Ike & Tina Turner were a legendary RnB act in the Sixties and early Seventies, known for their high energy, exciting stage act, Ike's organisation and control, and Tina's powerful, raw voice and bold sexuality. Their recorded output was messy and inconsistent, with few really good albums, and no great ones, though River Deep - Mountain High (1966) - part produced by Phil Spector, is well known, mostly for the Spector Wall of Sound single "River Deep - Mountain High". Other known songs are their cover of "Proud Mary", the Tina penned "Nutbush City Limits", and their first hit, and the song which launched Tina's career, "A Fool In Love".

Tina Turner has a huge, energetic voice, and is a very successful solo singer, though it's her work with Ike Turner that is generally considered (including by me) to be the more enduring. Ike Turner had been a musician since the 1940s, first with a local big-band the Tophatters, then with his own Kings of Rhythm. In March 1951, when Ike was 19, the band recorded their first song, "Rocket 88", at Sam Phillips studio. The song was written and sung by Jackie Brenston, the band's saxophonist, so it was released under his name. The song was successful enough for Brenston to split off and form his own band. "Rocket 88" has features that make it a contender for an early rock n rock song (distorted lead guitar, a backbeat, lyrics about driving a fast car, and loud boogie piano - played by Turner), though for me rock music starts with Chuck Berry's "Maybellene". After "Rocket 88", Turner acted as a talent scout and session pianist, plus continuing to gig and record with Kings of Rhythm, at some point changing his instrument from piano to guitar. The band were competent, but had no more hits. The 18 year old Anna Mae Bullock liked the Kings of Rhythm and wanted to sing with them. She got involved with the saxophonist in the band, and had his baby. She started off as a backing singer, but after stepping up to do some guide vocals for "A Fool In Love" when the band's regular singer failed to turn up for the recording, she became the lead singer, and Ike changed her name to Tina Turner, and changed the band's name to the Ike & Tina Turner Revue.

It is uncertain if and when Ike and Tina actually married (Tina says they got a quickie marriage in Tijuana at some point between 1960 and 1962, and then went to a sex show in a brothel, though dates and documentation appear to be missing) but they did start an intimate relationship at some point after Ike changed her name to Tina Turner when he was still married to the pregnant Lorraine Taylor. Ike and Tina split up personally and professionally in 1976 when Tina left after an argument. Their relationship had been difficult, with arguments and physical fights becoming increasingly common. Tina would later accuse Ike of sustained domestic abuse and controlling behaviour. In interviews when together Ike was often shy and quiet and dominated completely by Tina who would confidently talk for both of them. Ike has openly talked about hitting Tina, but denies being abusive, seeing the hitting as commonplace in society in the Sixties, and that Tina was a difficult person who would hit and provoke him. For many Americans, Ike is more famous as Tina Turner's abusive ex-husband than as a musician in his own right.

After spending some time considering Ike & Tina Turner I'm at the point where I have deep respect for both of them. There is a lot of rushed out material in the early years. Their catalogue is a mess. After the break up neither were quite the same as they were together. Tina certainly became more popular, and she kept up the energy in her voice and in her performances. But somehow together they were magic. Having said that, Tina's energy, sparkle, grit, and powerful voice is something special. Something unique. Here's four live versions of "Proud Mary". One by Ike & Tina from their peak in 1971 on the Ed Sullivan show: Proud Mary 1971; a slow version on Italian television in 1971: Proud Mary on Italian TV; one by Beyonce at Tina's Kennedy Tribute in 2005: Proud Mary by Beyonce; and one by Tina solo in Holland in 2009 when she was 70 years old: Proud Mary 2009. It is notable that Beyonce, one of the biggest stars of the moment, could not reproduce the strength of Tina's voice, nor the energy and sex appeal of her dance. And even at 70, slightly overweight and not as flexible, she was still able to deliver a memorising performance. I'm full of respect and awe.

Tina Turner solo albums

Tina Turns the Country On! (Sept 1974)

Tina's first solo album - recorded and released while still with Ike. It consists of covers of country songs, recorded at Ike & Tina's Bolic Sound studio with Nashville musicians and producer. It's an indifferent album, not utilising Tina's strengths.

Released	September 1974
Recorded	June 1974
Studio	Bolic Sound, Inglewood, California
Genre	Country, R&B
Length	33:49
Label	United Artists
Producer	Tom Thacker

Side A
No.	Title	Writer(s)	Length
1.	"Bayou Song"	P.J. Morse	3:22
2.	"Help Me Make It Through the Night"	Kris Kristofferson	2:48
3.	"Tonight I'll Be Staying Here With You"	Bob Dylan	2:58
4.	"If You Love Me (Let Me Know)"	John Rostill	3:00
5.	"He Belongs to Me"	Bob Dylan	3:59

Side B
No.	Title	Writer(s)	Length
1.	"Don't Talk Now"	James Taylor	2:58
2.	"Long Long Time"	Gary White	4:42
3.	"I'm Movin' On"	Hank Snow	2:37
4.	"There'll Always Be Music"	Dolly Parton	4:10
5.	"The Love That Lights Our Way"	Fred Karlin, Marsha Karlin	3:15

Wikipedia

AllMusic: - no review

Score: 3 (3)

Acid Queen (1975)

Tina's second solo album - recorded and released when Tina was still with Ike, released to cash in on the success of her appearance as the Acid Queen in the film version of The Who's Tommy. It's a mostly indifferent album. Side A is all rock music covers, poorly done. Side B is songs written and produced by Ike, and is the stronger side, kicking off with the gutsy Ike & Tina Turner "Baby, Get It On", a T. Rex influenced song with Marc Bolan playing one of the guitars. But that is not quite enough to save it.

The Queen is dead – long live the Queen.

Tina Turner has a huge, energetic voice, and dynamic presence, and after John Carter rescued her career in 1984, getting her a record contract, and overseeing the recording of Private Dancer, she became a very successful solo singer. Indeed, most people will know her for the sophisti-pop material on that album and later material, like "What's Love Got To Do With It", "We Don't Need Another Hero", "Steamy Windows", and the hugely popular anthemic "The Best". She works well with the material, though there is a sense that she is coasting rather than putting the hammer down as she used to. The songs are good, the production is awesome, and her reputation is assured.

However, it's her work with Ike Turner that I feel is more exciting, more interesting, and will be more enduring. Ike & Tina Turner were a legendary RnB act in the Sixties and early Seventies, known for their high energy, exciting stage act, Ike's organisation and control, and Tina's powerful, raw voice and bold sexuality. Their recorded output was, though, messy and inconsistent, with few really good albums, and no great ones, though River Deep - Mountain High (1966) - part produced by Phil Spector, is well known, mostly for the Spector Wall of Sound single "River Deep - Mountain High". Other known Ike & Tina songs (which she would include in her live shows as a solo artist) are their cover of "Proud Mary", the Tina penned "Nutbush City Limits", and their first hit, and the song which launched Tina's career, "A Fool In Love".

Ike Turner had been a musician since the 1940s, first with a local big-band the Tophatters, then with his own Kings of Rhythm. In March 1951, when Ike was 19, the band recorded their first song, "Rocket 88", at Sam Phillips studio. The song was written and sung by Jackie Brenston, the band's saxophonist, so it was released under his name. "Rocket 88" has features that make it a contender for the earliest rock n rock song (distorted lead guitar, a backbeat, lyrics about driving a fast car, and loud boogie piano - played by Turner). After "Rocket 88", Turner acted as a talent scout and session pianist, plus continuing to gig and record with Kings of Rhythm, at some point changing his instrument from piano to guitar. The band were competent, but had no more hits. The 18 year old Anna Mae Bullock liked the Kings of Rhythm and wanted to sing with them. She got involved with the saxophonist in the band, had his baby, and became a casual backing singer for the band. She stepped into history in March 1960 when Ike's band turned up to a studio to do a recording session for "A Fool In Love" with singer Art Lassiter, who – because he owed Ike some money he couldn't pay back, didn't show up. Little Ann suggested she could lay down some guide vocals for Lassiter to overdub later, then gave the performance of her life. She knew this was her chance, and boy did she take it. Lassiter was never asked to do any overdubs, and Ike changed Little Ann's name to Tina Turner, and the band became the Ike & Tina Turner Revue.

Their recorded output is variable, confused, and often (sometimes deservedly) out of print. They built their reputation on their live performances for African Americans on the Chitlin' Circuit until Phil Spector saw them, and arranged in March 1966 for Tina to provide the lead vocals for “River Deep Mountain High”. Mick Jagger loved the record, and got the Turner Revue to open for the Stones on their 1966 tour, and later their 1969 tour which brought Ike and Tina to a white rock audience. They started to shift from their RnB roots to play more rock songs – covers of songs such as “Honky Tonk Women” and “Get Back”. They did a definitive cover of “Proud Mary”, and then Tina performed “Acid Queen” for the film version of The Who's “Tommy”.

Developing on the popularity of the “Acid Queen” song, the Acid Queen album was put together and promoted as a Tina Turner album, though Ike was involved – writing and producing side B, and singing on "Baby, Get It On". Side A is covers of two Stones Songs, two Who songs, and a cover of Led Zeppelin's “Whole Lotta “Love”, the stand out track on the first side. Side B is Ike's songs, including "Baby, Get It On", a T. Rex style song, with Marc Bolan on guitar, and without a doubt the best track on the album. As with pretty much all of Ike & Tina's albums it is patchy with moments of, not so much brilliance, but sheer entertainment. And, as is also common with their albuma it is out of print.

The opener “Under My Thumb” is workable, unremarkable, pleasant. Tina goes through the motions as she would do for the bulk of her solo career. She has a strong and attractive voice and knows how to use it. But this is not the soul stirring, life affirming, earth shattering voice that blasted out on “Fool In Love”. “Let's Spend The Night Together” is a well behaved (almost lifeless – for Tina) performance. Clean, softly produced, dull as fuck. This points toward her solo career aftter she leaves ike. The “Acid Queen” on this album is different to the Tommy version. Here she is more controlled, softer, less of an acid queen, more of a soda-pop queen. That's not to say she doesn't unlease and roar, but it is a professional performance rather than a primordial one. “I Can See For Miles” continues the string drenched over production, and though Tina's voice is awesome, she is clearly not giving her all. It's calm, professional, measured. The final track on Side 1, however, goes where no Tina has ever gone before. The cover of Whole Lotta Love is done in a Norman Whitfield psychedelic soul style, blending The Temptations with Sly Stone and Isaac Hayes. To be fair, it is the production that gains the attention here rather than Tina.

Flip over to Side Two, though, and things change. Ike is in thestudio baby! And Tina gives it her all. The opener, "Baby, Get It On", had Tina letting loose for the first time on the album. There is passion and grit here as the two legends of RnB dual vocally with each other, and the band – including Marc Bolan, groove behind them with some classic Glam Rock. This is breathless stuff, and approaches the best that Ike & Tina did together. Sad that for most of her career with Ike when she was prepared to let rip she didn't have great material to work with, and sad that when she got better material, she never pushed her voice as she does here. This is living excitement. Track 2, “Bootsey Whitelaw” is a moody piece of RnB, strong and driving but somewhat over produced in an early Seventies soul stylie with hints of but not the depths of the psychedelic soul used for “Whole Lotta Love”. It's listenable and attractive, but not classic Tina. “Pick Me Tonight” is a professional piece of funk, with Tina doing her best to raise a somewhat ordinary song to something a little more entertaining. Again it's OK, but not essential. The final track “Rockin' and Rollin'” is a simpler song, a piece of early Seventies rock and roll that emulates early 70s Stones, with a dash of John Lenoon's Rock N Roll album thrown in. It works on a modest level.

Side A grabs the attention because it contains the covers of recognisable songs, especially Whole Lotta Love, but it's Side B when Tina works with Ike that she really shows what she's got. So Side A has the better songs, but Side B has the better performances. I prefer Side B. And I love “Baby, Get It On”. Criminal that this album is out of print.

Released	August 1975
Recorded	1975
Studio	Bolic Sound, California
Genre	Rock funk soul
Length	35:29
Label	United Artists EMI
Producer	Denny Diante Spencer Proffer Ike Turner (exec.)

Side A
No.	Title	Writer(s)	Length
1.	"Under My Thumb"	Jagger, Richards	3:22
2.	"Let's Spend the Night Together"	Jagger, Richards	2:54
3.	"Acid Queen" *	Pete Townshend	3:01
4.	"I Can See for Miles"	Pete Townshend	2:53
5.	"Whole Lotta Love"	Led Zeppelin	5:24

Side B
No.	Title	Writer(s)	Length
6.	"Baby, Get It On" (Ike & Tina Turner) *	Ike Turner	5:34
7.	"Bootsy Whitelaw"	Ike Turner	5:06
8.	"Pick Me Tonight"	Ike Turner	3:13
9.	"Rockin' and Rollin'"	Ike Turner	4:02

Wikipedia

AllMusic: 6

Score: 5

Rough (1978)

Tina's first solo album after she and Ike split up. It's a tentative collection of rock/pop/disco songs. Nothing that strong. The tongue-in-cheek cover of Elton John's "The Bitch Is Back" is the most spirited contribution. Neither the album nor any of the singles released from it made any impact. Tina's singing is raw and rocky in an appealing raspy manner, and she controls it well. It's the voice that will prove commercially successful later on when she finds the right material. Here, apart from "Bitch", it's the material that lets her down.

Released	September 1978
Recorded	1977
Studio	Conway Recording Studios, Hollywood, California
Genre	Blues rock disco
Length	41:15
Label	United Artists EMI
Producer	Bob Monaco

Side one
No.	Title	Writer(s)	Length
1.	"Fruits of the Night"	Pete Bellotte, Edo Zanki, Vilko Zanki	4:05
2.	"The Bitch Is Back"	Elton John, Bernie Taupin	3:30
3.	"The Woman I'm Supposed to Be"	Cliff Wade	3:10
4.	"Viva La Money"	Allen Toussaint	3:14
5.	"Funny How Time Slips Away"	Willie Nelson	4:08
6.	"Earthquake & Hurricane"	Willie Dixon	2:30

Side two
No.	Title	Writer(s)	Length
7.	"Root, Toot Undisputable Rock 'n' Roller"	Gary Jackson	4:29
8.	"Fire Down Below"	Bob Seger	3:13
9.	"Sometimes When We Touch"	Dan Hill, Barry Mann	3:54
10.	"A Woman in a Man's World"	Hal David, Archie Jordan	2:41
11.	"Night Time Is the Right Time"	Leroy Carr	6:21

Wikipedia

AllMusic: 6

Score: 4

Love Explosion (1979)

A competent commercial album, but no tracks stand out. Just going through the motions. As it was unsuccessful, United Artists terminated her contract.

Released	November 2, 1979^[1]
Recorded	March 1979^[2]
Length	36:05
Label	United Artists EMI
Producer	Alec R. Costandinos

No.	Title	Writer(s)	Length
1.	"Love Explosion"	Lenny Macaluso, Pat Summerson	5:55
2.	"Fool For Your Love"	Leo Sayer, Michael Omartian	3:24
3.	"Sunset on Sunset"	Livsey, Courtney, Niles	3:35
4.	"Music Keeps Me Dancin'"	Lenny Macaluso, Pat Summerson	3:49
5.	"I See Home"	Allee Willis, David Lasley	5:19
6.	"Backstabbers"	Huff, McFadden, Whitehead	3:34
7.	"Just a Little Lovin'"	Barry Mann, Cynthia Weil	3:12
8.	"You Got What I'm Gonna Get"	Chris Bennett, Molly Ann Leikin	3:08
9.	"On the Radio"	Victor Carstarphen	3:49

Wikipedia
AllMusic: 5
Score: 3

Private Dancer (1984)

Oooh. Right from the off this stands out as a crisp and confident production. And the material is strong. Even the cover has a stylish and iconic confidence to it compared to the casual throwaway covers that have gone before. Credit for the album's success can be given to John Carter, who saw potential in Tina, despite her patchy history and poor recent record sales, and persuaded his record company, Capitol Records, to sign her, and then proceeded to assemble quality material, producers, and session musicians, and oversee the whole project. The album produced seven successful singles including "Private Dancer" and the global hit "What's Love Got To Do With It". Slick, yes. Far removed from the raw power of her 1961 debut "A Fool In Love", yes. But there is much to be admired in the English sophisti-pop sound of the album, and the way that Tina confidentially uses her voice. She has the power, and she has the control. And she has experience and sophistication. It's a different sound, and should be admired and appreciated for what it is.

The album is mostly covers, but two songs were specially written for Tina, and two songs were not written for her, but had been previously unreleased. No songs are written or produced by Tina.

Released	May 29, 1984
Recorded	1983–1984
Studio	Farmyard, Mayfair, Wessex, Good Earth, Abbey Road & CBS (London, England)
Genre	Pop rock R&B
Length	44:02
Label	Capitol
Producer	Terry Britten Carter Leon "Ndugu" Chancler Wilton Felder Rupert Hine Joe Sample Greg Walsh Martyn Ware

$ = Tracks written specially for the album & = Tracks not specially written, but first released on this album

No.	Title	Writer(s)	Length
1.	"I Might Have Been Queen" $	Obstoj, Hine, West-Oram	4:10
2.	"What's Love Got to Do with It" * &	Terry Britten, Graham Lyle	3:48
3.	"Show Some Respect" $	Britten, Sue Shifrin	3:18
4.	"I Can't Stand the Rain"	Ann Peebles, Don Bryant, Bernard Miller	3:41
5.	"Private Dancer" * &	Mark Knopfler	7:11
6.	"Let's Stay Together"	Willie Mitchell, Al Green, Al Jackson, Jr.	5:16
7.	"Better Be Good to Me"	Holly Knight, Nicky Chinn, Mike Chapman	5:11
8.	"Steel Claw"	Paul Brady	3:48
9.	"Help!"	John Lennon, Paul McCartney	4:30
10.	"1984"	David Bowie	3:09

Wikipedia
AllMusic: 9
Score: 6 1/2 (5)

"We Don't Need Another Hero" * (July 1985)
Successful single promoting the blockbuster film
Max Max Beyond The Thunderdome
It was also included on the soundtrack album.

Break Every Rule (1986)

This feels and sounds like the runner up to a successful album - let's try and recreate the same sound! It worked before, so it should work again! Of course it sold, because follow up albums always do. And people loved Tina, so they swallowed it whole. But it doesn't work. It hasn't got the same tightness, the same energy, nor - despite using a lot of the same collaborators - does it have the same quality material. It's slick and superficial - the opposite of the raw sexuality, energy and authenticity she had with Ike, the opposite of her essence. This is Tina tamed for commercial consumption. It feels like so much of Tina's history - decent talent just going through the motions.

Released	September 23, 1986
Recorded	1986
Genre	Pop rock country R&B
Length	50:13
Label	Capitol
Producer	Bryan Adams Terry Britten Neil Dorfsman Mark Knopfler Bob Clearmountain Rupert Hine

Side one
No.	Title	Writer(s)	Length
1.	"Typical Male"	Terry Britten, Graham Lyle	4:18
2.	"What You Get Is What You See"	Britten, Lyle	4:31
3.	"Two People"	Britten, Lyle	4:11
4.	"Till the Right Man Comes Along"	Britten, Lyle	4:11
5.	"Afterglow"	Britten, Lyle	4:30
6.	"Girls"	David Bowie, Erdal Kızılçay	4:56

Side two
No.	Title	Writer(s)	Length
7.	"Back Where You Started"	Bryan Adams, Jim Vallance	4:27
8.	"Break Every Rule"	Rupert Hine, Jeannette Obstoj	4:02
9.	"Overnight Sensation"	Mark Knopfler	4:40
10.	"Paradise Is Here"	Paul Brady	5:35
11.	"I'll Be Thunder"	Hine, Obstoj	5:21

Wikipedia
AllMusic: 6
Score: 4 (3)

Tina Live In Europe (1988)

Double live album trawling through tours between 1985 and 1987 and dragging in big names here and there - Bowie, Clapton, Bryan Adams, etc. Tina released loads of live albums when with Ike, and they generally had a sense of energy and focus; this is a lifeless collection. Quantity does not equal quality. The best tracks are the cover of "Addicted To Love" (which succeeds because it's a good song and survives the inept guitar solo, the lumpen rhythm section, the cheesy sax break, and Tina's over-straining vocals), and a high energy blast through her own "Nutbush". The album as a whole would have pleased her Eighties fans though, and it sold reasonably well. And the concerts would have been fun to attend. Though not as much fun as being at an Ike & Tina Turner Revue! And, to be fair, it's a professionbal and listenable album. But it is not a great album.

Released	1988
Recorded	1985–1987
Venue	NEC, Birmingham Wembley Arena, London Camden Palace, London Westfallenhalle, Dortmund, West Germany Isstadion, Stockholm, Sweden
Genre	Soul rock pop
Length	121:54
Label	Capitol
Producer	John Hudson, Terry Britten

Disc 1

No.	Title	Writer(s)	Length
1.	"What You Get Is What You See"	Terry Britten, Graham Lyle	5:34
2.	"Break Every Rule"	Rupert Hine, Jeannette Obstoj	4:28
3.	"I Can't Stand the Rain"	Ann Peebles, Don Bryant, Bernard Miller	3:25
4.	"Two People"	Britten, Lyle	4:26
5.	"Girls" (CD bonus)	David Bowie, Erdal Kızılçay	4:54
6.	"Typical Male"	Britten, Lyle	3:59
7.	"Back Where You Started" (CD bonus)	Bryan Adams, Jim Vallance	4:21
8.	"Better Be Good to Me"	Knight, Chinn, Chapman	6:29
9.	"Addicted to Love"	Robert Palmer	5:22
10.	"Private Dancer"	Mark Knopfler	5:37
11.	"We Don't Need Another Hero (Thunderdome)"	Britten, Lyle	4:56
12.	"What's Love Got to Do with It"	Britten, Lyle	5:28
13.	"Let's Stay Together"	Willie Mitchell, Al Green, Al Jackson Jr.	4:40
14.	"Show Some Respect"	Britten, Sue Shifrin	3:05

Disc 2

No.	Title	Writer(s)	Length
1.	"Land of a Thousand Dances"	Chris Kenner	3:06
2.	"In the Midnight Hour"	Wilson Pickett, Steve Cropper	3:32
3.	"634–5789" (with Robert Cray)	Eddie Floyd, Cropper	3:05
4.	"A Change Is Gonna Come" (guitar solo by Robert Cray)	Sam Cooke	6:44
5.	"River Deep – Mountain High" (CD bonus)	Phil Spector, Jeff Barry, Ellie Greenwich	4:11
6.	"Tearing Us Apart" (with Eric Clapton)	Eric Clapton, Greg Phillinganes	4:41
7.	"Proud Mary"	John Fogerty	4:47
8.	"Help!"	John Lennon, Paul McCartney	5:03
9.	"Tonight" (with David Bowie)	Bowie, Iggy Pop	4:15
10.	"Let's Dance" (with David Bowie)	Bowie	3:27
11.	"Overnight Sensation" (CD bonus)	Knopfler	3:54
12.	"It's Only Love" (with Bryan Adams)	Adams, Vallance	4:15
13.	"Nutbush City Limits"	Tina Turner	3:43
14.	"Paradise Is Here"	Paul Brady	5:41

Wikipedia
AllMusic: 4
Score: 4 (4)

Foreign Affair (1989)

Strong album which doesn't attempt to copy Private Dancer, but follows its own route. And does it well. "Steamy Windows" is a bold and attractive opener, sounding like a cross between Mark Knopfler and JJ Cale. And is then followed by one of her most successful singles, "The Best". Much of the slick pop-jazz of Private Dancer has given way to something more earthy and adult on this album, though still keeping an eye on the crowd with a pleasing pop sensibility and a lack of anything that might have too narrow an interest. MOR rock with a broad appeal is what this is. And it's done rather well. Very confident, solid, and likeable.

Released	September 13, 1989
Studio	The Hit Factory (New York, New York, USA); Pathé-Marconi Studios (Paris, France).
Genre	Pop rock
Length	52:16
Label	Capitol
Producer	Dan Hartman Roger Davies Tina Turner Rupert Hine Graham Lyle Tony Joe White

No.	Title	Writer(s)	Length
1.	"Steamy Windows" *	Tony Joe White	4:03
2.	"The Best" *	Mike Chapman, Holly Knight	5:30
3.	"You Know Who (Is Doing You Know What)"	White	3:45
4.	"Undercover Agent for the Blues"	White, Leann White	5:20
5.	"Look Me in the Heart"	Tom Kelly, Billy Steinberg	3:46
6.	"Be Tender with Me Baby"	Albert Hammond, Knight	4:18
7.	"You Can't Stop Me Loving You"	Hammond, Knight	4:00
8.	"Ask Me How I Feel"	Hammond, Knight	4:46
9.	"Falling Like Rain"	David Munday, Sandy Stewart	4:03
10.	"I Don't Wanna Lose You"	Hammond, Graham Lyle	4:20
11.	"Not Enough Romance"	Dan Hartman	4:04
12.	"Foreign Affair"	White	4:27

Wikipedia
AllMusic: 6
Score: 6 (5)

What's Love Got to Do With It (1993, soundtrack)

A mix of new songs, an old song, and - mostly - new versions of old Ike & Tina songs. The new version (covers?) are mostly quite professional, though some are a little cringe-worthy, like the imitation Ike voice on "Proud Mary", but none are as good as the originals.

Released	June 15, 1993
Recorded	1984, 1993
Genre	Rock R&B pop soul
Length	51:52
Label	Parlophone

No.	Title	Writer(s)	Length
1.	"I Don't Wanna Fight"	Lulu, Lawrie, DuBerry	6:06
2.	"Rock Me Baby" (1993 version)	Riley King, Joe Josea	3:57
3.	"Disco Inferno"	Green, Ron Kersey	4:03
4.	"Why Must We Wait Until Tonight"	Adams, Lange	5:53
5.	"Stay Awhile"	Britten, Lyle	4:50
6.	"Nutbush City Limits" (1993 v)	Tina Turner	3:19
7.	"(Darlin') You Know I Love You" (1993 v)	King, Jules Taub	4:27
8.	"Proud Mary" (1993 v)	John Fogerty	5:25
9.	"A Fool in Love" (1993 v)	Ike Turner	2:54
10.	"It's Gonna Work Out Fine" (1993 v)	McKinney, McCoy	2:49
11.	"Shake a Tail Feather" (1993 v)	Rice, Hayes, Williams	2:32
12.	"I Might Have Been Queen" (Private Dancer; 1993 v)	Obstoj, Hine, West-Oram, Tina Turner*	4:20
13.	"What's Love Got to Do with It" (Private Dancer)	Britten, Lyle	3:49
14.	"Tina's Wish" (1993 v)	Tina Turner, Ike Turner	3:08

Wikipedia

AllMusic:

Score: 3

Wildest Dreams (1996)

This is a solid commercial pop-rock album, polished and professional. The songs aren't great, but with the production values, and Tina's strong voice, it holds a genuine appeal. Overall it is a better quality and more consistent album than Private Dancer, but it doesn't have a single like "What's Love Got to Do with It" to propel it into the public eye, so it hasn't sold as well. It's noticeable that she sings GoldenEye in the style of Shirley Bassey. And that put me in mind of Bonnie Tyler, and other big voiced female singers. It seems to me that in the later part of her career, Tina was part of that group of big voiced female singers, while in the Sixties she was in a class of her own.

Released	April 22, 1996
Recorded	Summer 1995–Early 1996
Genre	Pop rock soft rock R&B soul
Label	Parlophone
Producer	Trevor Horn Terry Britten

No.	Title	Writer(s)	Length
1.	"Do What You Do" *	Britten, Lyle, Reeves	4:23
2.	"Whatever You Want" *	Arthur Baker, Taylor Dayne, Fred Zarr	4:52
3.	"Missing You" *	Leonard, Sandford, John Waite	4:36
4.	"On Silent Wings" (featuring Sting)	James Ralston, Tony Joe White	6:12
5.	"Thief of Hearts"	Friedman, Hattler, Kraus, Allan Rich	4:05
6.	"In Your Wildest Dreams" (featuring Antonio Banderas)	Mike Chapman, Holly Knight	5:33
7.	"GoldenEye" (Single edit) *	Bono, The Edge	3:27
8.	"Confidential"	Chris Lowe, Neil Tennant	4:39
9.	"Something Beautiful Remains"	Britten, Lyle	4:20
10.	"All Kinds of People"	Sheryl Crow, Gilbert, Pressley	4:43
11.	"Unfinished Sympathy"	Naja, Daddy G, Nelson, Sharp, Vowles	4:30
12.	"Dancing in My Dreams"	Mark Cawley, Kye Fleming, Russell	12:05
13.	"Love Is a Beautiful Thing" (Japanese bonus track)	Seth Swirsky	3:45

Wikipedia

AllMusic:

Score: 7 (5 1/2)

Twenty Four Seven (1999)

Tina's last studio album. As always it's a workable album - good production quality, and Tina delivers her vocals with the strength and clarity she is known for. At times, such as with "Without You", there is a palpable energy. It's a decent album to bow out with. No embarrassment at all. But it's not a great album, it's not a memorable album, it's not an album that stands out. It's simply a job done album.

Released	October 28, 1999
Genre	Pop pop rock soul dance
Length	47:09
Label	Parlophone
Producer	Tina Turner (exec.) Roger Davies (exec.) Absolute Terry Britten Johnny Douglas Brian Rawling Mark Taylor

No.	Title	Writer(s)	Producer(s)	Length
1.	"Whatever You Need"	Roberts, Courtenay	Johnny Douglas	4:49
2.	"All the Woman"	Wilson, Watkins, Ackerman	Absolute, Douglas^[a]	4:03
3.	"When the Heartache Is Over"	Graham Stack, John Reid	Brian Rawling, Mark Taylor	3:44
4.	"Absolutely Nothing's Changed"	Terry Britten, John O'Kane	Britten	3:43
5.	"Talk to My Heart"	Douglas, Graham Lyle	Douglas	5:08
6.	"Don't Leave Me This Way"	Paul Barry, Taylor, Rawling	Rawling, Taylor	4:19
7.	"Go Ahead"	James House, Anthony Little	Douglas	4:20
8.	"Without You"	Wilson, Watkins, May	Absolute	4:06
9.	"Falling"	Tim Fraser, Sol Connell	Britten	4:21
10.	"I Will Be There"	The Bee Gees	Absolute, Douglas^[b]	4:37
11.	"Twenty Four Seven"	Britten, Charlie Dore	Britten	3:47

Wikipedia

AllMusic:

Score: 4 (3 1/2)

Tina Live (2009)

A useful live album. She has a great voice, knows how to put on an entertaining show, and has a healthy selection of decent songs in her repertoire.

Released	September 28, 2009 (Europe)
Recorded	March 21, 2009 at the GelreDome in Arnhem, Netherlands
Genre	Soul rock pop
Label	Parlophone EMI

No.	Title	Writer(s)	Length
1.	"Steamy Windows"	Tony Joe White	4:26
2.	"River Deep – Mountain High"	Phil Spector, Jeff Barry, Ellie Greenwich	3:53
3.	"What You Get Is What You See"	Terry Britten, Graham Lyle	4:02
4.	"Better Be Good to Me"	Knight, Nicky Chinn, Mike Chapman	6:25
5.	"What's Love Got to Do with It"	Britten, Lyle	3:39
6.	"Private Dancer"	Mark Knopfler	6:29
7.	"We Don't Need Another Hero (Thunderdome)"	Britten, Lyle	5:10
8.	"Let's Stay Together"	Willie Mitchell, Al Green, Al Jackson Jr.	4:07
9.	"Jumpin' Jack Flash"	Mick Jagger, Keith Richards	1:47
10.	"It's Only Rock 'n Roll (But I Like It)"	Jagger, Richards	3:22
11.	"GoldenEye"	Bono, The Edge	4:07
12.	"Addicted to Love"	Robert Palmer	4:53
13.	"The Best"	Chapman, Knight	5:06
14.	"Proud Mary"	John Fogerty	9:51
15.	"Nutbush City Limits"	Tina Turner	7:34

Wikipedia

AllMusic:

Score:

Conclusion

Summary

[Note: Aspects which go toward final score are given a rough percentage figure of how much that aspect influenced the score. However, some bands may exceed that percentage, particularly if their main focus is in that area.]