Mar 14, 2015

RhoDeo 1510 Grooves

Hello, so once again South African surgeons manage a world scoop (in 67 Barnard performed the first heart transplant) another for some just as important part of the human anatomy has now seen it's first successful transplant...... Expect rich old white man with a limitless supply of viagra order themselves a kingsize black model to work over their blond trophy wives and whatever comes along...yes soon you can have that dick you always wanted as long as you cough up the money. But then these creeps have no idea what to do with all the money they extract from the economy..

Today....They were once considered "one of the hottest, most durable, and potentially most explosive of all R&B ensembles". Their early works including "A Fool in Love", "It's Gonna Work Out Fine", "I Idolize You" and "River Deep - Mountain High" became high points in the development of soul music while their later works were noted for wildly interpretive re-arrangements of rock songs such as "I Want to Take You Higher" and "Proud Mary", the latter song for which they won a Grammy Award. They're also known for their often-ribald live performances, which were only matched by that of James Brown and the Famous Flames in terms of musical spectacle.  .....N'joy

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By 1958, Ike Turner and his band, the Kings of Rhythm was one of the most popular live performing attractions to the St. Louis and neighboring East St. Louis club scene. Ike had moved there from Memphis in 1954 after work as a talent scout for the Modern and RPM labels. Around this time, a young nurse's assistant named Anna Mae Bullock began frequenting the nightclubs in both St. Louis and East St. Louis with her sister Alline and several friends. One night, Bullock saw Ike and the Kings of Rhythm performing at the East St. Louis club, Club Manhattan. She later stated that the band's performance put her "in a trance". Anna Mae begged Ike to let her sing with the band, though Ike refused, since Turner had employed male singers in his show. During a band intermission in Club Manhattan in 1958, Anna was given a microphone from the band's drummer Gene Washington. Once she started singing, Ike rose from his piano and asked Ann if she knew more songs.

Eventually Bullock would sing with the band and later became a featured guest vocalist, going by the name "Little Ann". Little Ann made her recording debut as a background vocalist to Ike's song "Box Top", which became a regional single on Tune Town Records. During this period, Ike trained Ann on voice control and performance. In 1960, singer Art Lassiter was chosen to front the Kings of Rhythm. Ike had written a song for Lassiter he called "A Fool in Love". When Lassiter did not show up and Ike had already booked expensive studio time, he allowed "Little Ann" to sing the song as a "dummy track" for Lassiter. The song made its way through regional radio stations in St. Louis and impressed one radio disk jockey so much that he told Ike to send the record to Sue Records president Juggy Murray. 1960-1965

Upon hearing the track, an impressed Murray bought the musical rights to the song and gave Ike a $20,000 advance for it, convincing Ike to keep Ann's voice on the track. Ike renamed the song's backing female trio "The Ikettes" and also gave "Little Ann" the name "Tina Turner" to rhyme with his favorite television character, Sheena the Queen of the Jungle. He also gave her the name to prevent her from running off with it. In case Ann left, he could give another woman the name of Tina Turner. He renamed the entire outfit as "The Ike and Tina Turner Revue". "A Fool in Love" became a hit after its release in the late spring of 1960, reaching #2 R&B and #27 on the Billboard Hot 100, selling over a million copies. It was described by Kurt Loder years later in Tina's autobiography I, Tina as "the blackest record to ever creep the white pop charts since Ray Charles' 'What'd I Say' a year before". After several successive R&B songs such as "I Idolize You", "You Should've Treated Me Right", "Poor Fool" and "Tra La La", the duo reached the top 20 on the pop charts with "It's Gonna Work Out Fine", which became the duo's second million-selling single and also garnered them their first Grammy Award nomination.

It was around this time that the personal friendship between Ike and Tina changed to a sexual one. Ike later described that his first sexual encounter with Tina "felt like I had screwed my sister or somethin'. I mean I had hoped to die... we really were like brother and sister. It wasn't just her voice... Anyway me and Ann were tight." As Ike and Tina's relationship continued, Ike's desperation for another hit increased. Tina would claim Ike hit her with a shoe stretcher after she complained about monetary issues and her own misgivings about continuing their offstage partnership. According to Tina, they would eventually marry in 1962 in Tijuana, though that account was often disputed by Ike.

The entire Revue relocated from East St. Louis to Los Angeles in 1960. Gigging for 300 days a year to make up for a lack of hit records put a strain on Tina. In 1964, after months of tense business relations, Ike Turner ended his contract with Juggy Murray and Sue Records. He signed with the Kent label and a year later signed with Warner Bros. Records and its subsidiary Loma Records, where they met Bob Krasnow. Krasnow would begin managing them in 1965. 1965-1969: The Ike & Tina Turner Revue: Around 1965, Tina Turner went on TV as a solo act promoting Ike & Tina's works on shows such as American Bandstand and Shindig! Ike and Tina and their Revue appeared in the concert film The Big T.N.T. Show. In between their deals with Kent, Warner and Loma, Ike and Tina would record for seven other labels between 1964 and 1969. It's been suggested that Ike's limited facility in the studio failed to present a memorable single for the duo. With Krasnow, however, that changed. Hit producer Phil Spector soon called Krasnow asking him if he could produce for Ike and Tina, to which Krasnow agreed. Spector forked over $25,000 for the right to record with them, with the intent on creating his "biggest hit". Tina recorded the Ellie Greenwich/Jeff Barry composition "River Deep - Mountain High", which failed to chart successfully in the United States reaching only #88. European label executives for Spector's label Philles, to which Ike and Tina were signed, released the song overseas. The song's success particularly in the United Kingdom, where it peaked at #3, led an angry Spector to print in ads, "Benedict Arnold was quite a guy!" in regards to the United States' indifferent reaction to the song.

Later that year, The Rolling Stones offered Ike and Tina a chance to be one of their opening acts on their fall tour in the United Kingdom, which they accepted. The duo took the opportunity afterwards to book themselves tours all over Europe and Australia where they attracted audiences. The audiences' appreciation of the band's sound stunned Ike Turner, who noted that "there wasn't anything like my show." Following this, the band returned to the United States in demand despite not having a big hit. By 1968, they were performing and headlining in Las Vegas. That year, they signed with Blue Thumb Records and released the first of two albums with them, the first of which, Outta Season, included their modest hit cover of "I've Been Loving You Too Long". The second Blue Thumb release, The Hunter, followed in 1969, and included their modest hit cover of the Albert King hit as well as an original composition titled "Bold Soul Sister", resulting in Tina receiving her first Grammy nomination as a solo artist.

It was also during this time that Ike Turner, who had once been teetotal and drug-free, turned to cocaine after being introduced the drug by, he says, "two famous Las Vegas headliners". In 1968, after another violent confrontation with Ike, Tina bought 50 Valiums and swallowed them all in an attempt to end her life before a show in Los Angeles; Tina eventually recovered. 1970-1975: Mainstream success: A second opening spot on The Rolling Stones' American tour in November 1969 made Ike and Tina a hot item. In 1970, after their deals with Blue Thumb and Minit ended, they signed with Liberty Records and released the album, Come Together. The title track, a cover of the famed Beatles song, charted, as did their cover of Sly and the Family Stone's "I Want to Take You Higher", which became their first top 40 pop song in eight years, peaking at #25, placing several spots higher than Sly's original had done months earlier. The album would sell a quarter of a million copies.

That same year, Ike and Tina appeared on The Ed Sullivan Show. Their successful records and their increasing popularity with mainstream audiences increased their nightly fee, going from $1,000 a night to $5,000 a night. Late in 1970, while on break from touring in Florida, the band recorded their cover of Creedence Clearwater Revival's "Proud Mary". The song was released the following January and became the duo's best-selling single to date, reaching #4 on the Billboard Hot 100 and selling well over a million copies, later winning them a Grammy Award for Best R&B Vocal Performance by a Duo or Group. The album which featured the song, Workin' Together, was released shortly afterwards and benefited from the success of "Proud Mary" peaking at number 25 of the albums chart.

Also during the year, the band put out the live album Live at Carnegie Hall: What You Hear Is What You Get, which sold half a million copies and gave them their first gold-selling album. Late in 1971, the band signed a five-year deal with a Liberty subsidiary, United Artists, who released the band's first of ten albums with the label, Nuff Said. In 1972, Ike Turner officially opened his own recording studio which he named Bolic Sound. That year, the albums Feel Good and Let Me Touch Your Mind were released. Neither album produced a hit single. In 1973 Tina penned the autobiographical song "Nutbush City Limits". The song reached #22 on the Hot 100 and reached #4 in the UK.

In 1974, the duo released two more albums including the Grammy-nominated The Gospel According to Ike & Tina and the pop release Sweet Rhode Island Red, which included one of their final chart placements, "Sexy Ida (Pt. 1)". In 1975, Ike and Tina had their final charted single together, "Baby Get It On". The song is notable for the inclusion of Ike Turner's own lead vocal. In addition to group recordings, both Ike and Tina released solo recordings around this time with Ike also releasing offshoot project albums with his spinoff band The Family Vibes (which he had the name changed from The Kings of Rhythm), releasing three albums with the band between 1972 and 1974. When the band was still called the Kings of Rhythm, the band recorded the album A Black Man's Soul, which was mostly an instrumental album, except for one track in which Tina Turner participated in the song, "Foolin' Around".

Tina released her first solo album Tina Turns the Country On, a collection of country standards produced under a modern pop/soul styling. Her performance on the album led to another solo Grammy nomination. In 1975, Turner released her second solo album Acid Queen, which was released following Tina's critically acclaimed performance on the musical film version of The Who's Tommy. 1976-1978: Decline and divorce: By 1976, Ike Turner's addiction to cocaine was so strong that he had burned a hole in his nasal septum, leading to nosebleeds, from which he would relieve himself by using more cocaine. During this time, Turner was spending more time at Bolic Sound than he was with Tina and their children at their home in Inglewood.

By this point, Tina Turner had looked inward to alleviate her own problems and soon found solace after a friend introduced her to the teachings of Buddhism. In July 1976, Ike intended on signing a five-year contract with a new record company, Cream Records, for a reported yearly amount of $150,000. The contract had a key person clause, meaning Ike would have to sign the contract in four days, keeping Tina tied to Ike for five more years. On July 2, The Ike and Tina Turner Revue traveled by plane from Los Angeles to Dallas where they were to perform at the Dallas Statler Hilton. While on the airplane, the two became embroiled in an altercation, which led to a physical fight in their limousine. Ike's account was that Tina had refused to help him with a nosebleed. Ike and Tina both state that Ike had been up for five days straight on a cocaine binge. Tina's account was that Ike had become annoyed that she was eating chocolates while wearing a white suit and Ike had slapped her. Tina recalled she began fighting him back, scratching him and kicking him. Ike Turner alleged to a musician associate friend that the two "went around like prizefighters for awhile". Both Ike and Tina were bleeding by the time they arrived at the hotel. After going up to their suite, Ike retired to a sofa. Once Ike had fallen asleep, Tina grabbed a few toiletries, covered herself and escaped from the back of the hotel, running across an active freeway before stopping at a local Ramada Inn hotel. She claimed that she later hid at several friends' homes for a time.

On July 27, 1976, Tina Turner filed for divorce on the grounds of irreconcilable differences. Ike and Tina fought for a year in divorce court arguing over money and property. By late 1977, Tina decided to stop her pursuit of any financial earnings including an apartment complex in Anaheim and another apartment, stating to her lawyer that her freedom "was more important". Tina also agreed to retain only the use of her stage name. The divorce proceedings ended in November 1977 and was finalized March 1978. She also agreed to pay a significant IRS lien.

After Ike & Tina: Both Ike and Tina experienced a lot of career struggles and setbacks following the split-up. But while Tina managed to make a living as a stage performer, Ike found himself ill-equipped to perform due to his continued addiction to cocaine. Tina managed to succeed, using the concert successes from her opening gigs with Rod Stewart and The Rolling Stones and several performances at New York's Ritz Theatre to parlay a singles-only, then three-album deal with Capitol Records. The release and subsequent success of Private Dancer resulted in what Ebony magazine later called "an amazing comeback". Tina's post-comeback career consisted of top-selling albums and record breaking concert tours. In 1988, Tina made history by performing in front of the largest paying audience (approximately 184,000) to see a solo performer at Maracan√£ Stadium in Rio de Janeiro, Brazil, earning her a spot on the Guinness World Records.

Following the end of her Twenty Four Seven Tour in 2000, Turner made another Guinness World Record by selling more concert tickets than any solo performer in history at the time. Tina's accounts on her life with Ike Turner were later documented in the autobiography, I, Tina, released in 1986. In 1988, both Tina and Ike signed away their rights to have their lives dramatized in a biopic based off Tina's book. Ike Turner would later claim that he signed against his will since he was heavily addicted to crack at the time and accepted a $50,000 payment, waiving the right to sue the film company for their portrayal of him in the film. The film What's Love Got to Do with It helped to damage Turner's career in the 1990s.

Due to the film and the book, Ike's name became synonymous with domestic violence, overshadowing his contributions to music. Ike later admitted his first post-Tina years was a period in which his behavior had grown increasingly erratic. Turner's Bolic Sound studios burned to the ground in January 1981 on the day he was set to present it for sale to investors. Turner had failed to pay taxes, which led to the studio being put into foreclosure. In 1982, he was alleged to have shot a 49-year-old newspaper delivery man who he accused of assaulting his wife, Ann Thomas. He was later found not guilty of the charge of assault. Ike Turner would mostly be convicted of drug offenses, culminating in a four-year sentence for cocaine possession in 1990. Sent to California Men's Colony, San Luis Obispo, he completed 18 months of his prison sentence before being released from parole in September 1991. Following his release, Ike began working on a comeback. In 1993, he received royaties from Salt-n-Pepa's sample of his "I'm Blue" song for their hit single "Shoop", and responded by recording a duet version with Billy Rogers. After contributing to Joe Louis Walker' Great Guitars, he toured with the blues musician and was paid $5,000 a night for six songs.

Following this, he revived the Kings of Rhythm in 2001 and released the "comeback" album, Here & Now, which won Turner a Grammy nomination. Five years later, his album, Risin' with the Blues, won him his second Grammy Award, his first as a solo artist. On December 12, 2007, Ike Turner was found dead at 11:38 am at his home in San Marcos, California. He was 76. His death was found by the San Diego County Medical Examiner's Office to be from a cocaine overdose, exacerbated by hypertensive cardiovascular disease and emphysema. Turner had been clean for over a decade prior but relapsed in 2004 after coming to the aid of a drug-addicted friend and Turner returned to cocaine after he "smelt the fumes".

Following news of her former partner's death, Tina Turner's personal spokeswoman released a statement that because the couple hadn't spoken to each other "in over 30 years" Tina declined to make a public comment. Turner's funeral was held at the City of Refuge Church in Gardena, California. In February 2008, little over a month after Ike was buried, Tina came out of retirement, returning to perform on stage at the Grammy Awards alongside Beyoncé. Later that October at age 68, she launched a 95-date concert tour celebrating her 50th anniversary in show business. The tour continued until May 2009, ending in England.

In October 2007, just two months before Ike's death, a three-disc compilation, The Ike & Tina Turner Story: 1960-1975, was released by Time-Life Music. Ike & Tina Turner were inducted to the Rock & Roll Hall of Fame in 1991; Ike Turner was still incarcerated and Tina, still not wanting any ties to Ike whatsoever, did not attend, but stated she was working on an album. Phil Spector accepted their induction on the former duo's behalf. The group was nominated three times for Grammy Awards. They were nominated and won Best R&B Vocal Performance by a Group in 1971 for "Proud Mary" at the 14th Annual Grammy Awards. Tina herself received a nomination for Best Female R&B Vocal Performance for the 1969 song "Bold Soul Sister". The group also received a nomination for their 1961 recording "It's Gonna Work Out Fine". The group received a NAACP Image Award. Both Ike and Tina each received stars and were inducted individually onto the St. Louis Walk of Fame. Two of their songs, "River Deep - Mountain High" and "Proud Mary", were inducted to the Grammy Hall of Fame in 1999 and 2003, respectively. Tina received a solo star on the Hollywood Walk of Fame in 1986.

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Released early in 1971, a few months after Come Together, their first album for Liberty Records, Workin' Together was the first genuine hit album Ike & Tina had in years; actually, it was their biggest ever, working its way into Billboard's Top 25 and spending 38 weeks on the charts. They never had a bigger hit (the closest was their Blue Thumb release, Outta Season, which peaked at 91), and, in many ways, they didn't make a better album. After all, their classic '60s sides were just that -- sides of a single, not an album. Even though it doesn't boast the sustained vision of such contemporaries as, say, Marvin Gaye and Al Green, Workin' Together feels like a proper album, where many of the buried album tracks are as strong as the singles. Like its predecessor, it relies a bit too much on contemporary covers, which isn't bad when it's the perennial "Proud Mary," since it deftly reinterprets the original, but readings of the Beatles' "Get Back" and "Let It Be," while not bad, are a little bit too pedestrian. Fortunately, they're entirely listenable and they're the only slow moments, outweighed by songs that crackle with style and passion. Nowhere is this truer than on the opening title track, a mid-tempo groover (written by Eki Renrut, Ike's brilliant inverted alias) powered by a soulful chorus and a guitar line that plays like a mutated version of Dylan's "I Want You" riff. Then, there's the terrific Stax/Volt stomper "(Long As I Can) Get You When I Want You," possibly the highlight on the record. Though they cut a couple of classics over the next few years, most notably "Nutbush City Limits," the duo never topped this, possibly the best proper album they ever cut.

Ike & Tina Turner - Workin' Together (flac 265mb)

01 Workin' Together 3:36
02 (As Long As I Can) Get You When I Want You 2:25
03 Get Back 3:15
04 The Way You Love Me 2:38
05 You Can Have It 3:28
06 Game Of Love 2:47
07 Funkier Than A Mosquita's Tweeter 2:40
08 Ohh Poo Pah Doo 3:35
09 Proud Mary 4:48
10 Goodbye, So Long 1:56
11 Let It Be 3:15

Ike & Tina Turner - Workin' Together  (ogg 82mb)

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Feel Good, not Superfly, is the sound of early-'70s pimping -- even when the tempo slows down, which happens rarely, it's for a slow blues grind, not a ballad, and songs like Tina's "Kay Got Laid (Joe Got Paid)" make no apologies for mythologizing pimps. This results in a supremely sleazy, utterly addictive record, one that's relentless in its rhythms and fearless in its funk as Ike lays down nasty rock & roll guitar -- check his solos on "Feel Good," where he's as elastic as rubber -- and Tina tears it up with pure, unbridled passion. Feel Good is quintessentially '70s -- the fuzztoned funk practically conjures up platform shoes and mile-wide collars -- but it doesn't belong to any one sound, it casually draws from Southern soul, James Brown funk, black pride, Superfly style and juke joint R&B, a sound that is uniquely identified with Ike & Tina. And while this contains no flat-out classics like "Nutbush City Limits" or "Proud Mary," as an album Feel Good undoubtedly ranks among their very best: it's a non-stop party.

Ike & Tina - Feel Good  (flac  218mb)

01 Chopper 2:36
02 Kay Got Laid (Joe Got Paid) 2:58
03 Feel Good 3:25
04 I Like It 1:58
05 If You Can Hully Gully (I Can Hully Gully Too) 3:30
06 Black Coffee 2:42
07 She Came In Through The Bathroom Window 2:32
08 If I Knew Then (What I Know Now) 2:47
09 You Better Think Of Something 3:20
10 Bolic 2:28
11 Help Him 3:38
12 I Love Baby 2:20
13 The Way You Love Me 2:38

Ike & Tina - Feel Good (ogg  88mb)

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A nicely rootsy set from the team of Ike & Tina Turner – an album that's almost more "down home" than any of the records made by the pair in their roots! The style here is that "back to the country" sound that was favored both with mainstream rock and soul-revival artists of the time – kind of a rock approach that's heavy on guitars, recorded with some redneck undertones and the usual all-soul vocals you'd expect from Tina. Their grammy-winning recordings for united artists at the time culminated in the 1973 international hit single nutbush city limits, still one of the greatest disco dance floor fillers of all time. " "Nutbush City Limits" is a semi-autobiographical funk and soul song written and originally performed by Tina Turner in which she commemorates her rural hometown of Nutbush, Tennessee. Released June 1973, shortly before her separation from then-husband and musical partner Ike Turner, "Nutbush City Limits" was the last hit single the duo would produce together. In the years since, "Nutbush City Limits" has been covered by a number of other artists

Ike & Tina Turner - Nutbush City Limits  (flac  243mb)

01 Nutbush City Limits (Ext. Disco Version) 5:39
02 Make Me Over 3:05
03 Drift Away 3:20
04 That's My Purpose 4:38
05 Fancy Annie 2:20
06 River Deep, Mountain High 4:02
07 Get It Out Of Your Mind 3:20
08 Daily Bread 2:45
09 You Are My Sunshine 3:22
10 Club Manhattan 2:50
11 Nutbush City Limits 2:55
12 I Can See for Miles 2:50

Ike & Tina Turner - Nutbush City Limits (ogg  97mb)

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