Disco de Tina Turner: “Tina Live in Europe”

Descripción (en inglés) :

Personnel: Tina Turner (vocals); John Myers (vocals, guitar, keyboards); Bryan Adams, Robert Cray, Jamie West-Oram, James Ralston (vocals, guitar); Kenny Moore, Don Snow, Ollie Marland (vocals, keyboards); Bob Feit (vocals, bass); David Bowie, Eric Clapton (vocals); Laurie Wisefield (guitar); Timmy Capello, Deric Dyer (saxophone, keyboards); Gary Barnacle (saxophone); Alan Clark (keyboards); Jack Bruno (drums); Steve Scales (percussion). <p>Recorded live at N.E.C., Birmingham, Alabama; Camden Palace & Wembley Arena, London, England; Westfallenhalle, Dorimund, Germany; Isstadion, Stockholm, Sweden. Includes liner notes by Tina Turner. <p>A slick, well programmed document of Turner's 87-88 World Tour. Disc one mostly consists of hits from her comeback period, with particularly strong versions of signature songs like "Private Dancer," "What's Love Got to Do With It," and the unarguable "Better Be Good to Me." Disc two, however, has songs from her days with husband Ike (the autobiographical rocker "Nutbush City Limits"), '60s r&b classics ("Land of a Thousand Dances," Wilson Pickett's "In the Midnight Hour") and some celebrity duets. David Bowie drops by to co-croon his hit "Let's Dance," Eric Clapton and Robert Cray dispense hot guitar licks on, respectively, "Tearing Us Apart" and Sam Cooke's "A Change is Gonna Come," and Bryan Adams nearly rips his lungs out trying to keep up with Tina on "It's Only Love." A very satisfying package.

Turner had enjoyed huge and deserved success in the 1980s , well documented on this double CD (originally double vinyl LP) that has material from two tours combined into one release. One can actually see both of them as they were released on VHS tapes at the time, it was "Private dancer tour" (1985) and "Break every rule tour" (1986) - as everything else,it was masterminded by australian manager Roger Davies who used the opportunity to sell "new" live album while new studio release was still just being planned. Millions of fans around the world did not mind (me included) because it was a souvenir of exciting concert performances where Turner finally exploded into full-blown stadium attraction.

Not that it was the first live album for Turner who was recorded live as early as mid-1960s during those legendary "chitlin' circuit" years and beyond - interesting as those early performances were from a historical point of view, they would not attract young audience who probably could not care less for old r&b nuggets she sang way back than. Davies achieved something truly spectacular in its scope, he somehow managed to re-invent the old veteran and present her as completely new artist with a fresh material that charted and sold in truckloads. There is a certain irony that Turner is perceived as a woman who did it "on her own" away from domineering husband, where in fact it is clear her career was always led by someone else - she delivered the goods, men would arrange the business. Neither Ike no Davies could kick those legs in high hells across the stage night after night, on the other hand Turner needed someone to point the right direction. The post-divorce years in wilderness without recording contract are proof on that.

Music wise it plays on Turner's 1980s material - she was lucky enough to get completely new repertoire and did not fall into "oldies" trap. One can clearly hear her happiness attacking than-curent pop hits and leaving 1960s completely behind. Its completely other question are these bombastic top charts actually better than old stuff - "Typical Male" and "Mad Max" movie theme might shook the charts and were what audience expected & wanted but its Ike-years where her legend was cemented,if you ask me. That is perhaps why her 1980s stuff pales next to excitement and passion of second part of this "live" album where Turner finally attacks some old 1960s soul covers - pop ditties are all fine but when she tears trough covers of "Land Of 1,000 Dances" and "In The Midnight Hour" the music & audience truly erupts in a frenzy - it is also a reminder what a spectacular r&b screamer she always was in the heart, true old-school grit in the league of the classic soul greats.

All this 1980s synthesizers-cellophane and celebrity duets were perhaps inevitable compromise that did not hurt her commercial appeal - after all Roger Davies did admirable job on establishing her as a star attraction of first order. But listen for yourself all those pop ditties and than turn to something like old Sam Cooke song "A Change Is Gonna Come" (backed with Robert Cray on guitar) and tell me where Turner's heart lies. She knows how to play a game - Bowie and such extra guests are just frills and decorations, if you are not aware of this than you miss the whole point of who Turner is.