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Ike & Tina Turner The Kent Years

catalog number: CDKEND182

weight in Kg 0,100


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Ike & Tina Turner: The Kent Years

(1964-67 'Modern/Kent') (63:01/26) Soul und Blues aus einer kreativen Phase der beiden, einschließlich einiger unveröffentlicher Titel * / soul and blues from a productive period in their career, incl. some unissued tracks *


Turner, Ike & Tina - The Kent Years CD 1
1: I Can't Believe That You Say
2: My Baby Now
3: What Do You Think I Am *
4: Baby, Don't Do It
5: I Don't Need
6: Goodbye, So Long
7: Hurt Is All You Gave Me
8: Gonna Have Fun
9: You Can't Miss Nothing
10: All I Could Do Was Cry *
11: I Need A Man
12: You Can't Have Your Cake And Eat It Too *
13: Lose My Cool
14: He's The One
15: Chicken Shack
16: Five Long Years *
17: Flee, Flee, Fla
18: I Wish My Dreams Would Come True
19: Over You
20: Makin' Plans Together
21: Shake It Baby *
22: Don't You Blame It On Me
23: Hard Times
24: Give Me Your Love
25: It's Crazy Baby
26: Something Come Over Me


Artikeleigenschaften von Ike & Tina Turner: The Kent Years

  • Interpret: Ike & Tina Turner

  • Albumtitel: The Kent Years

  • Format CD
  • Genre R&B, Soul

  • Music Genre Soul
  • Music Style Soul
  • Music Sub-Genre 254 Soul
  • Title The Kent Years
  • Label KENT

  • SubGenre R&B Music - Soul

  • EAN: 0029667218221

  • weight in Kg 0.100

Artist description "Turner, Ike & Tina"

Ike & Tina Turner

A Fool In Love

Ike & Tina Turner

A Fool In Love

Ike Turner had worked in Clarksdale, Mississippi, he’d worked in Memphis, and he’d relocated to St. Louis. We first encountered him as the bandleader on Jackie Brenston’s epochal Rocket 88 (see our ‘1951’ volume), and ten years later he was still fronting one the hottest live R&B combos, but things were fairly lean on the record scene. He had a new lady in his life, though.

Annie Mae Bullock, whom he named Tina after a movie jungle goddess, was from Nutbush, Tennessee, and bore him a child. Initially, though, he didn’t see her as the band’s vocalist. “I wrote ‘A Fool In Love’ for Art Lassiter," Turner recalls. "Tina was there as I was writing it. And this guy [Lassiter], he was going to beat me out of some money. He borrowed, I don't know, $80 or $90 to get some tires for his car, and he had no intention of paying that money back. So we went out to Technosonic Studios. They never did any live bands there; all they did was TV commercials and stuff. We waited on Art, and he never showed up. So Tina said, 'Why don't you put my voice on there, and when you find him, you can put him on instead?' So that's what we did. When Tina got to the part where she makes that scream, Ed, the guy who owned the studio, like to hit the ceiling: 'Goddammit, don't holler in my microphone!' In those days, they didn't have no limiters. I guess she rammed the needle. It was real funny. But that was the beginning.

There was a disc jockey there called Dave Dixon. After I recorded the song, I went out to Club Imperial, and we played it out there for some of the kids on a little recorder in the car. They said, 'Man, why don't you put it out with her voice on it?' So Dave Dixon heard it that same night. He sent it to Sue Records; they put it out, and boom, it was a hit."  In fact, Sue Records boss, Juggy Murray, boarded a plane for St. Louis as soon as he heard the disc. As an aside, Lassiter’s vocal group, the Artettes (Robbie Montgomery, Sandra Harding, and Frances Hodges), turned up for the session, but when some of them were unwilling to tour in support of the single, Ike recruited the first Ikettes. Of course, the Ike & Tina story had a sad denouement, but during the 1960s there was no more exciting act in R&B.

Various - Blowing The Fuse 1960

Classics That Rocked The Jukebox

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