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Tina Turner: Private Dancer

 A l b u m   D e t a i l s


Label: Capitol Records
Released: 1984.09.13
Time: 44:02
Category: Pop/Rock
Producer(s): Joe Sample, Rupert Hine, Terry Britten
Rating: ********.. (8/10)
Media type: CD
Web address: www.officialtina.com
Appears with:
Purchase date: 2000.02.02
Price in €: 11,99



 S o n g s ,   T r a c k s


[1] I Might Have Been Queen (Hine/Obstoj/West-Oram) - 4:10
[2] What's Love Got to Do with It (Britten/Lyle) - 3:49
[3] Show Some Respect (Britten/Shifrin) - 3:18
[4] I Can't Stand the Rain (Bryant/Miller/Peebles) - 3:41
[5] Private Dancer (Knopfler) - 7:11
[6] Let's Stay Together (Green/Jackson/Mitchell) - 5:16
[7] Better Be Good to Me (Chapman/Chinn/Knight) - 5:10
[8] Steel Claw (Brady) - 3:48
[9] Help (Lennon/McCartney) - 4:30
[10] 1984 (Bowie) - 3:09

 A r t i s t s ,   P e r s o n n e l


TINA TURNER - Vocals, Background Vocals

JEFF BECK - Guitar
JOE SAMPLE - Synthesizer, Piano
RAY RUSSELL - Guitar
RUPERT HINE - Bass, Percussion, Keyboards, Programming, Vocals, Background Vocals
JOHN ILLSLEY - Bass
DAVID T. WALKER - Guitar
GARY BARNACLE - Saxophone
TERRY BRITTEN - Guitar, Vocals, Background Vocals
GRAHAM BROAD - Drums
ALEX BROWN - Background Vocals
ALEXANDRA BROWN - Vocals
BOB CARTER - Percussion, Producer
LEON "Ndugu" CHANCLER - Drums, Producer
ALAN CLARK - Percussion, Keyboards
MEL COLLINS - Saxophone
DAVID CULLEN - Strings
CY CURNIN - Vocals, Background Vocals
JULIAN DIGGLE - Percussion
DAVID ERVIN - Synthesizer, Programming
GWEN EVANS - Vocals, Background Vocals
CHARLES FEARING - Guitar
CHARLES JULIAN FEARING - Guitar
WILTON FELDER - Bass, Saxophone, Producer
NICK GLENNIE-SMITH - Keyboards
GLENN GREGORY - Vocals, Background Vocals
GRAHAM JARVIS - Drums
HAL LINDES - Guitar
BILLY LIVSEY - Keyboards
TREVOR MORAIS - Drums
SIMON MORTON - Percussion
TESSA NILES - Vocals, Background Vocals
NICK PLYTAS - Synthesizer, Piano
FRANK RICOTTI - Percussion
NICK SMITH - Keyboards
DAVID WALKER - Guitar
GREG WALSH - Synthesizer, Arranger, Programming, Producer, Engineer, Fairlight
MARTYN WARE - Synthesizer, Arranger, Vocals, Background Vocals, Producer, Drum Programming
JAMIE WEST-ORAM - Guitar
TERRY WILLIAMS - Drums
RICHIE ZITO - Guitar
FRANK RICCOTTI - Percussion
JESSICA WILLIAMS - Vocals, Background Vocals

PETE ASHWORTH - Photography
F. BYRON CLARK - Engineer
HUMBERTO GATICA - Remixing
JOHN HUDSON - Engineer, Mixing
WALTER SAMUEL - Engineer
ALAN YOSHIDA - Mastering
SAM GAY - Creative Director
ROY KOHARA - Art Direction
JOHN O'BRIEN - Design
AKIRA TAGUCHI - Compilation Producer

 C o m m e n t s ,   N o t e s


1984 CD Capitol C2-46041
1984 LP Capitol 512330
1995 CD Capitol 7 46041 2
1998 CD JVC 44
1984 CS Capitol C4-46041

WHAT'S LOVE GOT TO DO WITH IT - Grammy Awards: Record of the year, Song of the year, Best pop vocal performance, female (85)
WHAT'S LOVE GOT TO DO WITH IT - MTV Video Award: Best female video (85)
LET'S STAY TOGETHER - Grammy Nomination: Best R&B vocal performance (84)
BETTER BE GOOD TO ME - Grammy Award: Best rock vocal performance, female (85)



Rolling on the river without Ike in the boat, Tina Turner makes a powerful comeback on "Private Dancer." Turner throws herself into the material here, her voice rasping but strong, physical and impossibly sensual. There isn't a single dud among the songs, and they're given modern rock settings that are neither detached nor very fussy. She got some help: Mark Knopfler of Dire Straits wrote the slow, gorgeous title track; Jeff Beck played a heart-scraping solo on the great rocker "Steel Claw"; Heaven 17's Martyn Ware and Greg Walsh produced her hit cover of Al Green's "Let's Stay Together"; and Rupert Hine produced much of the album and wrote one of its cocky songs, "What Love Got to Do with It."

Tuner covers a lot of ground, musically, but this is firmly a rock & roll record, despite its soulful heart. There's everything from a pumping dance track, "Show Some Respect," to a slow-tempo piece by Ann Peebles called "I Can't Stand the Rain," its tinkling notes seeming to fall on Tina's head, tormenting her with some memory. "I Might Have Been Queen" has the earthiness of a "Proud Mary"; "Steel Claw," the ferocity of a Rolling Stones song. Turner seems to completely understand the touch that each of these songs needed. When she sings about being a "private dancer, a dancer for money, and any old music will do," she gets across the resignation of an old stripper or whore with an appropriate minimum of self-pity.

Last year, I heard Tina Turner sing that awful Terry Jacksson "Seasons in the Sun" on television, and she found something in it that broke her heart. Imagine her doing the same thing to good songs. (RS 425)

Copyright © 1968-1999 Rolling Stone Network. All Rights Reserved.



Private Dancer war 1984 das phänomenale Comeback-Album einer der begnadetsten Soul-Stimmen aller Zeiten. Tina Turner, die sich einige Jahre davor vom prügelnd-patriarchalischen Ehemann Ike getrennt hatte und danach durch schäbige Bars und Clubs tingelte, um sich ihr täglich Brot zu verdienen, bekam die Chance, diese Scheibe in einem Top-Studio aufzunehmen - und nutzte sie! Private Dancer stellte jedenfalls alles in den Schatten, was Tina bis dahin aufgenommen hatte, Stücke wie "Better Be Good To Me", "Let's Stay Together" oder "What's Love Got To Do With It" besitzen bis heute eine unglaubliche Kraft, Intensität und Magie. Mit ihrer unglaublich packenden, wandlungsfähigen Stimme singt sie, als gäbe es kein Morgen für sie. Und vermutlich fühlte sie sich zur Zeit der Aufnahme auch so. Kein Wunder, dass diese Scheibe auf offene Ohren weltweit stieß, bis heute gut 15 Millionen Mal verkauft worden ist und Mrs. Turner einen "Grammy" einbrachte. Seitdem ist die rüstige 60erin jedenfalls nicht mehr aus den Hitparaden und Radioprogrammen wegzudenken. Zurecht, wie diese CD beweist - sie ist schon heute ein Klassiker.

Michael Fuchs-Gamböck - Amazon.de



Erst letztes Jahr erschien dieses 1984er Top-Album der Power-Diva Tina Turner in einer verschwenderischen Neuauflage, remastert und mit sieben Zugaben. Macht da die High Tech-Überspielung (ohne Bonus-Tracks!) in der teuren JVC-"xrcd"-Reihe mit ausgebufftem 20-Bit-Mastering überhaupt Sinn? Absolut. Die Japaner schafften es, in Sachen Dynamik, Transparenz sowie Stimmwiedergabe noch eins draufzusetzen. Noch nie waren Tina Turners private Tanzstunden so elektrisierend - simply the best!

** Musik: 04-05 ** Klang: 04-05
© Audio



"'Private Dancer' captured the zeitgeist of the Me Decade with its cynicism and its solipsism. It made Tina Turner an international star on her own merits. The song that did it was "What's Love Got to Do With It". A second hit single off the album, "Private Dancer", was sung from the disengaged viewpoint of an erotic dancer whose only pleasure is in the money men give her; she can neither feel nor envision any other future."

ROLLING STONE ALBUM GUIDE ****



"Die Japaner schafften es, in Sachen Dynamik, Transparenz sowie Stimmwiedergabe noch eins draufzusetzen. Noch nie waren Tina Turners private Tanzstunden so elektrisierend - simply the best!"

C. Dick in Audio 5/98



In 1984, a 45-year-old Tina Turner made one of the most amazing comebacks in the history of American popular music. A few years earlier, it was hard to imagine the veteran soul/rock belter reinventing herself and returning to the top of the pop charts, but she did exactly that with the outstanding Private Dancer. And Turner did so without sacrificing her musical integrity. To be sure, this pop/rock/R&B pearl is decidedly slicker than such raw, earthy, hard-edged Ike & Tina classics as "Proud Mary," "Sexy Ida" and "I Wanna Take You Higher." But she still has a tough, throaty, passionate delivery that serves her beautifully on everything from the melancholy, reggae-influenced "What's Love Got to Do with It" to the gutsy "Better Be Good to Me" to heartfelt remakes of the Beatles' "Help," Al Green's "Let's Stay Together" and David Bowie's "1984." A reflection on the emptiness of a stripper's life, the dusky title song as poignant as it is depressing. Without question, this was Turner's finest hour as a solo artist.

Alex Henderson - All Music Guide



Enlisting the help of notable producers such as Joe Sample, Martin Ware and Rupert Hine, Tina out-performed even the original artists as she strutted her way into rock music, having been on the periphery for years with her screaming R&B and her ex-husband's strong influence. Al Green's "Let's Stay Together" is made her own and even without the thin-sounding organ on the Ann Peebles original, her interpretation of "I Can't Stand The Rain" is wholly acceptable. Mark Knopfler's standing benefited from having written the title track, and if that isn't enough, there is also "What's Love Got To Do With It."

www.cduniverse.com



Ausgerechnet ein gewisser "Major Tom" beamte sie ins Rampenlicht zurück: Als David Bowie 1982 bei einer Branchen-Party "Let's Dance" vorstellte, bat er seine Lieblingssängerin Tina Turner um einen Gastauftritt. Wenig später hatte die laszive Lady wieder einen Vertrag: Mit Studiofuchs Rupert Hine machte sie sich an die Arbeit für ihr Comeback-Album "Private Dancer". 1984 erschienen, ging die prickelnd frische Mischung aus Soul, Pop und federleichtem Rhythm & Blues um die Welt. Vor kurzem wurde Tinas Traum-Opus im remasterten Digitalsound wieder veröffentlicht - und kaum einer hat's gemerkt! Denn die Plattenfirma der Soul-Seniorin vergaß, für den feschen Silberling im kartonierten Schuber Werbung zu machen. Deshalb tut es jetzt AUDIO live: Funkige Rock-Raketen wie "I Might Have Been Queen" oder "Better Be Good To Me" gewinnen in der überarbeiteten Fassung enorm an Temperament und Tiefe. Besonders eindruckvoll ist die Steigerung bei "I Can't Stand The Rain". Aber auch der Hammer-Hit "What's Love Got To Do With It" räumt klangtechnisch ab. Dabei war schon das CD-Original kein dynamisches Desaster. Doch Tina '97 tanzt auch länger: Sieben Zugaben bringen die Spielzeit auf 78 Minuten, darunter eine Gänsehaut-Version von Eric Burdons "When I Was Young" und drei Singles im Maxi-Mix. Alles in allem ein Power-Paket ohne Patina!

© Audio
 

 L y r i c s


I MIGHT HAVE BEEN QUEEN

I'm a new pair of eyes everytime I am born
An original mind because I just died
And I'm scanning the horizon
For someone recognizing that I might have been queen
For every sun that sets there is a new one dawning
For every empire crushed there is a brand new nation
Let the waters rise, I have ridden each tide
From the gates of the city where the first born died

And I might have been queen
I remember the girl in the fields with no name
She had a love
But the rivers won't stop for me
No, the rivers won't stop to me

I'm a new pair of eyes, an original mind
With my senses of old and the heart of a giant
And I'm searching through the wreckage
For some recollection that I might have been queen
For every sage that falls there's an ancient child

And I might have been queen
I remember the girl in the fields with no name
She had a love
But the rivers won't stop for me
No, the rivers won't stop to me

I look up to the stars with my perfect memory
I look through it all and my future is no shock to me
I look down but I see no tragedy
I look up to the stars till I find my destiny
I look up to my past, a spirit running free
I look down, I look down and I'm there in history
I'm a soul survivor

A soul survivor
On the river
But it won't stop


WHAT'S LOVE GOT TO DO WITH IT

You must understand though the touch of your hand
Makes my pulse react
That it's only the thrill of boy meeting girl
Opposittes attract
It's physical
Only logical
You must try to ignore that it means more than that

What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken

It may seem to you that I'm acting confused
When you're close to me
If a tend to look dazed I've read it someplace
I've got cause to be
There's a name for it
There's a phrase that fits
But whatever the reason you do it for me

What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken

I've been taking on a new direction
But I have to say
I've been thinking about my own protection
It scares me to feel this way

What's love got to do, got to do with it
What's love but a sweet old fashioned notion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken


SHOW SOME RESPECT

I made a resolution and I plan to keep my work
But I need you to make it work
You've got to read the message, understand what's on my mind
Cause not to see would be a crime
And we could lose it anytime

We've got to show some respect
We've got to learn to protect
Don't take it for granted, I know
That if you want to stay close
We've got to show some respect

But I believe in working, then I believe in a little help
Cause I'm not a light unto myself
Without a thing of value, why settle for second best
We don't know what's up ahead
And we can't let ourselves forget

We've got to show some respect
We've got to learn to protect
Don't take it for granted, I know
That if you want to stay close
We've got to show some respect

For the things that I love about you
From the woman that you see inside
Don't let it walk out the door
Love follows everytime


I CAN'T STAND THE RAIN

I can't stand the rain
Against my window
Bringing back sweet memories
I can't stand the rain
Against my window
Cause he ain't here with me

Hey window pain
Tell me, do you remember
How sweet it used to be

When we were together
Everything was so grand
Now that we've parted
There's just one sound
That I just can't stand

I can't stand the rain
Against my window
Bringing back sweet memories
I can't stand the rain
Against my window
Cause he ain't here with me

Hey hey rain
Get out of my window
Cause he ain't here with me
I can't stand the rain
Against my window
Bringing back sweet memories


PRIVATE DANCER

All the men come in these places
And the men are all the same
You don't look at their faces
And you don't ask their names
You don't think of them as human
You don't think of them at all
You keep your mind on the money
Keeping your eyes on the wall

I'm your private dancer, a dancer for money
I'll do what you want me to do
I'm your private dancer, a dancer for money
And any old music will do

I want to make a million dollars
I wanna live out by the sea
Have a husband and some children
Yeah, I guess I want a family
All the men come in these places
And the men are all the same
You don't look at their faces
And you don't ask their names

I'm your private dancer, a dancer for money
I'll do what you want me to do
I'm your private dancer, a dancer for money
And any old music will do

Deutch marks or dollars
American Express will do nicely, thank you
Let me loosen up your collar
Tell me, do you wanna see me do the shimmy again?


LET'S STAY TOGETHER

Let me say that since
Since we've been together
Loving you forever
Is all I need
Let me be the one you come running to
I'll never be untrue

Let's, let's stay together
Loving you whether, whether
Times are good or bad, happy or sad

I'm so in love with you
Whatever you want to do
Is alright with me
You make me feel so brand new
I want to spend my whole life with you

Let me say that since
Since we've been together
Loving you forever
Is all I need
Let me be the one you come running to
I'll never be untrue

Let's, let's stay together
Loving you whether, whether
Times are good or bad, happy or sad

Why, oh tell me, why do people break up
Turn around and make up
I just came to see
You'd never do that to me, would you baby?
Cause being around you is all I see

So baby let's we all stay together
Loving you whether, whether
Times are good or bad, happy or sad


BETTER BE GOOD TO ME

A prisoner of your love
Entangled in your web
Hot whispers in the night
I'm captured by your spell
Oh yes I'm touched by this show of emotion
Should I be fractured by your lack of devotion
Should I, should I?

You better be good to me
That's how it's gotta be now
Cause I don't have no use
For what you losely call the truth
You better be good to me

I think it's also right
That we don't need to fight
We stand face to face
And you present your case
And I know you keep telling me that you love me
And I really do wanna believe
But did you think I'd just accept you in blind faith
Oh sure babe, anything to please you

You better be good to me
That's how it's gotta be now
Cause I don't have the time
For your over loaded lines
You better be good to me

And I really don't see why it's so hard to be good to me
And I don't understand what's your plan that you can't be good to me
What I can't feel I surely cannot see, why can't you be good to me
And if it's not real I do not wish to see, why can't you be good to me


STEEL CLAW

It's just a television wonderland
It's one more fairytale about a rich bitch
Lying by the swimming pool
Life is so cool
Easy living when you make the rules
Last friday was the first time
It only took about a half a minute
On the starway
It was child's play
The odds turn out even when you give up believing in the

Cold law, steel claw
Try to get on board you find the lock is on the door
Well I say no way
Don't try to keep me out or there'll be hell to pay
I don't know who's right or who's wrong
It doesn't really matter when you're lying in the gutter
It's a see saw
A long battle with the cold law
Is what you get for messing with the steel claw

The politicians have forgotten this place
Except for a flying visit in a black Mercedes
No election
They cross the line
And everybody runs to watch the pantomime
If they could see what's going on around here
So many people hanging onto the edge
Crying out for revolution
Retribution
The odds turn out even
When you give up believing in the

Cold law, steel claw
Try to get on board you find the lock is on the door
Well I say no way
Don't try to keep me out or there'll be hell to pay
I don't know who's right or who's wrong
It doesn't really matter when you're lying in the gutter
It's a see saw
A long battle with the cold law
Is what you get for messing with the steel claw

Sometimes I think I'm going crazy
Sometimes I do a line, makes me laugh
Makes me wanna take a joyride
On the high tide
Sometimes I'm contemplating suicide
Meanwhile Eddy is on the west coast
I know he's making out with some sweet senorita
Up in Frisco
You and I know
The odds turn out even
Whe you give up believing in the

Cold law, steel claw
Try to get on board you find the lock is on the door
Well I say no way
Don't try to keep me out or there'll be hell to pay
I don't know who's right or who's wrong
It doesn't really matter when you're lying in the gutter
It's a see saw
A long battle with the cold law
Is what you get for messing with the steel claw


HELP

When I was younger, so much younger than today
Never needed anybody's help in anyway
But now those days are gone and I'm not so self assured
Now I find I've changed my mind, I've opened up the door

Help me if you can I'm feeling down
And I do appreciate you being around
Help me get my feet back on the ground
Won't you please, please help me

And now my life has changed in oh so many ways
My independence seems to vanish in the haze
And every now and then I feel so insecure
And now I just need you like I never did before

Help me if you can I'm feeling down
And I do appreciate you being around
Help me get my feet back on the ground
Won't you please, please help me


1984

Someday they won't let you, now you must agree
The times they are a telling and the changing isn't free
You read it in the tea leaves and the tracks are on TV
Beware the savage jaw in 1984

They'll split your pretty cranium and fill it full of air
They'll tell you that you're eighty and really you won't care
You'll be shooting up on everything, tomorrow's never there
Beware the savage jaw in 1984

Come see, come see, remember me
I played in an all night movie role
You said it would last but I guess we've enrolled
In 1984 (who could ask for more)
1984 (who could ask for more)

I'm looking for a vehicle, I'm looking for a ride
I'm looking for a party, I'm looking for a side
I'm looking for a treason that I knew in sixty-five
Beware the savage jaw in 1984

Come see, come see, remember me
I played in an all night movie role
You said it would last but I guess we've enrolled
In 1984 (who could ask for more)
1984 (who could ask for more)

 M P 3   S a m p l e s


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