World Tour 1984 • While Tina was the opening act for Lionel Richie’s North American concert tour, her new single What's Love Got To Do With It was released as the first single from her upcoming album Private Dancer. Because of the success of the single and the album, she continued touring on her own in North America, Europe, Australia and South East Asia till the end of 1984. This tour should not be confused with the Private Dancer Tour in 1985. Beside most songs from the Private Dancer album, she did also three songs from Ike & Tina as well as the two new songs „Let’s Pretend We’re Married“ from Prince and „Legs“ from ZZ Top. A complete concert is avaiable on the bootleg Chicago ’84, which was broadcasted on the radio from the Park West Music Theatre in Chicago on August 17, 1984.
Kenny Moore: Piano, Vocals James Ralston: Guitar, Vocals Bob Feit: Bass Guitar Alan Clark: Keyboards Hal Lindes: Guitar, Vocals Henry Spinetti: Drums
July 18 - September 3: Headlining all over the U.S. and Canada (40 concerts) September 20 - October 20: Major concert tour and television in Europe and England November 15 - December 13: Australian concert tour, appearing in Sydney, Melbourne, Adelaide and the Gold Coast (36 concerts) December 15 - December 25: South East Asian concert tour, appearing in Hong Kong, Bangkok, Manila and Japan
Everybody who has been making such a fuss about Michael Jackson's four-second moonwalk really ought to check out Tina Turner’s show. Though old enough to be Jackson’s mother, Turner puts out as much as Jackson seems to be holding back on the current "Victory" tour. In fact, Turner's show may be second only to Bruce Springsteen’s four-hour marathons for sheer intensity and physical endurance. You can work up a sweat just watching her.
Tina Turner's three-night appearance here ending Sept. 3 was one of the hottest local dates of the year, so much so that Joan Baez, appearing crosstown at the Universal Amphitheatre, saluted Turner in her show. "Good old Tina," Baez said. "She was heaving ho before I started. She‘s the toughest broad that ever lived. I once said to her, "Tina, your mother must have mated with a rock." She liked that.
Turner's toughness is certainly a key to her appeal. But so is the tenderness expressed in Turner's heartfelt versions of Al Greens "Let's Stay Together," Ann Peebles "l Can’t Stand The Rain" and, especially, the Beatles „Help." Even Turner’s No. 1 hit „What's Love Got To Do With It," for all it’s surface toughness, is really about vulnerability. One of the show's few disappointments was that Turner hurried through the song, rather than savoring it’s contradictions.
The most elaborate staging was reserved for "Private Dancer," the title track of Turner’s smash Capitol album. That’s fitting, because the song also boasts one of Turner's most poignant and vivid storylines.
But the softer material was present mainly to balance the rockers, which rightfully predominated. Turner was captivating as she unleashed the fury and force of her past hits: "River Deep--Mountain High," "Proud Mary" and "Nutbush City Limits." Turner’s stage manner was also aggressive, from her spread-legged stance to her mock exhortation: "lf you can’t holler, I want you to yell, and if you can’t yell, I want you to scream."
The idea of encoring with ZZ Top’s "Legs" was inspired, since Turner probably owes more of her success to her legs than any star since Betty Grable. That good-natured bit of self-parody brought the audience to it’s feet -- no small accomplishment considering the audience was largely filled with industry types: music and movie personnel who’d come to see a legend, a survivor and a red-hot celebrity all rolled into one.