The Ike & Tina Turner Sessions is a sampler album with many songs previously released on the 1966 sampler The Soul of Ike & Tina, which should not to be confused with Ike & Tina’s debut album from 1961. Beside these songs, it includes also some previously unreleased tracks and some single only releases. The album was released in 1987 from Kent Records on vinyl and compact disc with comprehensive liner notes. 

Ike & Tina Turner - The Ike & Tina Turner Sessions - Sampler

Front Cover

Ike & Tina Turner - The Ike & Tina Turner Sessions - Sampler

Vinyl - Back Cover

A1. Lose My Cool 2:23

Previously unreleased track

A2. Goodbye, So Long 2:14

From the 'Modern 1007' single and "The Soul of Ike & Tina" (1966) album

A3. You Can’t Miss Nothing 2:07

From the single 'Sonja 2005'

A4. My Baby Now 2:45

From the 'Kent 402' (I Can't Believe What You Say) single b-side

A5. Flee, Flee, Fla 2:25

From the 'Kent 457' (I Wish My Dreams Would Come True) single b-side

A6. Makin’ Plans Together 2:07

Previously unreleased track

A7. It’s Crazy Baby 3:00

From the album "The Soul of Ike & Tina" (1966)

A8. I Wish My Dreams Would Come True 1:53

From the 'Kent 407' single and "The Soul of Ike & Tina" (1966) album

A9. Something Came Over Me 2:46

From the album "The Soul of Ike & Tina" (1966)

A10. If I Can’t Be First 2:14

From the 'Sonja 2001' single and "The Soul of Ike & Tina" (1966) album

B1. Hurt Is All You Gave Me 2:33

From the 'Modern 1007' (Goodbye, So Long) single b-side and "The Soul of Ike & Tina" (1966) album

B2. Gonna Have Fun 2:07

From the 'Modern 1012' single and "The Soul of Ike & Tina" (1966) album

B3. I Don’t Need 2:19

From the 'Modern 1012' (Gonna Have Fun) single b-side and "The Soul of Ike & Tina" (1966) album

B4. Give Me Your Love 2:13

Previously unreleased track

B5. I Can’t Believe What You Say 2:06

From the single 'Kent 402'

B6. I Need A Man 3:03

Previously unreleased track

B7. Baby, Don’t Do It 2:00

Previously unreleased track

B8. Over You 1:57

Previously unreleased track

B9. He’s The One 2:03

From the single 'Kent 418'

B10. Don’t You Blame It On Me 1:49

From the album "The Soul of Ike & Tina" (1966)

All tracks written and produced by Ike Turner

Ike & Tina Turner - The Ike & Tina Turner Sessions - Sampler

CD - Booklet

Tina Turner is a great singer! An obvious statement perhaps, but a fact often obscured by her current status as an eighties mega-star. If you harbour any doubt, just check out this package of goodies cut in 1964-65 for Modern Records of Los Angeles.
This period of the sixties was a time of flux for many of the great female R&B / soul singers of the era. Some, like Mlary Wells and Betty Everett had reached their popular peak and would never again scale the heights of the pop charts. Dionne Warwick's gospel-trained voice was at its artistic apex with the quirky, neurotic, 'uptown' creations of Burt Bacharach. Aretha Franklin had spent years floundering around at Columbia Records; sometimes jazz, sometimes soul, sometimes supper-club. Her time was yet to come. And Diana Ross with the Supremes, was about to conquer the world, wearing Mlary VVells’ old crown as Oueen Of Motown.
And Tina? Well, given that she and  Ike had hot scored a hit since early 1962, it might have been logical to assume that the Turners would gradually have faded from the public eye; file under yesterday's heroes. But you would have reckoned vvithout Ike, for while the Turners would not regain the top forty until 197O, lke and Tina didn’t need hits to keep working.
The lke and Tina Turner Revue was firmly established as one of America's most exciting touring attractions. Run by lke with the precision of an invading army, the Revue would vvork fifty-one weeks of the year; commencing vvith ninety days of gigs in and around Los Angeles, spreading out to the rest of California, then curving out in a great arc through the south-west, the deep south, up the eastern seaboard to Nevv York and the tri-state area, through the industrial north, down to the mid-west, back up to Colorado and the Rockies, and, finally, home to L.A., not to rest, but to another ninety days of solid gigging.
And the fifty-second week? Ike would cram in as much recording as possible. Here we present some of the fruits of those labours.
The Turners' great hits had been released through Juggy Murray's New York based Sue label, but by 1963, Ike had become disenchanted with Murray’s way of doing business, especially regarding the choice of single releases and their promotion.
Freeing the act from Murray and relocating to Los Angeles from St. Louis, Missouri, lke found himself at the door of the Bihari brothers, who, a decade earlier, had employed lke as their talent scout and recording agent for the southern states - an astute move that had resulted in the discovery of talents like Howlin’ Wolf and Bobby Bland.
Ike and Tina scraped into the hot hundred at No 96 in March 1964 with their first release on the Biharis’ Kent label. 'I Can’t Believe What You Say' (Kent 402) was a terrific record, worthy of a much higher chart placing. With its fast, chugging train rhythm, driven by handclaps and repetive chanting, it had enough of a pop feel to warrant a British cover version by Val McKenna. The flip 'My Baby Now' had more of a straightforward, fifties R & B feel - more so than even their Sue recordings.

Several of the tracks included here continue in the vein of lke and Tina's Sue sides. 'He’s The One' is redolent of 'A Fool ln Love', while 'Something’s Come Over You' answers their own great hit 'lt’s Gonna Work Out Fine', vvith a sly reference to 'Mind ln A Whirl' another of the duo's Sue cuts, added for good measure.
'Gonna Have Fun‘ (Modern 1012) with its exhortation to "dance, dance, dance" and reference to the "in-crowd" and the, previously unreleased, chant-propelled 'Over You', are on the other hand, very close stylistically to the tracks that lke was producing simultaneously for the Ikettes. Very hip and teen-sounding.
Another unreleased gem from this period is 'Makin’ Plans Together', which could have almost sprung from the Leiber-Stoller production line, with a Drifters-ish feel, couched in an urbane Spanish-style string arrangement. A tantalising glimpse of a direction that Tina might have explored further.
Many other influences are apparent here. 'I Don’t Need' nods more than a little in the direction of Chicago and the hits Curtis Mayfield was churning out vvith the Impressions, most particularly 'You Must Believe Me'.  On  'lt’s Crazy Baby' vve find a fusion of the Turners’ older R & B style with a contemporary hint of Motown in the back-ups, resulting in a track that really svvings.
Of the remaining numbers 'Goodbye, So Long' (Modern 1007) is perhaps the best known, not least for its in-concert inclusion in Milos Forman’s 1971 hit movie "Taking Off". Performed at breakneck speed, Tina's frantic vocal underpinned by Jerry Lee Lewis-type piano courtesy of Ike, 'Goodbye, So Long' reached No 32 on the R & B chart, and bubbled under the hot hundred at No 107 in June 1965.
Two months later, 'I Don’t Need' (Modern 1012) stalled at No 134. This relative lack of success must have been galling to Ike, especially as his productions for the lkettes, also on Modern, were hitting chart heights that the Turners had not aspired to since their golden days at Sue.
Things vvere not helped by the Biharis attempting to buy the lkettes behind lke’s back. 'I Don’t Need‘ vvas the final Ike and Tina Turner release through Modern Records. They spent the rest of the sixties releasing product through a dizzying number of labels, large and small, before re-emerging as superstars of the rock generation in 1970.
The music we offer here represents the Ike and Tina Turner Revue at its hard-working peak. Honest, gutsy R & B from the last of the great belters, the one and only Tina Turner. Enjoy!

1987 Malcolm Baumgart


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