Nice 'N' Rough Concerts (1981 - 1983) • At the tv special „Hollywood Nights“ in 1979, Tina met Olivia Newton-John’s manager Roger Davies and asked him to manage her. After Roger attended one of her concerts at the San Francisco Fairmont Hotel in February 1980, he agreed to work as her manager. Tina told him, that she would like to do a Rock’n Roll show like the Rolling Stones, so Davies advised her to drop her band, her style and most of the songs she did before and remodeled her show into a rock showcase. The new show started in San Francisco in March 1981 and continued the following three years with slightly different setlists all over the world.
In 1981, Roger booked Tina for the first time for some shows at New York’s most legendary night-club „The Ritz,“ which was a massive success. In November, she was asked from The Rolling Stones to open three concerts of them, including a duet with Mick Jagger. At the end of the year, Tina was invited by Rod Stewart to perform with him at the tv show „Saturday Nightlive“ and also at his L.A. Forum concert on December 19, which was broadcasted via satellite worldwide. At the beginning of 1983, Tina performed again at „The Ritz,“ which resulted in a recording deal with Capitol Records and Tina’s comeback single Let’s Stay Together.
Reseda, Country Club (USA), April 1981
Berlin, Pilharmonie (Germany), April 1982
Seatle, Hub Ballroom (USA), April 1983
Kill His Wife (Foolish Behaviour)
Cat People (Putting Out Fire)
since 1983 instead of "Kill His Wife"
Tonight Is The Night
I’ll Be Here Where The Heart Is
Honky Tonk Women
Crazy In The Night
River Deep, Mountain High
Nutbush City Limits
Givin’ It Up For Your Love
Jumping Jack Flash
It’s Only Rock’n Roll
Shake A Tail Feather
Take A Little Pain
Rock’n Roll Widow
I Want To Take You Higher
Music Keeps Me Dancin'
Kenny Moore: Piano, Vocals / James Ralston: Guitar / Jack Bruno: Drums / Bob Feit: Bass / Chuck O’Steen: Keyboard / Annie Behringer: Dancer, Vocals / Lejeune Richardson: Dancer, Vocals
Tina & Rolling Stones - November 1981
Tina & Rod Stewart - December 1981
The Acron Beacon Journal
February 22, 1982
Tina Turner is one of those specimens of snarrling. purring. smoldering sexuality that sort of makes you want to sacrifice a virgin.
She doesn’t just walk onto a stage, she storms it like a lioness in heat and proceeds to conduct what amounts to a rock’n roll rhythm 'n' blues jungle fertility rite that lasts about an hour but seems more like 15 minutes.
The woman is a blast furnace of energy and gut-jerking emotion who seems perpetually on the verge of doing something really shocking.
Aside from occasionally flashing a warm, disarming smile that seems out of character in the context of her fiery act, she never really does, however. At least not anything that’s beyond the realm of the scintillating reputation she's built during the past 26 years - the first 20 of which were spent singing with her for-mer husband Ike and his band.
ALTHOUGH Ike has always been given much of the credit for Ms. Turner‘s emergence in the late sixties as one of rock’s most formidable females, it was apparent by her performance Sunday in the Sultan's Caberet at Tangier that, despite the loss of Ike and company, she has still got her act together.
Backed by a superb five-piece band featuring pianist-singer-sometime dancer Kenny Moore, Ms. Turner wailed and whirled and kicked and strutted her way through 12 rock classics that included Get Back, Honky Tonk Women, River Deep - Mountain High, Jumpin' Jack Flash, a show-stopping rendition of Help and, of course, her hallmark, Proud Mary.
Early in the show, she was joined by two goddesses of whoopee in leopard-skin body stockings who gave new and moving meaning to the tune Shake A Tail Feather.
The well-drilled tamdem remained on stage and in a constant and frantic state of agitation throughout most of the show and - along with the star - provided a riveting vista that was almost more than the eye could handle.
MS. TURNER, wearing what resembled a Rod Stewart roostercut wig, opened the show in a beige, fringed jumpsuit but left briefly at about the halfway mark to don a red-sequined camisole and swoop back into the spotlight for a blistering rendition of Jack Flash. The vocals and the costume were both breathtaking.
At 42, Ms. Turner, if possible, seems even more dynamic than during her Ike and Tina Turner Revue years.
Her throaty vocals retain the distinctive — almost desperate — emotional edge that can drive a lyric into the very soul of an audience. And the intensity and enthusiasm of her performance were, for the most part, amazing.
SMOOTH and self-assured, she was at ease with the sellout crowd of more than 350 despite a handful of overly exuberant males apparently bent on mounting a personal conversation with her.
To a certain extent, however, the exuberance is understandable. Tina Turner has that effect on people.
Ms. Turner returns to the Sultans Caberet at 7 and 9 tonight. Both performances are sold out.
The Ritz, New York 1981
Live in 1982
Live in 1983
New York Times, 1981
At the age of 41, Tlna Turner is well on her way to becoming the Mae West of rock music. Making her first New York appearance in flve years at the Ritz last Thursday, Miss Turner presented the same bawdy female caricature that has endeared her to rock audiences ever since she toured with the Rolling Stones 12 years ago. Miss Turner invests this role of jungle Aphrodite with a knowing sense of humor. Theatrically, at least, her impersonations of a prostitute and a gospel dlva, and her provocative confusion of the two roles, was a roaring success. Musically, however, Miss Tumer sacrifices a good deal for the sake of this image.
Though she has a powerful voice, she often pushes it to a screeching frenzy that is as much a caricature of earthy sexuality as her burlesque queen appearance. Supported by an able five-piece rock band plus two female backup singer-dancers, Miss Turner delivered an entertaining set highlighted by oldies like "Acid Queen," "River Deep Mountain High" and "Proud Mary.” Though the set had plenty of gusto, what was missing was subtlety. Miss Turner has obviously no intentions of tampering with the theatrical formula that made her a star.
By STEPHEN HOLDEN