Ooh Poo Pah Doo is a reissue of the album Live - The Ike & Tina Turner Show (Vol. 2) from 1965 with the same track listing. It was released in 1969 with different cover pictures from Harmony Records on vinyl.

Ike & Tina Turner - Ooh Poo Pah Doo - Album

Vinyl (USA) - Front Cover

Ike & Tina Turner - Ooh Poo Pah Doo - Album

Vinyl (USA) - Front Cover

A1. Shake A Tail Feather (Live) 3:07

Written by Hayes, Williams, M. Rice / Lead vocals: Ikettes

A2. You Must Believe Me (Live) 2:56

Written by Curtis Mayfield / Lead vocals: Ikettes

A3. Ooh Poo Pah Doo (Live) 3:32

Written by Jesse Hill / Lead vocals: Tina Turner

A4. Early In The Morning (Live) 2:19

Traditional / Lead vocals: Tina Turner

A5. All I Can Do Is Cry (Live) 5:35

Written by G.B. Gordy, B. Gordy Jr., R. Davis / Lead vocals: Tina Turner

B1. Somebody (Somewhere) Needs You (Live) 2:40

Written by F. Wilson, Gordon / Lead vocals: Tina Turner

B2. Keep On Pushing (Live) 2:37

Written by Curtis Mayfield / Lead vocals: Ikettes

B3. It’s All Over (Live) 3:21

Written by Ike Turner / Lead vocals: Tina Turner

B4. You’re No Good (Live) 3:00

Written by Clint Ballard / Lead vocals: Ikettes

B5. A Fool For You (Live) 5:17

Written by Ray Charles / Lead vocals: Tina Turner

Produced by Robert A. „Bumps" Blackwell

Cover design: Ron Coro
Cover photo: Richard Busch

Liner Notes

This record isn't the real thing, of course, despite the fact that it has already been around, been praised and been bought. For that you have to stand in line and buy a ticket. The real thing is an indefatigable, carefully choreographed demonstration of something New Frontiersmen called charisma. It goes much furtherthan music.

The lke and Tina Turner Revue, the wildest show of all, has already created its own tradition of performance and mystique. The music is impeccable, tailored to show to best advantage the attributes of both Ike and Tina. The lkettes add a corollary glamour. The dance sequences are a study in the grammar of soul’s body english: exclamation points, question marks, and parentheses are the most frequently employed punctuation. And the material has always been an intelligent compound of soul and rhythm 'n' blues standards, two genres where truism and cliche are transcended by the quality and dimension of the delivery in the work of the best performers.

And that's where any Ike and Tina Turner show really comes on like a South Side ward boss delivering the votes; the music, the patter, the motion, the delivery, are like a democratic administration is sup-posed to be—sensitive to the needs of the people.

They’ve been around for more than a decade, have recorded in countless studios, played innumerable bars, rooms, halls and arenas as well as visited t.v., but the rough edges haven’t been completely wiped away. There is a funk at once traditional to the genre and unique to Ike and Tina. In the end, there's no one like them.

Performers project images. The Turners are no exception. Tina once said. “. . . in the beginning... I never did women's songs because, then, in about 1960, there weren't any women who were really projecting things.” That may have been the case ten years ago. It certainly isn't true now. And, by an odd coincidence, one of the best projections is Tina Turner.

This record isn't the real thing. But The Ike and Tina Turner Show doesn't play your watering-hole every night. Their recorded work, especially live, gives you just enough to keep you happy until their motorcade comes back to town. As The Mad Peck once said of them in Fusion: “Two Ike and Tina Turner albums in every home and no more chicken records." If that's not a worthy slogan, you deserve to have your franchise repealed.

- Robert Somma, Editor, Fusion


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