The Best of Ike and Tina (Proud Mary) is a compilation album with some of Ike & Tina’s greatest hits from the beginning of their career until their separation. Because of license reasons, the version of River Deep, Mountain High is only the re-recording from the Nutbush City Limits album. The special thing about this CD are two additional and hidden tracks, which are radio spots for the album Come Together - not mentioned in the booklet. The album was released in 1991 from Sue Records / EMI on compact disc in America. The foldable booklet contains extensive liner notes, track annotions and a poster with several Ike & Tina single and album covers.

Ike & Tina Turner - The Best of Ike and Tina - Proud Mary - Sampler

CD (USA) - Front Cover

Ike & Tina Turner - The Best of Ike and Tina - Proud Mary - Sampler

CD (USA) - Back Cover

1. A Fool In Love

Written by Ike Turner / Produced by Juggy Murray, Ike Turner / Released 07/60 (Sue 730) / Charted Pop 8-29-60, Reached #27 / Charted R&B 8-1-60, Reached #2

2. I Idolize You 2:49

Written by Ike Turner / Produced by Juggy Murray, Ike Turner / Released 10/60 (Sue 735) / Charted Pop 12-12-60, Reached #82 / Charted R&B 12-19-60, Reached #5

3. I’m Jealous 2:11

Written by Ike Turner / Produced by Juggy Murray, Ike Turner / Released 01/61 (Sue 740) / Charted Pop 2-27-61, Reached #117

4. It’s Gonna Work Out Fine 3:01

Written by J. Seneca, J. Lee / Produced by Juggy Murray, Ike Turner, Mickey / Sylvia / Released 06/61 (Sue 749) / Charted Pop 7-31-61, Reached #14 / Charted R&B 7-24-61, Reached #2

5. Poor Fool 2:32

Written by Ike Turner / Produced by Juggy Murray, Ike Turner / Released 10/61 (Sue 753) / Charted Pop 11-27-61, Reached #38 / Charted R&B 12-25-61, Reached #4

6. Tra La La La La 2:38

Written by Ike Turner / Produced by Juggy Murray, Ike Turner / Released 2/62 (Sue 757) / Charted Pop 3-24-62, Reached #50 / Charted R&B 3-31-62, Reached # 9

7. You Should’a Treated Me Right 3:37

Written by Ike Turner / Produced by Juggy Murray, Ike Turner / Released 6/62 (Sue 765) / Charted Pop 6-30-62, Reached #89

8. Come Together 3:39

Written by John Lennon, Paul McCartney / Produced by Ike Turner / Released 12-3-69 (Minit 32087) / Charted Pop 3-7-70, Reached #57 / Charted R&B 2-7-70, Reached #21

9. Honky Tonk Women 3:08

Written by Mick Jagger, Keith Richards / Produced by Ike Turner / Released 12-3-69 (Minit 32087)

10. I Want To Take You Higher 2:52

Written by S. Stewart / Produced by Ike Turner / Released 4-28-70 (Liberty 56177) / Charted Pop 5-23-70, Reached #34 / Charted R&B 6-13-70, Reached #25

11. Workin Together 3:31

Written by Eki Renrut / Produced by Ike Turner / Released 10-7-70 (Liberty 56207) / Charted Pop 11-7-70, Reached #105 / Charted R&B 11-28-70, Reached #41

12. Proud Mary 4:56

Written by John C. Fogerty / Produced by Ike Turner / Released 1-8-71 (Liberty 56216) / Charted Pop 1-30-71, Reached #4 / Charted R&B 2-27-71, Reached #5

13. Funkier Than A Mosquita’s Tweeter 2:39

Written by A. Bullock / Produced by Ike Turner / Released 1-8-71 (Liberty 56216)

14. Ooh Poo Pah Doo 3:34

Written by Jessie Hill / Produced by Ike Turner / Released 4-22-71 (United Artists 50782) / Charted Pop 5-17-71, Reached #60 / Charted R&B 5-29-71, Reached #31

15. I’m Yours (Use Me Anyway You Wanna) 2:50

Written by Reese, Lane / Produced by Ike Turner / Released 9-14-71 (United Artists 50837) / Charted Pop 11-13-71, Reached #104 / Charted R&B 11-27-71, Reached #47

16. Up In Heah 3:03

Written by Tina Turner / Produced by Gerhard Augustin / Released 1-19-72 (United Artists 50881) / Charted Pop 2-26-72, Reached #83 / Charted R&B 4-1-72, Reached #47

17. River Deep, Mountain High 3:28

Written by Phil Spector / Produced by Ike Turner / Released 10-10-73 (on LP "Nutbush City Limits" UA-LA 180) / LP Charted 12-12-73, Reached #163

18. Nutbush City Limits 2:58

Written by Tina Turner / Produced by Ike Turner / Released 7-25-73 (United Artists UA-AW 298-W) / Charted Pop 9-8-73, Reached #22 / Charted R&B 8-25-73, Reached #11

19. Sweet Rhode Island Red 3:15

Written by Tina Turner / Produced by Ike Turner, Claude Williams, D.B. Johnson / Released 2-19-74 (United Artists UA-XW 409-W) / Charted Pop 5-4-74, Reached #106 / Charted R&B 4-13-74, Reached #43

20. Sexy Ida (Part 1) 2:29

Written by Tina Turner / Produced by Ike Turner, Claude Williams, Jackie Clarke, Gerhard Augustin / Released 7-12-74 (United Artists UA-XW 528-X) / Charted Pop 11-2-74, Reached #65 / Charted R&B 8-17-74, Reached #29

21. Sexy Ida (Part 2) 3:01

Written by Tina Turner / Produced by Ike Turner, Claude Williams, Jackie Clarke, Gerhard Augustin / Released 7-12-74 (United Artists UA-XW 528-X)

22. Baby, Get It On 3:10

Written by Ike Turner / Produced by Ike Turner, Denny Diante, Spencer Proffer / Released 4-22-75 (United Artists UA-XW 589-X) / Charted Pop 6-7-75, Reached #88 / Charted R&B 5-24-75, Reached #31

23. Acid Queen 2:59

Written by Pete Townshend / Produced by Denny Diante, Spencer Proffer / Released 7-24-75 (on LP "Acid Queen" UA-LA 495-G) / LP Charted 9-20-75, Reached #155

24. Promo 0:54

Radio promo for the album 'Come Together'

25. Promo 0:31

Radio promo for the album 'Come Together'

Compilation produced and researched by Ron Furmanek
Compiled by Steve Kolanjian
Liner Notes by Al Quaglieri
Track annotions by Ron Furmanek
Digitally remastered by Larry Walsh at Capitol
Recording Studios, November 1990,
Assembly by Kevin Reeves
Special thanks to: Juggy Murray, Edward Burks, Richard Peters, Al Quaglieri, Michael Ochs, Jeff Seckler and Jennifer Gross
This compilation was mastered from the original 2-track stereo mixes and full-track mono mixes, all tracks AAD
Tracks 1-7 are mono, tracks 8-23 are stereo
Chart information courtesy of Billboard and Joel Whitburn
All tracks were previously released on various Sue, Minit, Liberty and United Artists singles and albums
Art direction: Henry Marquez
Still life photography: Jeffrey Scales
Design: Michael Diehl
Layout: Paul Volk
Photos courtesy of Michael Ochs Archivs

Ike & Tina Turner - The Best of Ike and Tina - Proud Mary - Sampler


Come Together (Album) - Radio Promo

By 1956, blues pianist and guitarist Izear Luster Turner had already been around the block several times. During the nine years prior, he had played piano with Delta bluesmen, formed the Kings of Rhythm, spun records on hometown station WROX, befriended B.B. King, written and recorded one of the first rock and roll records (“Rocket 88,” credited to Jackie Brenston, the only King of Rhythm with a passable voice), scouted talent for Modern / RPM Records, married twice, and relocated from Clarksdale, Mississippi to St. Louis, Missouri. A year later, a meteoric collision would change Ike’s life forever. The meteor: 17-year-old Ann Bullock, a refugee from the backwoods of Tennessee. One night, as the wildly popular Kings of Rhythm held court at East St. Louis’ Club D’Lisa, an impulsive, skinny Ann grabbed the mike and started wailing on B.B. King’s “You Know I Love You.” She soon became a regular attraction of the Kings of Rhythm. Propelled by Ann’s gritty, down~home delivery, the band became even more of a sensation. Ike Turner began thinking about bigger things, national things, recording things. In the spring of 1960, Ike and his band walked into Technisonic, a one-track studio in the St. Louis suburb of Brentwood. On the agenda was a tune called “A Fool In Love.”

The song was intended for Art Lassiter, vocalist for the Kings of Rhythm and sometimes solo performer with his backup girls, the Artettes. Problem was, Ike wasn’t paying Art what Art figured he should be getting for recording, and Art never showed up. Lest the session end up a total waste, Ann volunteered to sing the tune. She had, after all, rehearsed it for weeks.
Though Ann’s “A Fool In Love” was ragged and raw, “so,” said Sue Records owner Juggy Murray, "was Howlin’ Wolf. All of those blues singers sounded like dirt. Tina sounded like screaming dirt. It was a funky sound.” Murray bought the master (he had earlier released an Ike Turner track - “That’s All I Need” - as Sue 722). Contract in hand, Ike turned Ann into Tina, which rhymed with Sheena (“Queen of the Jungle”), Ike’s favorite TV wild woman. Not just Tina, but Tina Turner, without warning, and without a marriage license. “A Fool In Love” shot up to #2 R&B and #27 Pop.
The act, now including the Ikettes (named after the Artettes) and renamed the Ike and Tina Turner Revue, played their first American Bandstand show. Soon thereafter (and despite her by-now-obvious pregnancy), Tina electrified a notoriously hard-to-please Apollo Theater.
As 1960 drew to a close, the follow-up single, Ike’s "I Idolize You" was released. Again recorded at Technisonic, "Idolize" hit solidly on the R&B charts but stopped near the bottom of the pops. With its loping shuffle and call~and-response vocals (“Yes she idolize you,” chirped the Ikettes), it closely resembled Ray Charles’ “Unchain My Heart,” which would be released a year later.
Attempting to maintain what little momentum the fledgling act had built, Sue rush-released “I’m Jealous” in February of 1961. “Jealous” failed to chart R&B altogether, and limped up to #117 Pop. While the Ike and Tina Revue continued to dazzle live audiences, their recording career was on the brink of disaster. Juggy Murray pulled out all the stops, booking time in New York and bringing in hired guns, the veteran studio team of Mickey and Sylvia. Juggy continues, "It’s Gonna Work Out Fine" was done to two-track at Bell Sound. That was Ike’s band, but Sylvia played the guitar, not Ike; and Mickey talked, not Ike. Mickey and Sylvia did that. So actually they’re the ones who put that whole thing together.”
“It’s Gonna Work Out Fine” was much more sophisticated - in both arrangement and production - than anything Ike and Tina Turner had recorded prior (or would record for many years to come). Mickey, Sylvia, and Juggy’s rescue effort shot to the top of both charts (#2 R&B, #14 Pop) and assured that Ike and Tina Turner would not live out their careers as one-hit wonders. Vinyl was now moving in quantity, and the string of one-night road shows continued apace. Ike, a low-overhead impresario who did all his own booking, promotion, and management, had soon stashed away enough cash to pull up stakes and relocate to Los Angeles. While he was packing, Sue unleashed “Poor Fool.” Again an older product of Technisonic, the record performed respectably on both the R&B and Pop charts.
1962 found Ike and Tina Turner settled in L.A., and turning up the juice on what was already a hectic schedule of road shows and recording. Ike booked time in studios at every town along the way, but little of that material found its way back to Sue Records. Again raiding its stock of St. Louis masters, Sue issued “Tra La La La La” in February. With its simple lyrics, muted trumpet and out-of-tune piano solos, “Tra La La La La,” was basically a reworking of an old Kings of Rhythm instrumental called “Prancing” (itself released by Ike Turner and the boys on Sue 760).
The group’s next single was an uncharacteristic, big~band jumper called “You Should’a Treated Me Right.” It would be their last charting record for Sue, who would nonetheless continue to issue Ike and Tina Turner material over the next four years.

It was now 1963. While still under contract with Sue Records, Ike reconnected with the Bihari brothers, for whose Modern Records he once worked. Soon, more Ike and Tina Turner records began to appear on Modern’s Kent subsidiary (reissued ad infinitum on the Kent and United labels). Of those, “I Can’t Believe VVhat You Say” (Kent 402) scored a modest hit in 1964. Coincidentally, ‘64 was the same year Ike’s contract with Sue expired. Juggy Murray offered a sizable advance and generous contract to resign, which Ike did. Juggy continues, “He made me put it in the agreement that he could cut what he wants to cut, and not what I want him to cut. I give him $40,000, and what does he do? He sends me the worst shit in the world. "Tin Top House" and all that bullshit. I get him on the phone and I cuss him out and I go, ‘what are you doin’?’ So you know what he was doin’? He was gonna piss me off so he could go and sign with another company and get big front money, you understand? That was his plan. So I made him famous, and he resented it. This was his opportunity to stick it to me.”
Ike took Juggy’s $40,000 and bought a big new house in View Park Hills, southern L.A. As more Kent singles stiffed (except for the Ikettes’ “Peaches ‘n’ Cream”, a moderate hit in ‘65), Ike left Modern and signed with Warner Brothers’ R&B subsidiary, Loma. Loma released two fine live-in-Texas LPs by the Revue, as well as a handful of singles. In the midst of Ike and Tina’s tenure at Loma, Phil Spector “borrowed” Tina and her fabulous voice (although for $25,000, it was more of a rental). The result, a remarkable “River Deep, Mountain High” (Philles 131), was to have been Spector’s crowning achievement, the wall of sound extravaganza which would return the producer to his rightful niche in the pop music firmament. The American public apparently did not concur with this vision, and “River Deep” stalled near the bottom of the charts. (Contractual hurdles prevented the inclusion of the original Philles track, now administered by A&M, in this package. In its stead is a reworking from the later “Nutbush City Limits” LP, which demonstrates how the band changed “River Deep” around to work onstage.)
“River Deep” fared much better in England. There, it was such a sensation that it prompted the Rolling Stones to grab Ike and Tina for the Stones’ fall tour of Europe.
Their glory was short-lived. By 1967, Ike and Tina Turner were back home and without a label for the first time in their collective career. The Revue, however, kept pumping along, playing the “chitlin” circuit, VFW and Amvets halls throughout the south, and occasional club dates on the outskirts of big towns ,such as Chicago and San Francisco.

Although the idea of a traveling soul package seemed an anachronism by 1967, the Ike and Tina Turner Revue never allowed itself to become a museum piece. It was more like a well~maintained ‘56 Chevy, that still looked good and moved like a bat out of hell.
Edward Burks, trombonist for Ike and Tina, recalls the typical Revue show: “The band would play a set, mostly cover material of our own choice. The next set, Ike would come up on the stage and we’d bring out the male singer. Jimmy Thomas or, later, Albert Acklin. He would act as M.C. and introduce the Ikettes. After they left the stage, he’d bring out Tina & the Ikettes.” What then ensued was a kinetic, shimmying, shouting, sweating maelstrom of miniskirts, long legs, and whirling hair. All the action, the skits, the songs, and the routines centered around Tina, herself the embodiment of raw sex. Burks adds, “We usually did two 1-hour shows a night, usually to the same audience. Ike assembled each set as it happened, he’d play a couple of notes from the tune on his guitar, and we’d know what was next. You had to pay attention, because a missed cue could cost you a $5 fine. Afier awhile, though, you’d really have to do something really terrible to get fined.”

Despite the dawning of flower power and psychedelia, the market for the Ike and Tina Turner Revue continued to grow. Come 1968, the show found itself booked into the lounge at the International Hotel (now the Las Vegas Hilton) for two months at a shot. Several new LPs were released on Pompii, an Atlantic subsidiary. The next year, Ike and Tina signed 2-LP deal with Blue Thumb, as well as a more extensive contract with Minit. The Turners reappeared on the pop charts after an absence of nearly three years. In November, they reunited with the Rolling Stones for that group’s U.S. tour, a move which ultimately exposed Ike and Tina to the audience that would put them over the top-college students. 

Ike and Tina shrewdly capitalized on the act’s newfound market by releasing their version of Lennon and McCartney’s “Come Together.” Issued while the original was ending its chart run, the Turner rendering was more an impression than a cover; the lyrics were skewed (“hold you in his arms till you can feel his disease”), the chords questionable. Still, there was something dramatic and compelling about it. That something was Tina. Her magic was also the charm on the flip, a lively romp through the Stones’ “Honky Tonk Women.” Early in 1970, Minit was absorbed by Liberty. Now free of his contract and in a strong bargaining position, Ike negotiated a highly lucrative, 5-year contract with the label. The first Liberty release was a timely reworking of Sly Stone’s “I Want to Take You Higher.” Instead of mimicking the original’s high-steppin’ urban funk, Ike and Tina added R&B horns and a wah-wah Clavinet, transforming it into Louisiana snake music. The duo’s audacity in pulling off a Sly cover was rewarded with a chart showing three notches higher than Sly’s competing original.
The machine was now in high gear. The Revue’s nightly fee jumped from $950 to $5000. Instead of dirt-floor roadhouses, the act headlined at colleges, in Hawaii, Japan, and Hong Kong, as well as the usual Vegas casinos. The Revue appeared on Ed Sullivan and Andy Williams TV shows, even briefly in a Milos Forman film (“Taking Off”). Meanwhile, Liberty followed up with “Workin’ Together,” a funky peace, love, and brotherhood anthem. It was a strong thematic departure for Ike and Tina, and one for which the record-buying masses were, apparently, unprepared. The setback was only temporary. On a swing through Florida, Ike booked time at a local studio to lay down a cover tune which had been a highlight of the live show for two years.
“Proud Mary,” the result of that session, remains the group’s crowning vinyl achievement. Beginning slowly (or, quoting Tina, “we’re gonna take the beginning of this song and doit - easy”), “Proud Mary” eventually lit the afterburners and left rubber. To this day, “Proud Mary’s” pounding drums and careening tempo conjure up the most vivid mental images of absolute, on-stage mayhem ever created by 7 inches of vinyl. “Proud Mary” was Ike and Tina’s first U.S. top 10 hit and their first million-selling single; it also led to Tina’s first Grammy Award (for Best R&B Vocal Performance).
On the flip of “Proud Mary” was “Funkier Than A Mosquita’s Tweeter,” a hot track which itself became a dance-floor hit in New York clubs. The sassy lyrics, written by Tina’s sister Aillene Bullock, sound for all the world like a personal attack against her brother-in-law. Ike, proud of his badass reputation, probably took them as a compliment.
‘71 was a high water year for the Ike and Tina steamroller. Liberty was betting the bank on record promotion, while the Revue hopscotched across the continent on a frantic tour of one~nighters (says trombonist Burks, “We’d do one night in California, the next in Alaska, and the third in Texas”). The entire Turner entourage flew to Ghana to participate in a special all-star concert known (and released on film) as “Soul to Soul.”
Meanwhile, UA had decided to close down Liberty, moving selected artists over to the parent label. UA’s first Ike and Tina release, “Ooh Poo Pah Doo,” was a satisfying, B.B. King-goes-to-New-Orleans rendition of Jessie Hill’s nonsense tune. A Revue standard, it was laid down to tape in no time flat, no small consideration in light of the hourly ransoms being levied by L.A.’s studios. These hurried, expensive sessions would soon be a thing of the past.
In the late summer of 1971, Ike cut the ribbon on Bolic Sound, his very own state-of-the-art recording studio. It was the realization of a long-standing ambition. All subsequent Ike and Tina material would emanate from Bolic.
Opening the doors to Bolic did not unleash the flood of creativity Ike had anticipated. Indeed, one of the first sessions at the new facility was written out of house and sloppily produced. “I’m Yours (Use Me Anyway You Wanna)” was a decent enough tune, but the Revue’s rhythm section could barely keep it together, and the ersatz-Sly horns sounded loose and ragged.
No tears were shed for the poor chart performance of “I’m Yours,” for at the time of its release, Ike and Tina were enjoying their first smash LP success. “What You Hear Is What You Get” (UA 9953), a double live set recorded at Carnegie Hall, became the group’s first gold LP, selling over a half million copies in the U.S.
The follow-up LP, “Nuff Said” (UA 5530), didn’t fare even half as well. Its issuance marked the end of the Kings of Rhythm, who, according to the liner notes, would now be known as the Family Vibes.
December of 1971. Ike was busy tracking their next single, “Up In Heah.” It would be the first track to be written by Tina Turner. (Edward Burks explained how Tina “wrote” her songs: “It was always lke’s music. Ike would get a musical idea, put together a two-track and sent it home. Tina put words on it.”) With lke’s guitar on maximum fuzz, “Up in Heah” laid gospel shouts atop a countrified instrumental track. It was an interesting, if not entirely successful, musical experiment.
As far as recordings were concerned, 1972-mid 1973 was as big a bust as ‘71 was a boom. Several singles (including versions ol" “With a Little Help From My Friends” and “Born Free”) and two albums went pretty much nowhere.
The jinx was broken in September with the success (both here and abroad) of “Nutbush City Limits.” Again written by Tina (Ike had obviously depleted his limited lyrical bag of tricks), this autobiographical sketch cooked from start to finish. With its sophisticated arrangement and much-improved production values, “Nutbush” proved that Ike was at last getting a handle on his 24-track studio. Too little too late, it would be the duo’s final top 30 hit.
“Sweet Rhode Island Red” was another life story, this one about a mulatto ftom Franklin, Louisiana. Sounding great, and obviously tailored after “Nutbush City Limits,” it was the right track at the wrong time. The funky, down-homeness of “Rhode Island Red” was oddly out of step with 1974’s nouveau sophistication of music and lifestyles. As Tina would later say about Ike, “He never changed his show and he never changed his style.”

The well-documented tension between Ike and Tina was rapidly building to a head. With workaholic Ike holed up in Bolic at all hours, and Tina muttering Buddhist chants to maintain her sanity, the phone call fiom Robert Stigwood was a lucky bolt from the blue. Stigwood asked Tina to play the role of the Acid Queen in Ken Russell’s film version of “Tommy.” Within weeks, she was on set in London.
On her return, “Sexy Ida, Part 1 & 2” was released. It was yet another Tina Turner composition, this time in the mold of “Honky Tonk Women.” Ike and Tina’s honky-tonk raunch seemed almost quaint in the context of such then-popular soul / pop crossovers acts as Barry VVhite, Roberta Flack, and Stevie Wonder. Without a working relationship, and without hits, the end loomed on the horizon.
Peaking at #88 in mid-1975, “Baby-Get It On” would be Ike and Tina’s swan song as a duo. “Baby-Get It On” is noteworthy in that it’s one of the few Ike and Tina records on which Ike actually sings a lead part. And although the cut establishes its groove, Tina appears at this point to be doing a half-hearted impression of her earlier, powerhouse self.
In the final cut of this collection, “Acid Queen,” we witness Tina in that difficult transition phase between hot roadhouse mama and pop / rock chanteuse. Bogged down by cluttered production, Tina does her best to breathe fire into this Pete Townshend composition. The “Acid Queen” LP, Tina’s first solo shot, featured such rock staples as “I Can See For Miles” and “Whole Lotta Love.” VVhile Tina’s head was in the right place, it would be several years before she could get a firm grip on the nuts and bolts of rock.
Less than a year later, Tina left Ike for good. She pulled the plug by disappearing minutes before a Fourth of July show at the Dallas Hilton. “I was there at the very end,” said Edward Burks. “I got the band up on stage, and someone kept telling me ‘Don’t start!,’ and I said we gotta start - if you don’t start you don’t get paid. It was uncomfortable and embarrassing, and there was a lotta hurt when I found out what had happened. To my knowledge we hadn’t had any incidents like that in about 4 years, where they got that upset at each other. Still, we thought she’d come back. The next week we were at the airport, going someplace for another show, I can’t remember where. But we waited at the front of the airport until Ike showed up. One of the road guys came by and said ‘hey you guys, just go on home, we’re not gonna do anything’ That was it, I decided I’d better start looking for a job.”

For better or for worse, the remainder of the Ike and Tina story is a matter of public record.
The Ike and Tina Turner Revue lived, relatively unchanged, a decade and a half. In some respects, the Ike and Tina Turner Revue was the American spirit incarnate: immediate, unpretentious, undignified, and tremendously exciting. In others, it was simply two people who came together and then came apart.
Thanks, Ike. Thanks, Tina. And thanks to all the countless unnamed Kings of Rhythm, Ikettes, and engineers who helped create this recorded legacy.
You have to agree. IkeandTina. It’d make one helluva movie.

- Al Quaglieri


Ike & Tina Turner - Finger Poppin' - Sampler

Finger Poppin'


Ike & Tina Turner - The Best of Ike and Tina - Proud Mary - Sampler

The Best of Ike and Tina


Ike & Tina Turner - Philadelphia Freedom - Sampler

Philadelphia Freedom