Those Were The Days is a sampler with many previously unreleased versions of originally released songs from the album Delilah’s PowerThe Gospel According To Ike & Tina and Tina’s solo album Good Hearted Woman. It includes also with „Rescue Me“ one unreleased track from The Ikettes. The booklet contains extensive liner notes and all pictures were photographed by Norman Seeff. Many of the songs were also released on different titled records worldwide.

The album was produced by Ike & Tina’s former manager Gerhard Augustin and was released in 1991 from BELL Records in Europe on compact disc. It is also part of the 2 CD set „Fantastic! Their Greatest Hits“ together with the sampler Good Old Times, which was also released from BELL Records in 1991.

Ike & Tina Turner - Those Were The Days - Sampler

CD (Europe) - Front Cover

1. Sugar, Sugar (Reworked) 2:40

Written by J. Berry, A. Kim / Originally released on the album "Delilah’s Power"

2. Never Been To Spain (Reworked) 3:03

Written by H. Axton / Originally released on the album "Delilah’s Power"

3. Too Much Man For One Woman (Reworked) 3:02

Written by Tina Turner / Originally released on the album "Delilah’s Power"

4. Stormy Weather (Reworked) 2:41

Written by T. Koehler, H. Arlon / Originally released on the album "Delilah’s Power"

5. (You’ve Got To) Put Something Into It (Reworked) 2:38

Written by Tina Turner / Originally released on the album "Delilah’s Power"

6. Trying To Find My Mind (Reworked) 2:51

Written by Tina Turner / Originally released on the album "Delilah’s Power"

7. I Want To Take You Higher (Reworked) 3:43

Written by Sylvester Stewart / Originally released on the album "Delilah’s Power"

8. A Fool In Love (Alternate Version) 3:06

Written by Ike Turner / Previously unreleased version / Originally released on the album "The Soul of Ike & Tina"

9. I Idolize You (Alternate Version) 3:28

Written by Ike Turner / Previously unreleased version / Originally released on the album "The Soul of Ike & Tina"

10. Poor Fool (Alternate Version) 2:58

Written by Ike Turner / Previously unreleased version / Originally released on the album "Dynamite"

11. Lay It Down (Reworked) 3:39

Written by G. Thomas / Previously unreleased version / Originally released on the album "Good Hearted Woman"

12. Freedom To Stay (Alternate Version) 3:02

Written by W. Hoover / Previously unreleased version / Originally released on the album "Good Hearted Woman"

13. Lovin’ Him Was Easier (Reworked) 4:20

Written by K. Kristofferson / Previously unreleased version / Originally released on the album "Good Hearted Woman"

14. Rescue Me 2:47

Written: F. Bass, J. Cheeks / Previously unreleased track with lead vocals from the 'Ikette‘ Judy Cheeks

15. Father Alone (Alternate Version) 4:08

Traditional / Previously unreleased version with lead vocals from Ike Turner / Originally released on the album "The Gospel According to Ike & Tina"

16. What A Friend We Have In Jesus (Reworked) 2:49

Traditional / Previously unreleased version / Originally released on the album "The Gospel According to Ike & Tina"

17. When The Saints Go Marching In (Alternate Version) 2:30

Traditional / Previously unreleased version with lead vocals from Ike Turner / Originally released on the album "The Gospel According to Ike & Tina"

18. Nearer The Cross (Reworked) 2:26

Traditional / Previously unreleased version / Originally released on the album "The Gospel According to Ike & Tina"

19. Nutbush City Limits (Reworked) 2:57

Written by Tina Turner / Previously unreleased version / Originally released on the album "Nutbush City Limits"

Ike Turner: Vocals, Keyboards, Guitars
Tina Turner: Vocals
Joe Kelly: Guitar
Robert Wilson: Bass
Charles Wilson: Keyboards
Soko Richardson: Drums
lke Turner junior: Keyboards, Guitars
Ronnie Turner: Bass
Michael Turner: Guitars
Rick Kellis: Horn
Ronnie Willson: Horn
The lkettes: Background Vocals
All songs arranged an engineered by Ike Turner
Produced by Gerhard Augustin
Recorded in Los Angeles, USA, Bolic Sound Studios, 1968 / 1974
CD Mastering: TACET Musikproduktion
Coverdesign: STUDIO 23
Photo: Norman Seeff
Licensed to BELL Records by Gerhard Augustin


I got to know Ike & Tina Turner after a concert which took place in 1968 in Fillmore West in San Francisco. As a fan I Managed to get backstage in order to express my enthusiasm to the two of them for their tremendous show. A short time later I already had business contacts with Ike & Tina Turner: In Los Angeles I got a job with the record firm United Artists in 1969. My job was to mediate between the company and its artists. Thus I also had personal contact to the Turners. I have been round the world with them twice, and as their general manager I was able to follow their career at first hand in the early 1970’.

Ike was often unpredictable in his actions and reactions, whereas Tina lost her composure only very seldom, even at the most difficult times. For the band and all other colleagues she was something like the stable centre of a great storm. She respected Ike, but in the last years they were together her love and affection gradually turned to hate. One noticed that her wings had been clipped and that she was like a bird in a cage, waiting for the day when the door would be opened, even if it were only a tiny bit. In 1975 the moment came - and Tina fled into the unknown. At the time she was already convinced that she would one day conquer the world, although quite alone. Today she has the world at her feet.

The recordings on this dsc originate from the good old days when Ike & Tina Turner were still together and were considered to be the most exciting pop duo in the world. At the time they played the finest and wildest rock ’n' roll - live on the stage as well as in their famous Bolic Sound Studios in Los Angeles. It was in these studios that all the recordings on this disc were made in the late 1960’s and early 1970’s.

One of them was the title "Nutbush City Limits": That was in 1972. Ike had often attempted to combine a soul number with elements of rock ’n' roll, but nothing useful came out of it. Then he produced The 'Nutbush' track, thought at first without vocals. When Tina heard it, she cried, "Oh, That sounds just like 'Nutbush, Nutbush!' I’ll simply write about the place I grew up in.“

I remember how she sat in the studio and sang the first line again and again. The same evening she had already finished the whole text. It was all about her home town Nutbush in Tennessee; for the first time she sang a song about herself, about her own life. Tina returned to her roots with this song and gained strength from the memory again and again. Because of the increasing difficulties with Ike this was very important to her. And "Nutbush City Limits" became Ike and Tina’s greatest international hit. During the divorce proceedings later on this was a not unimportant factor, particularly since the number had earned several million dollars in the course of time. Cover versions by Bob Seger and many other musicians brought in any amount of royalities. "Nutbush City Limits" is today a standard title which has been recorded again and again and which therefore guarantees publishers, composeres and authors a pension for life. It is a song which brings in 70,000 to 100,000 dollars per year. 

This song is to be found here in a version which has not been published up till now and which can stand up to any comparison - as the crowning glory of a collection of rarities, the individual components of which have not lost any of their attractiveness.

There are other pearls of soul in this collection too - among them classics such as "I Want To Take You Higher" by Sly Stone and "Stormy Weather" by Ray Charles. It is true that some of these pieces are known in other versions by Ike & Tina Turner - but they have never been heard like this before. At the time Ike had everthing under complete control, and thus it is his magic touch which dominates in many compositions. But Tina is nearly always in the foreground. Thus she proves her versatility in a pop hit such as "Sugar Sugar" and with a country-coloured ballad such as "Lay It Down" as well as with crossover titles such as Loving Him Was Easier by Kris Kristofferson and Freedom To Stay by Carl Perkins.

In the soul hit "Rescue Me", however, in the original by Fontella Bass, Tina hands over the microphone to her colleague Judy Cheeks, who substituted during the European tour for her inisposed colleague Yolanda Goodwin of the Ikettes. And twice Ike sings himself: in the traditional numbers "When The Saints" and "Father Alone". But it is not only these two titles which show that Ike possessed unfailing taste as arranger and musical director of the Ike & Tina Turner Revue as far as style was concerned. The collection closes with "Nutbush City Limits", a song which was and still is one of Tina’s most brilliant numbers.

I had the honour and pleasure of working with Ike & Tina Turner in those good ald days as producer and thus was able to experience at first hand their most fruitful artistic phase. I have very happy memories of some of the loveliest moments of my life which I experienced during this period of co-operation. And I am proud to be allowed to present this testimonal of the "good old days" of Ike & Tina Turner: Ladies and gentlemen, those were the days!

Gerhard Augustin


In the late 1960’s and early 1970’s Ike & Tina Turner were regarded as the epitome of the successful rock couple. With hits such as "River Deep, Mountain High", "Proud Mary" or "Nutbush City Limits" they had achieved something many black musicians could for decades only dream of: They had managed to cross over from the rhythm & blues scene to the white rock market; they appealed to an audience of millions all over the world, for whom barries of race, which had always applied particularly in the American music business, no longer had any meaning. They represented a new, strengthened self-confidence which made itself felt above all in the exciting shows of the "Ike & Tina Turner Revue".

At that time Ike still had everything under perfect control. For example, he introduced a fixed penalty code which was intended to guarantee discipline when the troup was on tour. Often the members of the band returned home after an extended concert tour with no a penny in their pockets, because money had been deducted from their fee on account of some rificulous violations of these "band rules". The minimum fine was 50 dollars; whoever contradicted Ike or Tina Turner in public had to fork out 100 dollars. The list of regulations was seven pages long. It contained paragraphs applying to almost every possible situation. For example: "Your appearance must always be clean and smart. This means that hair must be combed, shoes cleaned, clothes ironed. For the girls this means: Your make-up must be smart, finger-nails neatly varnished etc". For the singers in the Ikettes additional regulations applied such as: "Before going on stage you must observe feminine hygiene; with water, soap and hygiene spray". Lastly, it was expressly forbidden to question any of these regulations. Anyone daring to do so ran the risk of being fired on the spot. Even if this catalogue of penalties, which every member of the band had to sign, seems ridiculous today, it did in fact fulfil a purpose: It guaranteed that the concerts would take place in an orderly fashion. However, it could provide no substitute for the good relationship between Ike and Tina, which with increasing success was crumbling more and more.

The fact that they had already been going through a crisis for a long time behind the scenes when they were at the climax of their career was not made public until much later - after Tina had separated from Ike and after several hard years full of privations had made her magnificent comeback in the 1980’s. And in her autobiography "I, Tina", which was published in 1986, she ded not mince matters in illuminating the dark sides of her past life with Ike Turner.

But however unpleasant their past life together had been - together they had written several important chapters in the history of pop music. And this was due not only to Tina Turner’s overwhelming personality, but just as much to Ike’s musical ability and unfailing creative flair, in that he wrote arrangements tailored perfectly to the electrical personality of his wife.

Thus the 19 recordings on this disc - like the 15 titles on the CD GOOD OLD TIMES (Bell BLR 84 701) - document a piece of pop music history, a chapter all the more effective because it has been over for a long time. Those were glorious times!

Manfred Gillig-Degrave
(Translation by Diana Loos)


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