Robert Christgau: Dean of American Rock Critics

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Ike & Tina Turner

  • River Deep--Mountain High [A&M, 1969] A-
  • Her Man . . . His Woman [Capitol, 1970] C
  • Workin' Together [Liberty, 1970] B
  • What You Hear Is What You Get [United Artists, 1971] B+
  • Nuff Said [United Artists, 1971] C+
  • Feel Good [United Artists, 1972] B-
  • Nutbush City Limits [United Artists, 1973] B+
  • Greatest Hits [United Artists, 1976] A-
  • Proud Mary--The Best of Ike and Tina Turner [Sue, 1991] A-

See Also:

Consumer Guide Reviews:

River Deep--Mountain High [A&M, 1969]
Since I have been known to make grumbling noises about Ike and Tina Turner albums and Phil Spector albums, I thought I ought to exempt this one, which is both. Much of it is in a class with the title cut, though not up to it. The problem insofar as there is one, is that that kind of intensity can't sustain itself for the length of an album. A-

Her Man . . . His Woman [Capitol, 1970]
Elevated by the Rolling Stones into mythic status among white people, the Turners are now haunted by their profligate recording habits--Capitol is the tenth label to release an I&TT LP in the past two years. Granted, most and maybe all of them are better than this, a humdrum blues runthrough (with big-band horns and fake-symph strings) on which Ike claims authorship of such works as "Dust My Broom" (here yclept "I Believe") and "Ten Long Years" (here yclept "Five Long Years"). Apparently it was cut some years ago for Cenco (?) Records. The Turners are currently contracted to Liberty, have authorized product out on A&M and Blue Thumb, and caveat emptor. C

Workin' Together [Liberty, 1970]
There's a pretty fair remake of "Ooh Poo Pah Doo" in between the two great cuts on this album--the easy-to-rough "Proud Mary" (with Ike rolling in back) and their first successful "peace and love" "generation" song, appropriately entitled "Funkier Than a Mosquita's Tweeter." Someone named Eki Renrut contributes a pretty fair do-right-man song. And Tina tries valiantly to sing her way out of some gunny sacks. B

What You Hear Is What You Get [United Artists, 1971]
Those who regard Tina as Aretha with good legs should listen to her rasp through "I've Been Loving You Too Long" and "Respect" for the finale of this live-at-Carnegie double--her true grit isn't good for much power or warmth. But she and Ike really put their increasingly unfashionable rough-and-greasy notion of soul out there, and despite the speeches, backup singers, and guitar demonstrations a lot of their show is captured in disc. The band crackles, Tina is more intense than in the studio versions, and Ike provides basso humoroso commentary. And not only that but they eat each other! Right on the stage! B+

Nuff Said [United Artists, 1971]
The title tune is performed by the Family Vibs, formerly Ike & Tina's Kings of Rhythm, formerly Ike Turner's Kings of Rhythm. They deserve the honor. Here Tina's screeching becomes painful, not because it's rough but because it's out of tune. As for Ike, he's out of tunes. C+

Feel Good [United Artists, 1972]
In which Tina finds her more-than-match in all-night bikers, gentle pimps, and other wonders of nature--what, no strong-but-silent bandleaders? And then demonstrates that equality is more than Writing Your Own Songs. B-

Nutbush City Limits [United Artists, 1973]
Tina hasn't regained her voice, which makes this recovery a certain rather than a likely fluke, but I find happy accidents in every cut except maybe "Drift Away." Highlights include the nutball title hit, a stripped-down "River Deep, Mountain High," a tribute to East St. Louis's "Club Manhattan," and "That's My Purpose," keyed to a line I happen to be a sucker for: "Let your face be the last I see." B+

Greatest Hits [United Artists, 1976]
I prefer Come Together, which this duplicates only on the title cut, but I like the way the sides are split between rock and soul/r&b here. Best moments: the Ikettes harmonizing on "A Fool in Love" and Ike and Tina slurping on "I've Been Loving You Too Long." A-

Proud Mary--The Best of Ike and Tina Turner [Sue, 1991]
Seven early-'60s hits, two or three of them classic, constitute their authentic stage. Then there's a hiatus when they record for at least four other labels (cf. Tomato's typically patchy Great Rhythm & Blues Sessions quote unquote). Then there are Beatles, Stones, and Sly covers, followed by Eki Renrut's "Workin' Together," followed by the Creedence cover that breaks them pop. After which they return to authenticity at a higher (that is, less authentic) level of consciousness, like "Funkier Than a Mosquita's Tweeter" and their second-biggest pop record, "Nutbush City Limits," which reached number 22. Excellent stuff in general, don't get me wrong. But legendary? This woman really knew how to show off her legs. A-