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Joey wrote:



Ouch !!!!!

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steel driving hammer wrote:
Anyone know if he went to Hell or Heaven?

Thanks.

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polytoxic wrote:



Through a psychic we've contacted the great beyond. Apparently he is in Purgatory. Ike says he's stuck posting on a Zep vs.Stones thread for next 500 years.

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Water Dragon wrote:
Pinetop, only last year in 2006, was a better performer than Ike could have ever hoped to be.

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steel driving hammer wrote:
Anyone know if he went to Hell or Heaven?

Thanks.

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Left Shoe Shuffle wrote:
Obit headline in today's NY Post - Ike 'Beats' Tina To Death

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Nasty Habits wrote:


The answer to this question, and many others, on tonight's Replacement Party.

Two hours of Ike. 9 -11 pm est

http://www.wpvm.org

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Ike Turner's music shouldn't be forgotten


The pop world remembers Ike and Tina Turner best for their transcendent fusion of mainstream rock songwriting and Southern soul on hits such as "Come Together" and "Proud Mary."

His huge contributions shouldn't be forgotten, despite his history of abuse.

By Elijah Wald, Special to The Times
December 14, 2007

THE last time I saw Ike Turner he had just turned 70, but he looked great, played piano and guitar with phenomenal power, and took his listeners from Delta blues through classic R&B, rock 'n' roll and the golden age of soul.

Turner not only knew all of that music first-hand, he helped invent a lot of it. He grew up in the Mississippi Delta and got his first hit in 1951, when at age 19 he brought his Kings of Rhythm to Sam Phillips' Memphis Recording Service (soon to become Sun Records) and cut "Rocket 88." A rollicking blues driven by his jet-propelled piano, it had a fresh, new rhythm and energy and today is widely considered the first rock 'n' roll record.

Meanwhile, Turner was learning his trade, scouting talent for Phillips and playing on the early recordings of blues legends, including Howlin' Wolf, Bobby Blue Bland and B.B. King, who would later call him "the best bandleader I've ever seen."

In 1956, Turner moved to St. Louis, and in 1960 he had his next breakthrough, writing, arranging and playing on one of the defining masterpieces of early soul. "A Fool In Love" featured a young woman named Anna Mae Bullock, whom he renamed Tina, and the combination of her fiery lead vocal and his churning, gospel-inflected backing chart helped form the template for an era.

The pop world remembers Ike and Tina Turner best for their transcendent fusion of mainstream rock songwriting and Southern soul on hits such as "Come Together" and "Proud Mary."

But they made their defining mark in 1961-62, when they topped the R&B charts and crossed over to a young white audience with the raw gospel-blues of "It's Gonna Work Out Fine" and "I'm Blue (The Gong-Gong Song)" and other tracks. Between those discs, Ike also made one of the great twangy guitar instrumentals, "Prancing," but the vocal discs were so hot that this almost counts as an afterthought.

Given that history, it is disturbing that most of Turner's early obituaries are giving as much space to his abuse of Tina as to his and their music. Just as Turner, Chuck Berry and James Brown all went to prison for crimes for which comparable white stars have been punished with slaps on the wrist, it is hard to imagine an equally important white musician receiving similar deathbed testimonials.

Most modern pop fans probably wouldn't know Ike's name if he hadn't discovered, developed and showcased Tina, so his treatment of her is necessarily part of his story. But by the same token, the reason we care so much about that treatment is that Tina is a superstar -- that is, in a world where other abusive male stars treated women as groupies and playthings, Ike also had the vision to recognize and musically nurture one of rock's few true female icons.

And more than 30 years after Tina went on to a solo career, he was still working the clubs and playing some of the finest music around. Whatever Ike Turner's sins, music was always at the center of his life, and when all the rest is forgotten, that will remain.

Elijah Wald is a musician and writer whose books include "Escaping the Delta: Robert Johnson and the Invention of the Blues."

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Ike Turner: reviled and revered

The singer-bandleader's life could almost be defined as 'Rivers Deep and Mountains High.'

By Ann Powers, Los Angeles Times Staff Writer
December 14, 2007

CULTURAL icons can't choose what they come to represent. Ike Turner was an icon; that was his burden and his punishment. Loving him was not a possibility for many who discovered his genius after his repellent secrets had been revealed. Appreciating him requires coming to terms with the double bind of rock and soul-era sexuality, a liberating force underpinned by racism, female objectification and machismo.

For the first half of his life, Turner was known as one of rock 'n' roll's inventors -- a dazzling pianist, raucous guitarist and ingenious showman whose songs pushed the blues into a new era. Then, in 1986, his ex-wife and musical partner, Tina Turner, published her autobiography, which recounted his mistreatment of her in horrifying detail. The book and its 1993 film version became key to feminist reassessments of rock and soul, and central to the growing literature of abuse survivors.

Tina, once stuck within an image of primal sensuality, was reborn as a self-possessed heroine. Ike sank further into obscurity. He was in prison in 1991 when the pair were inducted into the Rock and Roll Hall of Fame. Over the subsequent decade, though he kicked the drug habit that apparently fueled his volatile temper, his image just got worse.

Then came the comeback. After 2001, when Turner returned to the stage and made the Grammy-nominated "Here and Now," he became a symbol of something else: the maligned rock hero. A victimizer, yes, but also a victim of those who'd privilege personal stories over musical ones. Turner's strong later albums and performances gave credence to his rehabilitation. The critical reassessments that followed refocused fans on his role as a musical groundbreaker.

Turner's return was also part of a swing of the pop pendulum, away from the questions about power and freedom raised by revisionists like Tina herself and toward a less "uptight" view of both music and sexuality. New looks at figures like Turner (or Led Zeppelin, to cite another example) acknowledged these artists' troubling qualities but demanded that the magic of their music not be denied.

The thing is, the magic and the troubling stuff can't be separated. Ike Turner's fierceness was rooted in brutality: a childhood that included witnessing his father's lynching and an adulthood as part of a "hard" music culture in which male leaders whipped their bands into shape and might also slap their wives around. The same cycle of pain and survival informs today's hyper-macho hip-hop artists, some of whom emulate Turner's icy-suave style.

I saw Turner twice during the comeback years. He didn't seem like an evil icon; more like a time-tempered, if unrepentant, old man. His music was joyful -- part escape from the hard world, part confident confrontation. But the dynamism of his act still relied on the tension between female heat and male swagger, a conflict at the root of some powerful notions of sexiness and also some forms of abuse.

Ike Turner's music taught us much. So did his sins. We should remember both.

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mac_daddy wrote:

great setlist - thx.

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nanatod wrote:


I respectfully dissent. Over the years I have seen a number of Pinetop performances at the Chicago Blues Festival and elsewhere, and I was at the two Ike performances at the Chicago Blues Festival.

There was nothing like the electricity Ike generated in those two performances.

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steel driving hammer wrote:
Anyone know if he went to Hell or Heaven?

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robpop wrote:
Any news on Castro?

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mac_daddy wrote:
wowza! many, many thanks, dj nasty, for making that mp3 available. what a great way to spend two hours. lots of thoughts, but i need to listen once more to get it all down...

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polytoxic wrote:
Funny how a movie made 20+ years ago that most people haven't seen settles a man's life in everyone's minds.

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He was a genius musician, he was a father of rock'n'roll, and before he lost it and everything went to hell he and Tina made amazing, sympathetic music together.

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VoodooChileInWOnderl wrote:

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east_river_trucker wrote:

I'm suprised nobody mentioned the spine tingling performance from Ike and Tina on Gimme Shelter - the performance that makes the Stones look like a bunch of Limey imitators in cardigan sweaters.

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