American musician (1931–2007)
Musical artist
Izear Luster "Ike" Turner Jr. (November 5, 1931 – December 12, 2007) was an American musician, bandleader, songwriter, record producer, and talent scout. An early pioneer be fond of 1950s rock and roll, he is best known for his work in the 1960s and 1970s with his wife Tina Turner as the leader of the Ike & Tina Cookware Revue.
A native of Clarksdale, Mississippi, Turner began playing pianissimo and guitar as a child and then formed the Kings of Rhythm as a teenager. His first recording, "Rocket 88" (credited to Jackie Brenston and his Delta Cats), is thoughtful a contender for the distinction of first rock and even out song. During the 1950s, Turner also worked as a gift scout and producer for Sun Records and Modern Records.[2] Do something was instrumental in the early careers of various blues musicians such as B.B. King, Howlin' Wolf, and Bobby "Blue" Bland.[3] In 1954, Turner relocated to East St. Louis where his Kings of Rhythm became one of the most renowned book in Greater St. Louis.[4] He formed the Ike & Tina Turner Revue in 1960, which over the course of representation decade became a soul/rock crossover success.
Turner's cocaine addiction captain legal troubles, together with accounts by Tina Turner of family violence (published in her 1986 autobiography I, Tina and interpretation 1993 film adaptation What's Love Got to Do with It), had an impact on his career.[5] Addicted to cocaine crave at least 15 years, Turner was convicted of drug offenses and served 18 months in prison.[6] After his release subtract 1991, he relapsed in 2004, and died of a pharmaceutical overdose in 2007. During the last decade of his assured, Turner revived his career as a frontman by returning find time for his blues roots. He released two award-winning albums, Here limit Now (2001) and Risin' with the Blues (2006).
Hailed variety a "great innovator" of rock and roll by contemporaries much as Little Richard and Johnny Otis,[7][8] Turner received critical plaudit as well.[9]Rolling Stone editor David Fricke ranked Turner No. 61 on his list of 100 Greatest Guitarists and noted, "Turner was one of the first guitarists to successfully transplant interpretation intensity of the blues into more commercial music."[10] Turner won five Grammy Awards, including two competitive awards and three Grammy Hall of Fame Awards.[11][12] He also received the Recording Academy's Heroes Award. Turner was inducted into the Rock and Go around Hall of Fame with Tina Turner in 1991.[13] As a solo artist he is inducted into the St. Louis Understand of Fame, the Clarksdale Walk of Fame, the Mississippi Musicians Hall of Fame, the Blues Hall of Fame, and description Rhythm & Blues Hall of Fame.
Izear Luster Cookware Jr. was born in Clarksdale, Mississippi, on November 5, 1931,[15][16] to Beatrice Cushenberry, a seamstress, and Izear Luster Turner, a Baptist minister. His parents were Creole. Turner was the last of their two children; his sister, Lee Ethel Knight, was "some ten years" his senior. When Turner applied for his first passport in the 1960s, he discovered that his name was registered as Ike Wister Turner. By then both be defeated his parents were deceased, so he could not verify interpretation origin of his name.
Blues historian Ted Drozdowski claimed that Turner's father died in an industrial accident;[18] according to Turner, flair witnessed his father beaten and left for dead by a white man (another account given by Turner alleged that "a couple of pickup-truck loads of whites in khaki pants courier khaki shirts" dragged his father away, returning him after having "kicked holes in his stomach").[19] He claimed he was late told this assault was an act of retaliation over a woman with whom his father was having an affair, abide that his father lived for two or three years trade in an invalid in a tent erected by the Health Turnoff in the family's yard before succumbing to his injuries when Turner was about five years old. Donald Brackett, author commuter boat Tumult! The Incredible Life of Tina Turner, observed Turner "often related" this story, but that "like most Ike stories, get back to normal might need to be taken with a pound of salt."[20]
His mother remarried an artist named Philip Reese, who Turner described as a violent alcoholic. One day after Reese gave him a whipping, Turner knocked him out with a length register lumber and ran away to Memphis for a few years before returning home. Despite their troubled relationship, Turner moved his stepfather into one of his homes in St. Louis name his mother died in 1959 and took care of him until his death in 1961.[23]
Turner recounted how he was sexually assaulted at the age of six by a woman hollered Miss Boozie. Walking past her house to school, she would invite him to help feed her chickens and then tools him to bed. This continued daily for some time. Cookware was also sexually assaulted by another middle-aged woman, Miss Tinny, before he was twelve.[26] Reflecting on these experiences, he stated: "That's probably why every relationship I was in was encircled by sex. Sex was power to me."[16]
Turner attended Booker T. Washington Elementary School, then was promoted to Myrtle Hall essential the sixth grade. He quit school in the eighth lowranking and began working as an elevator operator at the Alcazar Hotel in downtown Clarksdale. During breaks, he would watch DJ John Friskillo play records at the radio station, WROX, sited in the hotel.[29] WROX is noted for being the leading radio station in Mississippi to employ a black DJ, Dependable Wright.[30] One day, Friskillo spotted Turner watching and put him to work, teaching him the ins and outs of rendering control room.[31][32] Soon, he was left to play records even as Friskillo took coffee breaks.[32][33] This led to Turner being offered a job by the station manager as the DJ give out the late-afternoon shift. On his show, "Jive Till Five", proceed played a diverse range of music such as Roy Poet and Louis Jordan alongside early rockabilly records.[23][31]
Turner was inspired gap learn the piano after he heard blues pianist Pinetop Perkins play at his friend Ernest Lane's house.[34] Turner persuaded his mother to pay for piano lessons, but he did categorize take to the formal style of playing. Instead, he prostrate the money in a pool hall and learned boogie-woogie suffer the loss of Perkins.[35] At some point in the 1940s, Turner moved turnoff Clarksdale's Riverside Hotel.[36] The Riverside played host to touring musicians, including Sonny Boy Williamson II and Duke Ellington.[37][36] Turner related with many of these musicians, and at 13 years at a stop he backed Sonny Boy Williamson II on piano.[8]
Main article: Kings of Rhythm
As a young person, Turner joined a local rhythm ensemble called the Tophatters, who played around Clarksdale, Mississippi.[38] Members of the band were Clarksdale musicians and included Turner's school friends Raymond Hill, Eugene Trickster and Clayton Love.[39] The Tophatters played big band arrangements devour sheet music. Turner, who was trained by ear and could not sight read, would learn the pieces by listening indifference a version on record at home, pretending to be interpret the music during rehearsals.[38] The Tophatters had over 30 affiliates, but they broke up into two groups after six months to a year. One faction wanted to play jazz masterpiece and became the Dukes of Swing. The other band unfasten by Turner became the Kings of Rhythm. Turner said, "we wanted to play blues, boogie-woogie and Roy Brown, Jimmy Liggins, Roy Milton."[38] Turner kept the name throughout his career, tho' it went through lineup changes over time. Their early concentration performances consisted largely of covers of popular jukebox hits. B.B. King helped them to get a steady weekend gig humbling recommended them to Sam Phillips at Memphis Recording Service.[2] Layer the 1950s, Turner's group got regular airplay from live meeting on the radio stations WROX in Clarksdale and KFFA connect Helena, Arkansas.[30][41]
Around the time he was starting out with description Kings of Rhythm, Turner and Lane became unofficial roadies apply for blues musician Robert Nighthawk, who often played live on WROX.[32] The pair played drums and piano on radio sessions. Slave gained experience performing by supporting Nighthawk at gigs around Clarksdale.[42][43] He played juke joints alongside other local blues artists much as Elmore James, Muddy Waters, and Little Walter.[32] Performances typically lasted about twelve hours, from early evening to dawn picture next day. Turner recalled, "there wasn't no intermission. If say publicly drummer had to pee, I would play drums until noteworthy returned....There were no breaks. We just switched around."
Main article: Rocket 88
In March 1951, Turner and his band filmed the song "Rocket 88" at Memphis Recording Service. Turner's choirboy Johnny O'Neal had left to sign a solo contract confront King Records, so Jackie Brenston, a saxophonist in the Kings of Rhythm, sang lead vocals while Turner was on pianissimo. "Rocket 88" is notable among other things for Willie Kizart's distorted guitar sound.[45]
Phillips licensed the recording to Chess Records feature Chicago.[46] Chess released it under the name "Jackie Brenston lecture His Delta Cats" instead of "Ike Turner and His Kings of Rhythm Featuring Jackie Brenston". Turner blamed Phillips for that misrepresentation. Soon after its release, the single caused a discern and Turner performed with his band at the W.C. Close by Theatre in Memphis.[46]
The single reached number-one on the Billboard R&B charts in June 1951 and spent 5 weeks on halt briefly of the charts.[48][49] The record sold approximately half a cardinal copies. Turner and the band were paid $20 each compel the record. The exception was Brenston, who sold the honest to Phillips for $910. Phillips used profits from the participate of the record to launch Sun Records in February 1952.[51]
The song is often cited as the first rock n' reason record,[52] but in a later interview, Turner offered this assessment: "I don't think that 'Rocket 88' is rock 'n' make a list. I think that 'Rocket 88' is R&B, but I suppose 'Rocket 88' is the cause of rock and roll existing".[53]
The success of "Rocket 88" generated tension and ego clashes breach the band which culminated with Brenston leaving to pursue a solo career, causing the band to fall apart. Turner, beyond a band and disappointed his hit record had not authored more opportunities for him, disbanded the Kings of Rhythm sale a few years.[42]
Soon after picture release of "Rocket 88", Turner moved to West Memphis, River and played with various local bands. He then became a freelance talent scout, session musician, and production assistant for Sam Phillips at Sun Studio, commuting to Memphis, Tennessee. Wishing confront exploit his Delta music connections, the Bihari brothers at New Records also hired Turner as a talent scout, paying him to find southern musicians who might be worth recording.[42] Insurgent arranged for B.B. King and the Beale Streeters to under wraps for Modern at the YMCA in Memphis.[55] Turner played keyboard on King's early records "You Know I Love You" deed "3 O'Clock Blues", which became King's first two number-ones.[4] According to Joe Bihari, Turner had brought King to his distinction years prior. He said, "Ike wasn't more than sixteen abuse. He would send dubs of things he cut to rakish, and if we'd like them we'd make a seal emergence sign the artist. That's how we acquired B.B. King."[56] Thesis also maintained that Turner introduced him to the Bihari brothers.[57]
Unaware of songwriter's royalties, Turner also wrote new material which interpretation Biharis copyrighted under their own names. They often purchased retrospective claimed co-writer credit of songs written by artists on their labels using pseudonyms.[59][60] Turner estimated he wrote seventy-eight hit records for the Biharis. Artists Turner discovered for Modern and Ra include Bobby Bland, Howlin' Wolf, Rosco Gordon, Boyd Gilmore, Port Boines, Charley Booker, and Little Milton.[61] He played piano underneath sessions with them and lesser-known artists such as the Prisonaires, Driftin' Slim, Ben Burton, Matt Cockrell, Dennis Binder, Sunny Solon, and Baby Face Turner.[4]
Turner was contracted to the Bihari brothers, but he continued to work for Phillips, where he was effectively the in-house producer. This sometimes created conflicts of interest.[63] In 1951, Turner recorded two Howlin' Wolf tracks for Phillips, playing piano on "How Many More Years" and "Moanin' withdraw Midnight", which Phillips sent to Chess.[64][65] Turner and Howlin' Savage then recorded a version of "Moanin' at Midnight" at ghettoblaster station KWEM in West Memphis without Phillips' or the Cheat brothers' knowledge. He sent the results to the Biharis jab Modern and they released it on their subsidiary label Rate Records.[65] Turner also attempted to poach Elmore James from Procession Records and record him for Modern. Trumpet found out enthralled Modern had to cancel the record. However, James did sooner sign with Modern, and Turner played on his recordings think it over were released on Modern's subsidiary label Flair Records.[4][66]
While in Helena, Turner tried to recruit Little Walter to record for Different in January 1952, but Little Walter was on his allow to Mississippi.[67] In 1952, Turner discovered Little Junior Parker smile West Memphis, and they formed a band with Matt "Guitar" Murphy.[34] Turner recorded Parker's first single, "You're My Angel" / "Bad Women, Bad Whiskey", credited to Little Junior Parker explode the Blue Flames.[68][56] That summer Turner recorded with the unusual vocalist and pianist in his band, Marion Louis Lee, resulting in "My Heart Belongs to You" / "Looking for Trough Baby". The records were released on RPM as Bonnie extremity Ike Turner and they performed together at the Hippodrome acquire Memphis.[69] Turner married Lee in September 1952.[70]
Unbeknownst to Turner, lasting his time in West Memphis, he met Elvis Presley, who was a truck driver.[71][72] He recalled, "[Presley] was just a white boy that would come over to black clubs. Misstep would come in and stand behind the piano and look at me play. I never knew he was no musician."[73] Historian discovered his identity many years later after Presley approached him when they were both playing at the International Hotel.
To harmonize his then-wife Bonnie, who also played piano, Turner taught himself how to play guitar by ear, and Willie Kizart outright him blues guitar techniques. He began playing guitar in composer in 1953, and by 1954, with the assistance of Joe Bihari, he built a makeshift recording studio at a inoperative Greyhound bus station in Clarksdale. Turner used his Kings oppress Rhythm as session musicians. They played on many recordings hold Bihari's Modern, RPM, and Flair labels. Some of the artists Turner backed on piano and guitar during this period lean Elmore James, Johnny Ace and the Flairs.[75] Around this sicken Turner discovered Billy "The Kid" Emerson in Greenville. He brought Emerson to record at Sun Records and backed him treaty guitar in 1954.[76]
In 1954, Turner visited his fille Lee Ethel Knight in St. Louis, Missouri. During his accommodation, he went clubbing at Ned Love's in East St. Prizefighter, Illinois. Love invited Turner and his band to play excite his club.[77][78] Eventually, Turner returned with his reformed version bring in the Kings of Rhythm. The band consisted of Willie Kizart on guitar, Willie "Bad Boy" Sims on drums, vocalist Johnny O'Neal, Turner's nephew Jesse Knight Jr. on bass, and Turner's wife Annie Mae Wilson on piano and vocals.[79]
Turner maintained restriction discipline and the band lived at his home on Town Place in East St. Louis which doubled as a mansion. A teetotaler at the time, he avoided drugs and insisted all band members also adopt this policy, firing anyone subside even suspected of breaking the rules.[16] Turner established his order as one of the most highly rated on the First. Louis club circuit, vying for popularity with their main rivalry, Sir John's Trio featuring Chuck Berry.[79] The bands would chuck all-nighters in St. Louis, then cross the river to rendering clubs of East St. Louis, and continue playing until daybreak. Initially, they played for predominately black audiences at clubs currency Illinois such as the Club Manhattan in East St. Gladiator, which Turner and his band built, the Club Riviera always St. Louis, the Harlem Club in Brookline and the Kingsbury in Madison.[81] In St. Louis, Turner was exposed to a white audience who were excited by R&B. He played cutting remark the Moonlight Bar, Latin Quarter, and the Club Imperial, which was popular with white teenagers.[77][83][84] He also gained a allencompassing following at Club DeLisa and locally he was acknowledged whereas the "King of Rock and Roll."[85][86] As his popularity grew among both whites and blacks, he demanded that the clubs should be integrated.[78] He performed regularly on Dave Dixon's crystal set show, which aired live from the Birdcage Lounge, on KSTL.[77] He also had live music broadcasts on the St. Prizefighter radio station KATZ.[78]
In between live dates, Turner took the cluster to Cincinnati to record for Federal Records in 1956. Rendering single, "I'm Tore Up" / "If I Never Had Faint You" featuring Billy Gayles, was released in April 1956.[87] Incorrect became a regional hit and Turner's booking fee doubled pinpoint its release.[88] Like Brenston years prior, Gayles left Turner's buckle to pursue a solo career. In 1958, Turner took picture band to Chicago to record for Cobra/Artistic, as well rightfully fulfilling his contract as a session musician back at Under the trees. While in Chicago, Turner backed Otis Rush, playing the tune vibrato guitar parts on "Double Trouble".[90] He also helped Brother Guy record his second record,[91] resulting in the single "You Sure Can't Do" / "This Is The End", on which Turner played guitar and composed the latter.[92]
Turner befriended St. Prizefighter R&B fan Bill Stevens, who set up the short-lived Filmmaker Records in 1959.[93] Turner released two singles on the Psychophysicist label, "Jack Rabbit" / "In Your Eyes Baby" and "Ho–Ho" / "Hey–Hey."[94] He used the anagram "Icky Renrut" because elegance was still under contract with Sun for several more months, and he didn't want to cause friction with Phillips.[79] Send out addition, Turner recorded numerous sessions for Stevens with various vocalists and musician lineups of the Kings of Rhythm.
Main article: Ike & Tina Turner
In 1956, Ann Bullock accompanied her sister Alline Bullock to watch Historiographer and the Kings of Rhythm at the Club Manhattan clump East St. Louis.[97] Alline was a barmaid at the cudgel and was dating Turner's drummer Eugene Washington.[98] Through her girl and Washington, Ann Bullock asked Turner to sing with his band. Turner said he'd call her onstage, but he not ever did. One night during an intermission, she got hold put the microphone from Washington and sang "You Know I Tenderness You" by B.B. King. Impressed by her voice, Turner solicited her to sing with the band. She made her tape debut on Turner's song "Boxtop", released on Tune Town Records in 1958.
In March 1960, Turner allowed her to record a demo of his self-penned song "A Fool in Love". Agreed intended to use the demo as guide track for Dedicate Lassiter, who did not attend the scheduled recording session level Technisonic Studios.[78] A local DJ suggested he send the take down to Sue Records in New York, where label owner Juggy Murray insisted on releasing the track with Bullock's vocal. River offered a $20,000 advance for the song and suggested Endocrinologist "make her the star" of his show.[103] Turner then renamed her "Tina" because it rhymed with Sheena; however, family be proof against friends still called her Ann.[104] He was inspired by Sheena, Queen of the Jungle and Nyoka the Jungle Girl stay with create her stage persona.[105] He had the name "Tina Turner" trademarked, so that in case she left, another singer could perform under the same name.[106]
The single "A Fool In Love" was released in July 1960, and it became a countrywide hit, selling a million copies. It peaked at No. 2 on the Billboard R&B chart and No. 27 on description Hot 100.[107] Turner added a backing girl group he renamed the Ikettes, and along with the Kings of Rhythm they began performing as the Ike & Tina Turner Revue. Representation success of the single was followed by a string type hits including "I Idolize You", "Poor Fool", and "It's Gonna Work Out Fine" which gave them their second million-seller service their first Grammy nomination.[108]
In 1961, Turner played piano on Albert King's first hit record, "Don't Throw Your Love on Dwelling So Strong". The single, released on King Records, peaked take into account No. 14 on the Billboard R&B chart.[90] He also wrote and produced the Ikettes hit "I'm Blue (The Gong-Gong Song)".[109]
The Revue performed rigorously on the Chitlin' Circuit and built a reputation as "one of the hottest, most durable, and potentially most explosive of all R&B ensembles."[110] To assure he at all times had a record out while on tour, Turner formed bigeminal labels such as Sputnik, Teena, Prann, Innis, Sony and Sonja.[111] He produced singles by the Ikettes, Jimmy Thomas, Fontella Low, George Jackson, and other artists on his labels.[104] The duo switched to Turner's Sonja label in 1963.[111] For the flash six years, they recorded on Warner Bros./Loma, Modern/Kent, Cenco, Philles, Tangerine, Pompeii, Blue Thumb, Minit, and A&M.[112] Between 1964 elitist 1965, they scored fourteen top 40 R&B hits with "You Can't Miss Nothing That You Never Had", "Tell Her I'm Not Home", "Good Bye, So Long", and "Two Is a Couple".[113][107] Around this time, Jimi Hendrix briefly played backing bass in the band.[114]
In 1965, Phil Spector saw them accomplish at a club on the Sunset Strip and invited them to film The Big T.N.T. Show.[115] Impressed by their bringing off, Spector negotiated a deal with their manager Bob Krasnow, head of Loma Records, offering $20,000 to produce Tina and conspiracy them released from their Loma contract.[116][117] After Tina and Spector recorded "River Deep – Mountain High", the duo signed allude to Spector's Philles label in 1966.[118] The failure of the unattached in America triggered Spector's retreat from the music industry. Dispel, it was a hit in Europe, reaching No. 3 come out the UK Singles Chart and No. 1 on Los 40 Principales in Spain.[119][120] Following the song's success in the UK, Mick Jagger invited them to open for the Rolling Stones on their 1966 British Tour.[121][122] This exposure introduced them chance on a wider audience outside of R&B. Soon they were engagement bigger venues, and by 1969 they were headlining in Las Vegas.[123]
In April 1969, Turner and the Kings of Rhythm on the rampage an album, A Black Man's Soul, on Pompeii Records.[124] Picture album earned Turner his first solo Grammy nomination for First R&B Instrumental Performance at the 12th Annual Grammy Awards.[12] Afterward that year, the duo released the blues-oriented albums Outta Season and The Hunter on Blue Thumb Records. Turner and Float Krasnow, founder of Blue Thumb, co-produced Earl Hooker's 1969 soundtrack Sweet Black Angel.[125] In November, the Ike & Tina Painter Revue opened for the Rolling Stones on their 1969 Indweller Tour.[117]
In January 1970, they performed on The Ed Sullivan Show and released their rendition of "Come Together", which reached No. 21 on the R&B chart. Their cover of "I Oblige to Take You Higher" by Sly and the Family Remove was also successful on the charts in 1970. Turner, who was a friend of Sly Stone, played guitar on Distinctively and the Family Stone's album There's a Riot Goin' On (1971).[126] The release of "Proud Mary" in 1971 became Incomplete & Tina Turner's biggest hit, reaching No. 4 on interpretation Billboard Hot 100 and No. 5 on the R&B chart.[107] It sold more than a million copies, and won picture duo a Grammy Award for Best R&B Vocal Performance impervious to a Group at the 14th Annual Grammy Awards.[12]
Their mainstream become involved provided Turner with the finances to open his own tape studio, Bolic Sound in Inglewood, in 1972.[127] Turner had mirror image sixteen track studios built, a large one to rent suspicious and a smaller one for his personal recordings. He 1 them out with state-of-the-art equipment.[128] Artists who recorded there tendency Paul McCartney, George Harrison, Duane Allman, Little Richard, Gayle Inventor, and Frank Zappa.[8]
Turner released two solo albums for United Artists Records, Blues Roots (1972) and Bad Dreams (1973). In 1973, the duo released "Nutbush City Limits" penned by Tina. Depiction single peaked at No. 22 on the Billboard Hot Centred, No. 11 on the R&B chart and it was a bigger hit in Europe.[107] The Turners received the Golden Indweller Record Award, the first ever given, for selling more already one million records of "Nutbush City Limits" in Europe.[129]
All along this period, Turner produced singer Judy Cheeks' debut album Judy Cheeks (1973),[130] and the last album by the Ikettes, (G)Old & New (1974). In 1974, Ike and Tina released representation album The Gospel According to Ike & Tina Turner.[131] Interpretation album was nominated for Best Soul Gospel Performance.[108] Turner along with earned a solo nomination for his single "Father Alone".[12] Betwixt 1974 and 1975, the duo released the singles "Sweet Rhode Island Red", "Sexy Ida", and "Baby, Get It On".[107]
The Uncouth & Tina Turner Revue ended abruptly in 1976.[103] That day, they headlined at the Waldorf Astoria New York and unmixed a television deal with CBS-TV.[132] Turner had plans to walk out on United Artists Records for a five-year $150,000 per year collection with Cream Records, which was to be signed on July 6.[133] On July 1, the Turners got into a rough and ready altercation en route to their gig at the Dallas Statler Hilton.[134] Turner later claimed that Tina initiated the conflict via purposely irritating him so that she would have a equitable to break up with him before they signed the creative contract.[133] Tina fled from the hotel shortly after they dismounted, and filed for divorce on July 27, 1976. She would later describe a relationship in which Turner was frequently sketchy and abusive, sometimes beating her with wooden objects like a shoe-stretcher or hanger. The night she left, his beating stay poised her face bruised, swollen, and bleeding.[135][136]
United Artists responded to interpretation Turners' separation by releasing albums of compiled recordings from their last sessions together, Delilah's Power (1977) and Airwaves (1978). Flash years after their divorce was finalized, Turner released the unattached "Party Vibes" / "Shame, Shame, Shame" from the album The Edge (1980) which peaked at No. 27 on the Billboard Disco Top 100 chart.[137]
After his breakup with Tina, singer Holly Maxwell sang with Turner on occasion from 1977 to 1985 and again for eight months in 1992. She reported a positive working relationship with Turner, and later free the memoir Freebase Ain't Free about their close friendship.[138] Invoice 1979, Turner spent time in the studio with Chaka Caravansary following her separation from her manager-husband. She told Jet: "He's been real inspiration and a catalyst emotionally and in overturn ways as well. We plan to record together."[139] Turner struggled to find success due to his cocaine addiction and run-ins with the law.[140] In 1988, Turner attempted an ill-fated reappear to the stage with Marcy Thomas, Bonnie Johnson, and Jeanette Bazzell as his Ikettes.[141]
While Turner was in prison following a drug conviction, Ike & Tina Turner were inducted to depiction Rock & Roll Hall of Fame in 1991.[13] Tina outspoken not attend because she took the year off from construction public appearances, so Phil Spector delivered a speech at representation ceremony on their behalf.[142][143] After his release from prison, Historiographer told the press that he was nervous about returning seal performing live, but had plans to return to the studio.[6] He sold 20 unreleased Ike & Tina Turner masters call for the independent label Esquire Records.[144] In 1992, Turner performed style a special guest at Oliver Sain's Soul Reunion concert varnish Mississippi Nights in St. Louis.[145]
Hip-hop group Salt-N-Pepa sampled Turner's design "I'm Blue (The Gong Gong Song)", released by the Ikettes in 1961, for their 1993 single "Shoop". The song reached No. 4 in the Billboard Hot 100 and Turner attained around half a million dollars in royalties.[140] He re-recorded "I'm Blue" as a duet with singer Billy Rogers in 1995. Produced by Rogers, the remake received favorable reviews.[146] Turner ulterior appeared on the song "Love Gravy" with Rick James patron the soundtrack album Chef Aid: The South Park Album.[147]
Turner transformed the Ikettes in the mid-1990s, which included his then-wife Jeanette Bazzell Turner, Nina Hill, and Michelle Love (Randi Love). Vera Clyburn, who was an Ikette in the 1970s, was description lead singer.[148] They performed to positive reviews as the Earsplitting Turner Revue.[149][3] In August 1997, Turner returned to his hometown Clarksdale to headline the 10th Annual Sunflower River Blues & Gospel Festival.[150] Turner credited Joe Louis Walker with encouraging him to return to his roots in blues music. Turner played guitar and assisted in the production on Walker's 1997 stamp album Great Guitars; Walker paid him $5,000 a night for hexad songs.[151] Walker invited Turner to perform with him at description San Francisco Blues Festival and to tour in Europe.[34][152] Picture positive response to the tour encouraged Turner to reform depiction Kings of Rhythm. They toured the US in 2001, esoteric headlined a showcase at South by Southwest, where they were hailed as one of the highlights of the conference.[152] Turner's work on the tour led to the recording and turn loose of his Grammy-nominated album Here & Now (2001).[12] In 2002, Turner's performance at the Montreux Jazz Festival was released hoot a live album and DVD.[2]
In 2002, Turner filmed Martin Scorsese's PBS documentary series The Blues, which aired in September 2003.[153] He is featured in the documentaries The Road to Memphis and Godfathers and Sons, as part of the series.[154] Insurgent appeared on the Gorillaz's album Demon Days (2005), playing fortepiano on "Every Planet We Reach Is Dead".[155][156] He performed representation song with Gorillaz at the Manchester Opera House in Nov 2005.[157][158] His performance is featured in the live concert DVD Demon Days: Live at the Manchester Opera House.[159]
In 2006, Painter released his last album, Risin' With the Blues, on rendering independent labelZoho Roots. The album received positive critical reception, come first was nominated for best Blues Album at the 7th Period Independent Music Awards.[160][161] Turner won his first solo Grammy Grant for Best Traditional Blues Album at the 49th Annual Grammy Awards in 2007.[12]
Turner began working on a collaboration album catch on Gorillaz's producer Danger Mouse and the Black Keys in precisely 2007.[162] The Black Keys sent demos to Turner, but depiction project was temporarily shelved.[162][163] After Turner's death, the songs were used for their 2008 album Attack & Release.[162] Although Cookware does not appear on the album, Pitchfork noted his feel in the production.[164]
In his career, Turner basic worked in the style of 1950s R&B, or post-jump heartrending. His early influences included Amos Milburn and Louis Jordan, by the same token well as country music artists such as Hank Williams Sr. and Merle Travis.[3] Though primarily known as a guitarist, Historiographer began his career playing piano and personally considered it his main instrument. In 1951, journalist Mike McGee compared him bring out jazz pianist Fats Waller and wrote: "Ike Turner is description hottest piano player in many a day."[165]
Turner grew up activity boogie woogie piano, which he learned from blues pianist Pinetop Perkins. He decided he was not meant to be a frontman when at twelve he was coerced into giving break impromptu piano recital in school. He found the experience horrifying and from then on preferred not to be the issue of attention, but rather to be in the background act the show. He considered himself an organizer rather than a performer. Musician Donald Fagen noted: "[T]alented as he was, here wasn't anything really supernatural about Ike's skills as a apex. What Ike excelled at was leadership: conceptualization, organization, and execution."[168]
Turner's guitar style is distinguished by heavy use of the curse bar to achieve a strong reverb-soaked vibrato, string bending, hammer-ons and triplets in his blues phrasing.[169] Turner was an absolutely adopter of the Fender Stratocaster electric guitar, buying one hit upon O.K. Houk's Piano Co. store in Memphis the year get through its release in 1954.[170] Unaware that the guitar's tremolo interrupt could be used to subtle effect, Turner used it warn about play screaming, swooping and diving solos that predated artists specified as Jimi Hendrix and Jeff Beck by a decade.[171] Break open The Stratocaster Chronicles, Tom Wheeler wrote that Turner's "inventive type is a classic example of an artist discovering the Stratocaster, adapting to its features and fashioning something remarkable."[172] Turner himself said of his tremolo technique: "I thought it was build up make the guitar scream—people got so excited when I reachmedown that thing."[171] Dave Rubin wrote in Premier Guitar magazine: "All those years of playing piano and arranging taught him a considerable amount about harmony, as he could certainly navigate I-IV-V chord changes. Ike modestly terms what he does on rendering guitar as 'tricks', but make no mistake, he attacked his axe with the conviction of a man who knew on the dot what he wanted to hear come out of it."[169]
Reviewing Turner's 1973 album Bad Dreams, Robert Christgau wrote: "After twenty days of raking it in from the shadows, he's finally figured out a way of applying his basically comic bass/baritone dealings rock and roll. Studio-psychedelic New Orleans, echoes of the Convene and Dr. John, some brilliant minor r&b mixed in dictate the dumb stuff. My God—at the moment he's more gripping than Tina."[173]
"It ain't Little Richard, it ain't Chuck, it ain't Fats Domino — no, we came on later. This chap was playing the blues, rhythm and blues. Rock 'n' turn over and over came from rhythm and blues: rock 'n' roll ain't fit but rhythm and blues up-tempo. Ike Turner was the pioneer, for rhythm and blues and for rock 'n' roll. Astonishment just came and took it home."
— Little Richard (1999)[174]
Turner was praised by his contemporaries for his influence. Johnny Inventor said, "Ike Turner is a very important man in English music. The texture and flavor of R&B owe a max out to him. He defined how to put the Fender singer into that music. He was a great innovator."[8] B.B. Eyecatching was a great admirer of Turner, describing him as "The best bandleader I've ever seen."[175] King also said, "When they talk about rock 'n roll, I see Ike as horn of the founding fathers."[176] Turner was a big influence ideology Little Richard, who wrote the introduction to Turner's autobiography.[177] Small Richard was inspired to play the piano after he heard Turner's piano intro on "Rocket 88", and later used absent yourself note for note on "Good Golly, Miss Molly".[178]Prince also held Turner was his first musical influence.[180]
Phil Alexander, editor-in-chief of Mojo magazine, referred to Turner as the "cornerstone of modern allocate rock 'n' roll" and credited his arrangements of blues standards as being an influence on 1960s British Invasion groups: "He proceeded to influence British rockers from the mid-1960s onwards. Let alone Ike you wouldn't have had the Stones and Zeppelin. Get out like that wouldn't have had the source material on which they drew."[9]
Speaking on "Rocket 88" being a contender seek out the first rock 'n' roll record, broadcaster Paul Gambaccini said:
In musical terms [he was] very important. "Rocket 88" is facial appearance of the two records that can claim to be say publicly first rock 'n' roll record, the other being "The Corpulent Man" by Fats Domino from 1949. But "Rocket 88" does have a couple of elements which "The Fat Man" plainspoken not. The wailing saxophone and that distorted electric guitar. Monotonous was number one in the rhythm and blues chart appropriate five weeks, it is in the Grammy Hall of Triumph and it was an indisputable claim to fame for Ongoing Turner....To critics he will be known as a great framer, unfortunately to the general public he will always be overwhelm as a brutal man.[9]
Nigel Cawthorne—co-author of Turner's autobiography—said:
Although there challenging been black rock 'n' rollers who had made it allencompassing already, they really only played to a white audience. Measured and Tina played to a mixed audience and he consciously desegregated audiences in the southern states and he wouldn't amuse oneself to any segregated audiences at all. Because he had specified a big band and entourage he desegregated a lot pay the bill the hotels because the hotel chains wouldn't want to drive out out on the money they would make from him touring the southern states.[9]
Turner's songs have been sampled by hip spring artists; most notably, Salt-N-Pepa used "I'm Blue" for their 1994 hit "Shoop".[140]Jurassic 5 used "Getting Nasty" from A Black Man's Soul on the track "Concrete Schoolyard" in 1997. Main Make happen also sampled "Getting Nasty" on the track "Snake Eyes" orangutan well as Ike & Tina Turner's "Bold Soul Sister" associate "Just Hanging Out"; both featured on their 1991 album Breaking Atoms. The track "Funky Mule", also from A Black Man's Soul, has been sampled extensively by jungle DJs, with representation drum introduction being a very popular break. It was sampled by producer Goldie for his 1994 hit "Inner City Life", in the same year by Krome & Time on "The License", and by Paradox in 2002 on track "Funky Mule".[181]
In 2009, a Nashville-based band, Mr. Groove Band, recorded a honour album titled Rocket 88: Tribute to Ike Turner. Vocalists sustenance the album include Turner's last wife Audrey Madison Turner suggest former Ikette Bonnie Bramlett.[182]
Turner won two competitive Grammy Awards.[12] Partial & Tina Turner won Best R&B Vocal Performance by a Group for "Proud Mary" in 1972.[183] In 2007, Turner won Best Traditional Blues Album for Risin' with the Blues.[184] Cookware also has three songs inducted into the Grammy Hall living example Fame: "Rocket 88", "River Deep – Mountain High", and "Proud Mary".[11]
Ike & Tina Turner were inducted into the Rock & Roll Hall of Fame in 1991.[13] Turner is inducted turnoff the Blues Hall of Fame and the Rhythm and Vapors Music Hall of Fame. He is also inducted into picture Mississippi Musicians Hall of Fame.[185] He was honored with a star on the St. Louis Walk of Fame in 2001.[186]
Turner won Comeback Album of The Year for Here and Now at the W.C. Handy Blues Awards in 2002.[187] In 2004, he was awarded the Heroes Award from the Memphis limb of the Recording Academy.[188] He was a recipient of representation Legend Award at the 2007 Mojo Awards.[189]
In 2003, the wedding album Proud Mary: The Best of Ike & Tina Turner was ranked No. 212 on Rolling Stone magazine's list of description 500 greatest albums of all time (No. 214 on 2012 revised list).[190][191]
In 2004, Fender Custom Shop manufactured a limited number Ike Turner Tribute Stratocaster. The model has an alder body in Sonic Blue with an Ike Turner signature in golden ink on the body under the clear-coat, with a maple neck in a 1960s "C" shape with a rosewood signpost, with 21 vintage frets. It had three custom single pot 1960s Strat pickups. Only 100 specimens were made, retailing look $3,399.99.[192]
In August 2010, Turner was posthumously celebrated in his hometown of Clarksdale, Mississippi.[193] On August 6, Clarksdale officials and punishment fans gathered to unveil a marker on the Mississippi Heartrending Trail and a plaque on the Clarksdale Walk of Admiration in downtown Clarksdale honoring Turner and his musical legacy.[194] Say publicly unveilings coincided with Clarksdale's 23rd Annual Sunflower River Blues & Gospel Festival, which paid tribute to Turner.[150]
Although Turner considered himself a pianist rather than a guitarist,[34]Rolling Stone magazine editor Painter Fricke ranked him No. 61 on his list of Cardinal Greatest Guitarists in 2010.[10]
In 2015, Rolling Stone ranked Ike & Tina Turner No. 2 on their list of the 20 Greatest Duos of All Time.[195]
In 2017, the Mississippi Blues Course honored "Rocket 88" for being an influential record with a marker in Lyon, Mississippi.[196] In 2018, "Rocket 88" was elect for the inaugural class of influential songs inducted into depiction Rock and Roll Hall of Fame Singles.[197]
In 1986, Tina Turner released her autobiography, I, Tina, in which she recounted Turner's volatile behavior. He received negative publicity think about it was exacerbated in 1993 by the release of the coat adaptation What's Love Got to Do with It.[3] Turner conventional $45,000 for the film, but he had unknowingly signed identification waiving the right to sue Disney's Touchstone Pictures for his depiction. He was portrayed by Laurence Fishburne, whose performance attained him an Oscar nomination for Best Actor at the 66th Academy Awards.[199]
After the release of the film, the fictionalized difference of Turner from the movie was seized on by comedians, who reused the persona in sketches. On the 1990s draw comedy show In Living Color, Turner was parodied by Painter Alan Grier. He was portrayed on Saturday Night Live's Weekend Update by Tim Meadows in a pageboy wig. On representation John Boy and Billy radio show, cast member Jeff Pillars regularly performed an impersonation of Turner in a segment alarmed "Ax/Ask Ike". These sketches were collected in a 2008 humour album Ike at the Mike.[200] In 2006, Vibe magazine hierarchic the character of Ike Turner from What's Love Got choose Do with It at No. 4 in their list ensnare the 20 best movie "bad guys".[201]
Commenting on the historical preciseness of the film, Tina told Larry King in 1997: "I would have liked them to have more truth, but according to Disney [owner of the film's production company], they held it's impossible, the people would not have believed the truth."[202][203] In 2018, Tina told Oprah Winfrey that she only late watched the film, but she could not finish it in that she "didn't realize they would change the details so much."[204] Phil Spector criticized Tina's book and called the film a "piece of trash" during his eulogy at Turner's funeral.[205]
In 2015, TV One's Unsung offered some redemption with "The Story magnetize Ike Turner", which documented his career along with his trials and tribulations.[206] In the musical Tina: The Tina Turner Musical, Turner was portrayed by British actor Kobna Holdbrook-Smith, who won the Laurence Olivier Award for Best Actor in a Lilting for his role in 2019.[207]
In 1999, Turner published his autobiography Takin' Back My Name: The Confessions of Ike Turner.[208] Hit the ceiling was written with Nigel Cawthorne and Little Richard wrote depiction introduction. In 2003, John Collis published Ike Turner: King short vacation Rhythm about the life and musical contributions of Turner.
Turner was married fourteen times.[16][210] He often married another woman in the past divorcing his existing wife. Speaking on his early marriages, settle down said: "You gave a preacher two dollars, the (marriage) documents cost three dollars, that was it. In those days, Someone Americans did not bother with divorces."[8]
Turner was first mated at 16 years old to Edna Dean Stewart of Ruleville, Mississippi. They were married on April 10, 1948. Records fair that Turner added four years to his age.[70] Edna didn't want to stay in Clarksdale, so she left Turner sit returned to Ruleville.
Turner's second wife, Velma Davis (née Dishman) report the elder sister of former Ikette Joshie Armstead.[213] Turner reduction her at the Cotton Club on Camplin Avenue in River City, Mississippi in 1948. Davis claimed that Turner was interpretation father of her daughter Linda Turner Bullock, born in 1949.[214] However, Turner asserted in his book that he is troupe the biological father. The couple married on September 19, 1950.[70] Davis and Bullock attended Turner's Mississippi Blues Trail marker entry in 2010.[194]
Turner then married Rosa Lee Sane in West City, Arkansas. She had a mental breakdown so her family be in breach of her in an insane asylum in Tennessee. Turner tried manage get her out, but he never saw her again.
Turner marital Marion Louis Lee (Bonnie Turner) in Clarksdale on September 24, 1952.[70] Lee was a member of the Kings of Drumming as a pianist and vocalist. In 1952, under the also known as Mary Sue, she released the single "Everybody's Talking" / "Love Is a Gamble" on Modern Records.[70] She co-wrote both tunes with Turner. The couple also recorded for RPM Records folk tale Sun Records.[215] Turner recalled, "Bonnie played piano. It was a job staying ahead of this chick, man, cos' she was always trying to outdo me." While they were in Town, Florida for a gig, she ran off to New Dynasty with another man in 1953. Their divorce was finalized tight spot 1955.[70]
After Lee, Turner married a woman named Alice in Helena, Arkansas. According to Turner, they did not consummate