they stayed redoing their songs didnt they?

Nvncible1 said:

they stayed redoing their songs didnt they?

Yeah. There were like two or three versions of the same song in different compositions. They were really remaking their old material in the mid-1970s because Ike was too stoned to compose any more songs.

much prefer 1961 version

1993 version is not bad either clearer vocals not as rough as with Ike, Laurence Fishburne sings Ike's

lines.Gonna work out fine was Ike and Tina's second hit reached number two on the R&B singles chart, it sold over a million copies going gold and resulted in a Grammy Award nomination for Best Rock & Roll Vocal Performance by a Duo or Group.

shellyk84 said:

much prefer 1961 version

1993 version is not bad either clearer vocals not as rough as with Ike, Laurence Fishburne sings Ike's

lines.Gonna work out fine was Ike and Tina's second hit reached number two on the R&B singles chart, it sold over a million copies going gold and resulted in a Grammy Award nomination for Best Rock & Roll Vocal Performance by a Duo or Group.

Likewise. I just thought this version was interesting... like I said, Ike must've ran out of ideas by the time they remade it in '74 or whatever.

wasnt there yet ANOTHER version? like a few years later

Nvncible1 said:

wasnt there yet ANOTHER version? like a few years later

Yeah I think it was a divorce version in '64 or '65 I don't know. Like you said, this isn't the first hit Ike & Tina remade (there was like another version of "A Fool in Love" recorded around '64 or '65 too and don't forget the two versions of songs like "I Idolize You" and "River Deep - Mountain High").

Timmy84 said:

Nvncible1 said:

wasnt there yet ANOTHER version? like a few years later

Yeah I think it was a divorce version in '64 or '65 I don't know. Like you said, this isn't the first hit Ike & Tina remade (there was like another version of "A Fool in Love" recorded around '64 or '65 too and don't forget the two versions of songs like "I Idolize You" and "River Deep - Mountain High").

DAMN!

B.B. King, Lightnin' Hopkins, & James Brown also re-recorded songs a lot, sometimes under different titles.

missfee said:

Timmy84 said:

Yeah I think it was a divorce version in '64 or '65 I don't know. Like you said, this isn't the first hit Ike & Tina remade (there was like another version of "A Fool in Love" recorded around '64 or '65 too and don't forget the two versions of songs like "I Idolize You" and "River Deep - Mountain High").

DAMN!

I think it was standard practice for artists to re-record their own hits in different versions. You saw James Brown's different versions of the same songs.

Timmy84 said:

missfee said:

DAMN!

I think it was standard practice for artists to re-record their own hits in different versions. You saw James Brown's different versions of the same songs.

Yeah I always wondered why that was so. Also in Motown, a lot of the artists re-recorded each other's songs....A LOT.

missfee said:

Timmy84 said:

I think it was standard practice for artists to re-record their own hits in different versions. You saw James Brown's different versions of the same songs.

Yeah I always wondered why that was so. Also in Motown, a lot of the artists re-recorded each other's songs....A LOT.

Exactly. Motown would have a different artist cover someone else's song, it didn't matter if it was a hit or not. In some cases, Berry Gordy would thumb down the original versions and the producer tried to find another artist to sing the same song. Sometimes they got through and sometimes they didn't.

Timmy84 said:

missfee said:

Yeah I always wondered why that was so. Also in Motown, a lot of the artists re-recorded each other's songs....A LOT.

Exactly. Motown would have a different artist cover someone else's song, it didn't matter if it was a hit or not. In some cases, Berry Gordy would thumb down the original versions and the producer tried to find another artist to sing the same song. Sometimes they got through and sometimes they didn't.

But for what purpose though? A chance that a re-recorded version would crossover?

missfee said:

Timmy84 said:

Exactly. Motown would have a different artist cover someone else's song, it didn't matter if it was a hit or not. In some cases, Berry Gordy would thumb down the original versions and the producer tried to find another artist to sing the same song. Sometimes they got through and sometimes they didn't.

But for what purpose though? A chance that a re-recorded version would crossover?

With Berry, it wasn't much about just it being crossover but also "would it sell?" He didn't think people would dig those songs. This is why he had the Quality Department because they would help him decide whether or not a song would sell. He once asked people "if you had a chance to buy something, would you buy this song or a sandwich?" And his department would go "sandwich". Smokey was one of the only Motown acts as part of the Quality Department and sometimes if he liked something he would be outnumbered by the Department. He was one of the few to not chastise Marvin Gaye for "What's Going On" when everyone else did. Berry even went so far to tell Smokey to "convince Marvin" not to release it, to which Smokey defiantly replied, "telling Marvin to do something else is like a bear shitting in the woods, Marvin ain't budging, man!" I can only imagine the arguments they had over "What's Going On".

Timmy84 said:

missfee said:

But for what purpose though? A chance that a re-recorded version would crossover?

With Berry, it wasn't much about just it being crossover but also "would it sell?" He didn't think people would dig those songs. This is why he had the Quality Department because they would help him decide whether or not a song would sell. He once asked people "if you had a chance to buy something, would you buy this song or a sandwich?" And his department would go "sandwich". Smokey was one of the only Motown acts as part of the Quality Department and sometimes if he liked something he would be outnumbered by the Department. He was one of the few to not chastise Marvin Gaye for "What's Going On" when everyone else did. Berry even went so far to tell Smokey to "convince Marvin" not to release it, to which Smokey defiantly replied, "telling Marvin to do something else is like a bear shitting in the woods, Marvin ain't budging, man!" I can only imagine the arguments they had over "What's Going On".

I've always thought that Smokey was nothing but Berry's bitch, but hearing this story (and I DO KNOW that you know your Motown shit ) makes me feel like maybe he wasn't so much of a bitch than I thought.

missfee said:

Timmy84 said:

With Berry, it wasn't much about just it being crossover but also "would it sell?" He didn't think people would dig those songs. This is why he had the Quality Department because they would help him decide whether or not a song would sell. He once asked people "if you had a chance to buy something, would you buy this song or a sandwich?" And his department would go "sandwich". Smokey was one of the only Motown acts as part of the Quality Department and sometimes if he liked something he would be outnumbered by the Department. He was one of the few to not chastise Marvin Gaye for "What's Going On" when everyone else did. Berry even went so far to tell Smokey to "convince Marvin" not to release it, to which Smokey defiantly replied, "telling Marvin to do something else is like a bear shitting in the woods, Marvin ain't budging, man!" I can only imagine the arguments they had over "What's Going On".

I've always thought that Smokey was nothing but Berry's bitch, but hearing this story (and I DO KNOW that you know your Motown shit ) makes me feel like maybe he wasn't so much of a bitch than I thought.

Smoke has some good qualities about him. He does have a mind of his own. He was the label's vice president (after 1971) after all lol

Timmy84 said:

missfee said:

I've always thought that Smokey was nothing but Berry's bitch, but hearing this story (and I DO KNOW that you know your Motown shit ) makes me feel like maybe he wasn't so much of a bitch than I thought.

Smoke has some good qualities about him. He does have a mind of his own. He was the label's vice president (after 1971) after all lol

Yeah but didn't Berry appoint him VP?

missfee said:

Timmy84 said:

Smoke has some good qualities about him. He does have a mind of his own. He was the label's vice president (after 1971) after all lol

Yeah but didn't Berry appoint him VP?

His sister Esther was VP from 1961 until 1971.

Timmy84 said:

missfee said:

Yeah but didn't Berry appoint him VP?

His sister Esther was VP from 1961 until 1971.

And wasn't '71 the year he moved Motown to L.A.?

missfee said:

Timmy84 said:

His sister Esther was VP from 1961 until 1971.

And wasn't '71 the year he moved Motown to L.A.?

'72. But afterwards, Smokey and his family had to move to L.A. anyways.

Timmy84 said:

missfee said:

And wasn't '71 the year he moved Motown to L.A.?

'72. But afterwards, Smokey and his family had to move to L.A. anyways.

uh huh.

I'm loving the 60's version....... Ike made her sing so damn hard though. My God, I wonder if she ever had vocal nodules because that does not sound healthy at all.

PlayboyOriginal said:

I'm loving the 60's version....... Ike made her sing so damn hard though. My God, I wonder if she ever had vocal nodules because that does not sound healthy at all.

It sold records though....

missfee said:

PlayboyOriginal said:

I'm loving the 60's version....... Ike made her sing so damn hard though. My God, I wonder if she ever had vocal nodules because that does not sound healthy at all.

It sold records though....

As crazy as Ike was, he knew how to sell records. He was never satisfied with anyone who worked with him unless he was satisfied with it. I think her performance of the original "It's Gonna Work Out Fine" was one-take though. I think the difficulty in Ike and Tina's career is that Ike tried to recapture what Tina and the band brought onstage. So I can imagine they had to do numerous takes. Ike and Tina used to get into arguments because of records - but they never hit each other in the studio as far as I know (that was added in the movie for Hollywood reasons). Sometimes, Tina would say, Ike would blame her for not getting another hit record.

[Edited 1/23/12 17:21pm]

Timmy84 said:

missfee said:

It sold records though....

As crazy as Ike was, he knew how to sell records. He was never satisfied with anyone who worked with him unless he was satisfied with it. I think her performance of the original "It's Gonna Work Out Fine" was one-take though. I think the difficulty in Ike and Tina's career is that Ike tried to recapture what Tina and the band brought onstage. So I can imagine they had to do numerous takes. Ike and Tina used to get into arguments because of records - but they never hit each other in the studio as far as I know (that was added in the movie for Hollywood reasons). Sometimes, Tina would say, Ike would blame her for not getting another hit record.

[Edited 1/23/12 17:21pm]

So he never raped her in the studio? Or raped her at all?

missfee said:

Timmy84 said:

As crazy as Ike was, he knew how to sell records. He was never satisfied with anyone who worked with him unless he was satisfied with it. I think her performance of the original "It's Gonna Work Out Fine" was one-take though. I think the difficulty in Ike and Tina's career is that Ike tried to recapture what Tina and the band brought onstage. So I can imagine they had to do numerous takes. Ike and Tina used to get into arguments because of records - but they never hit each other in the studio as far as I know (that was added in the movie for Hollywood reasons). Sometimes, Tina would say, Ike would blame her for not getting another hit record.

[Edited 1/23/12 17:21pm]

So he never raped her in the studio? Or raped her at all?

I kept reading that Tina never said Ike raped her either anywhere or in the studio. Apparently neither Tina nor Ike knew what they were doing with the movie, they just ok'd it to "get it over with" or whatever, I think they both gave Ike and Tina advances for the movie and royalties for using their material, which Tina re-recorded with the exception of "River Deep Mountain High".

Timmy84 said:

missfee said:

So he never raped her in the studio? Or raped her at all?

I kept reading that Tina never said Ike raped her either anywhere or in the studio. Apparently neither Tina nor Ike knew what they were doing with the movie, they just ok'd it to "get it over with" or whatever, I think they both gave Ike and Tina advances for the movie and royalties for using their material, which Tina re-recorded with the exception of "River Deep Mountain High".

So that was all hollywood bullshit? Damn.

missfee said:

Timmy84 said:

I kept reading that Tina never said Ike raped her either anywhere or in the studio. Apparently neither Tina nor Ike knew what they were doing with the movie, they just ok'd it to "get it over with" or whatever, I think they both gave Ike and Tina advances for the movie and royalties for using their material, which Tina re-recorded with the exception of "River Deep Mountain High".

So that was all hollywood bullshit? Damn.

Yeah. It's true that Ike was abusive towards her (and even Craig Bullock Turner, Tina's biological eldest son, said Ike was a scary figure), there's people who went to see them during the chitlin' circuit days and Tina would have bruises from Ike's hits. But I think the film made Ike to be way more demonic than he actually was. Ike's behavior was actually no different from James Brown's. In fact, James learned how to be just as "disciplinary" as Ike when he saw him pistol-whip one of his musicians for hitting a wrong note (hence why he got the nickname "Pistol-Whippin' Ike"). Plus, Ike didn't have open mike nights during the time Tina first met him. In fact, it was said that Ike auditioned singers to sing for him at the club and one night, Tina showed her catty ass by snatching a microphone from another female singer and wailing on a blues song. Ike was thrown off because Tina had wanted to join his band for months but Ike didn't pay much attention to her then.

But Ike said while he was impressed (he later went to Tina and said "damn girl I didn't know you could sing!"), he still didn't let her in the band until she got in...through dating Ike's saxophonist Raymond Hill (Craig Bullock's biological father). Also, the relationship between Tina and her own mother in the movie was more volatile. Tina always felt like she was an unwanted child and while she accepted her mother's choice to move with her to St. Louis, they apparently got into fights because Tina wanted to go to clubs, seeing how her mother was always doing that, she forbid her to go anywhere but Tina did it anyway. I think Tina wrote that in her book that she and her mother didn't really get along and they had screaming matches. Eventually Tina moved in her sister Alline's apartment and that's how she was able to get in clubs with her sister being her acquaintance. I think Alline was really how Ike and Tina got to be in the first place because Alline was also dating a member of Ike's band at the time.

[Edited 1/23/12 17:46pm]

I don't believe that was all Hollywood bullshit.... some of it was exaggerated but its all based on true events. There is merit behind what you saw just probably not exactly how it happened.

LMFAO @ Tina being a catty hoe

[Edited 1/23/12 17:46pm]

^ lol yeah not all of it was bullshit. It's true about Ike being abusive. However, I think Tina did hit him back, if unsuccessfully. And Ike did her even more wrong by cheating on her (she attempted suicide after learning that Ike had cheated on her with an Ikette, whom he later married, and who was carrying his child, Mia; Tina was pregnant at the same time).

Even Tina herself said the film was not really accurate but was told that if the "truth" was posted in the film, no one would've dug it as much as the film version. But you know something is funny when even some of Ike & Tina's former acquaintances say that portions of the film was inaccurate of its depictions of Ike & Tina.