Terry Britten – guitar

Nick Glennie-Smith – keyboards

Billy Livsey – keyboards

Simon Morton – percussion

Tessa Niles – background vocals

The song is performed in the key of G♯ minor with a tempo of 97.862 beats per minute in common time. The key transposes to B♭ minor after the second chorus. Turner's vocals span from D♯3 to C♯5

TheFman said:

great album, everybody who was 16+ when it came out probably has it.
Nevertheless i cant take her too serious, not creating any own songs. It's like a karaoke to me, but a brilliant one.

Nutbush city limits

TrivialPursuit said:

The re-release of Private Dancer had almost as many unreleased tracks on it as the original.

I don't believe there were any unreleased tracks on the two deluxe reissues that were released. Just a lot of B-sides. Tina wanted Private Dancer to be a Rock album, which explains why all of the B-sides were Rock songs. However, her manager, Roger Davis, told her if she wanted to hit in the United States, she had to include some R&B songs on the album, because U.S. audiences associated her more with R&B than with Rock. So that's why the album ended up being half R&B and half Rock.

an interesting tidbit: the song "What's Love Got To Do With It' was originally offered to Donna Summer,but she rejected it

....

Tina Turner - What's Love Got To Do With It

The music video features Turner walking down the street engaging with the public, intercut with scenes where she is singing directly to camera. The video was shot in New York City during the spring of 1984. The music video also features Sleepaway Camp 2's Pamela Springsteen, Bruce Springsteen's sister, as a street dancer. The video was directed by Mark Robinson.

An alternate black and white video directed by Bud Schaetzle features Tina singing the song against a black background while couples argue in a bar.

https://www.theguardian.com/music/2018/mar/22/tina-turner-the-making-of-a-rocknroll-revolutionary

Tina Turner: the making of a rock'n'roll revolutionary

Tina Turner was a giant of the decade that brought us sky-high Elnett hairdos and dazzling arena pop. Her swagger, sensuality, gravelly vocals and unstoppable energy were her trademarks and still evoke the kind of euphoria that remains synonymous with rock’n’roll. Yet in the mid-1980s – the outset of her second wind as a solo artist – she was also making history, executing these bold moves as a middle-aged African American female entertainer who had overcome severe personal and professional obstacles to reach the top.

Working with a cadre of white British songwriters, producers and rock stars – including Mark Knopfler, Jeff Beck and Heaven 17’s Martyn Ware and Ian Craig Marsh – she became the rare artist that crossed racial and genre lines, matching the fluidity of the 1980s superstar trifecta of Michael Jackson, Madonna and Prince, as well as that of her friend David Bowie, who was also in the middle of staging a massive return to the limelight. Bold Tina. Fierce Tina. Sui generis Tina. Don’t call it a comeback, I been here for years, Tina: the Tina of 1984 is the one most of us know best – a tempest blowing through pop – but her radical earlier relationship to rock music is often overshadowed by her heroic and inspiring biography.

It is easy to fall for the romantic and all-too-real triumph of Turner’s story, made myth by Angela Bassett’s career-defining portrayal (with pre-Michelle Obama athletic arms) in the 1993 biopic What’s Love Got to Do With It, in which the resilient singer escapes her monstrous husband. Because of that, the story of her startling inventiveness as a musician slips by the wayside.

Her singularity as an artist is undeniable. Turner merged sound and movement at a critical turning point in rock history, navigating and reflecting back the technological innovations of a new pop-music era in the 60s and 70s. She catapulted herself to the forefront of a musical revolution that had long marginalised and overlooked the pioneering contributions of African American women and then remade herself again at an age when most pop musicians were hitting the oldies circuit. Turner’s musical character has always been a charged combination of mystery as well as light, melancholy mixed with a ferocious vitality that often flirted with danger. Perfect, then, for a big-budget musical.

The creative team behind Tina: The Musical includes the award-winning playwright Katori Hall and the Tony-nominated director Phyllida Lloyd. Their collaborative effort represents what may, in fact, be a new and welcome female-driven trend in popular culture, wherein stories of black women musicians are told by women. Director Dee Rees’s 2015 HBO biopic of blues singer Bessie Smith (Bessie, starring Queen Latifah) and Liz Garbus’s Academy Award-nominated documentary about Nina Simone (What Happened, Miss Simone?) both come to mind. Hall and Lloyd have the added advantage of receiving direct input from Turner herself, and the casting of Tony-nominated lead Adrienne Warren promises that this Tina will come to us with nuance and range.

‘Scene of subjugation’ ... Tina Turner and Mick Jagger at the Live Aid concert in Philadelphia in July 1985.

kitbradley said:

TrivialPursuit said:

The re-release of Private Dancer had almost as many unreleased tracks on it as the original.

I don't believe there were any unreleased tracks on the two deluxe reissues that were released. Just a lot of B-sides.

You right. B-sides and remixes.

The 30th anniversary also has the live cuts of "Let's Pretend We're Married" and her duet with Bowie on "Tonight", plus her duet "It's Only Love", Mad Max songs, and some other b-sides that weren't on the 1997 re-release. The original international edition was one song longer and a different track order. They moved the title track to the end for the US edition, which is a very Purple Rain thing to do. Hell, the type of song, and the 5-track/4-track A-side/B-side format is there, too. Ironically, it came out before Purple Rain, but I can see a pattern, likely coincidental.

It's such a varied and good record. I'm glad she and Davies both agreed on what's on there. It worked!

SoulAlive said:

an interesting tidbit: the song "What's Love Got To Do With It' was originally offered to Donna Summer,but she rejected it

....

It seemed to have been shopped around quite a bit before getting to Tina. This is the first time I'm hearing about Donna but it was also presented to Phyllis Hyman and Patti Labelle. I'm wondering if any of these artists actually recorded the song but it just didn't end up on their albums? That happened often. Lots of songs were usually recorded for an album but the executive producer(s) and the label execs decided the final tracklist.

TrivialPursuit said:

kitbradley said:

I don't believe there were any unreleased tracks on the two deluxe reissues that were released. Just a lot of B-sides.

You right. B-sides and remixes.

The 30th anniversary also has the live cuts of "Let's Pretend We're Married" and her duet with Bowie on "Tonight", plus her duet "It's Only Love", Mad Max songs, and some other b-sides that weren't on the 1997 re-release. The original international edition was one song longer and a different track order. They moved the title track to the end for the US edition, which is a very Purple Rain thing to do. Hell, the type of song, and the 5-track/4-track A-side/B-side format is there, too. Ironically, it came out before Purple Rain, but I can see a pattern, likely coincidental.

It's such a varied and good record. I'm glad she and Davies both agreed on what's on there. It worked!

I love Tina's version of "Married" but does anyone know why it fades out in the middle of her rap? I just found that kind of odd. Not sure if the same thing happened on the vinyl version from the 80's. I believe it was the B-side of "Show Some Respect"?

kitbradley said:

SoulAlive said:

an interesting tidbit: the song "What's Love Got To Do With It' was originally offered to Donna Summer,but she rejected it

....

It seemed to have been shopped around quite a bit before getting to Tina. This is the first time I'm hearing about Donna but it was also presented to Phyllis Hyman and Patti Labelle. I'm wondering if any of these artists actually recorded the song but it just didn't end up on their albums? That happened often. Lots of songs were usually recorded for an album but the executive producer(s) and the label execs decided the final tracklist.

yeah,Donna mentioned it in an interview.You're right,songs are often offered to several people.Tina was lucky to wind up with it,as it became her signature hit as a solo artist.

Tina

Video of Angela Bassett rehearsing Tina's Whats Love Got To Do With It walk with Tina.


https://twitter.com/tomor...6874286080

And don't forget the amazing duets she did with David Bowie

Tina Turner & David Bowie -Tonight (Private Dancer Tour 1985) https://www.youtube.com/w...f1HV4b0ccg

How bloody amazing was 1984!!

Highly recommend the stage show of Tina's life, bloody brilliant!

One Of The Living

In the desert sun every step that you take could be the final one
In the burning heat hanging on the edge of destruction
You can't stop the pain of your children crying out in your head
They always said that the living would envy the dead

So now you're gonna shoot bullets of fire
Don't want to fight but sometimes you've got to
You're some soul survivor
There's just one thing you've got to know
You've got ten more thousand miles to go

Because you're one of the living
And if we can't stick together
One of the living
Who's gonna make it tonight

Walk tall, cool, collected and savage
Walk tall, bruised, sensual, ravaged
It's every man for himself, every woman, every child
A new breed, ferocious and wild

And all...

And all they want to do is shoot bullets of fire
They want to fight and sometimes you've got to
You're some soul survivor
There's just one thing you've got to know
You've got ten more thousand years to go

Because you're one of the living
And if we can't stick together
One of the living
Who's gonna make it tonight

September 1985

written and composed by Holly Knight

Gene Black performed guitars and backing vocals. Mike Chapman produced the song. The saxaphone solo was performed by Tim Cappello and vocals were performed by Tina Turner. Device lead singer, Paul Engemann did not participate on the project.

PURPLEIZED3121 said:

How bloody amazing was 1984!!

Highly recommend the stage show of Tina's life, bloody brilliant!

extremely amazing time

Official Video: One of the Living

By chance, I came across this thread the same day that I've been reading an article about Tina Turner in the NYTimes; fyi:

https://www.nytimes.com/2019/09/09/theater/tina-turner-musical.html

barnswallow said:

By chance, I came across this thread the same day that I've been reading an article about Tina Turner in the NYTimes; fyi:

https://www.nytimes.com/2019/09/09/theater/tina-turner-musical.html

And because of that article, she's still trending on Twitter all afternoon and evening.

.