tina turner tours 1980s

Tina Turner Concerts 1980s

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Tour 1980/1983

Roger Davies, Tina's manager, advised Turner to drop her band and remodel her show into a grittier rock'n'roll showcase. In 1981, Davies booked Tina at The Ritz in New York City. Following the performance, Rod Stewart hired Turner to perform a duet version of his hit, "Hot Legs", on Saturday Night Live, and later hired Turner to open for him on his U.S. tour. One show with Rod Stewart and Kim Carnes, on 19 December 1981, at the L. A. Forum, Inglewood, was filmed. Afterwards, Turner opened three shows for The Rolling Stones. A recorded cover of The Temptations "Ball of Confusion" for the UK production team B.E.F. featuring Robert Cray, became a hit in European dance clubs in 1982. Following performances with Chuck Berry and several short tours in the U.S. and Europe,

February 18-23, 1980 Hyatt Regency, Dearborn, MI June 24-25, 1980 Garden State Arts Center, Holmdel, NJ (supporting Lou Rawls)

From the 17th of November 1980 till the beginning of December 1980 Tina Turner was on tour in Australia. 21 Nov. 1980 - Melbourne - Australia 24 Nov. 1980 - Private Concert for a newspaper in Australia From the beginning of December 1980 till the 24th of December 1980 she was on tour inAustralia and the South-East of Asia. 9-13 Dec. 1980 - St. George Leagues Club, Kogarah - Australia 20 and 21 Dec. 1980 - Bangkok - Thailand 24 Dec. 1980 - Hongkong - China Dec. 1980 Bette Midler was at a concert from Tina Turner. Tina Turner invited Bette to do the song "Hollywood Nights" with her. After the concert Elton John took Tina Turner to Bette Midler's birthday party. With Elton John she performed "The Bitch is back" in Australia. 1980 – Hammersmith Odeon – London - UK 1980 – Concerts in Eastern Europe 1980 – Concerts in the Middle East

At the 18th of March 1981 Tina Turner started her Rock Show in the Fairmont Hotel in San Francisc, CA - USA April 3-4, 1981 Country Club, Reseda, LA April 24, 1981 University of Washington, Seattle, WA May 7-9, 1981 Ritz, New York City, NY May 10, 1981 Camden, NJ June 1981 - 2 weeks of concerts in Toronto - Canada 10 Aug. 1981 - Billy Bobs Texas Stockyard, Fort Worth, TX 30 Aug. 1981 - Riviera Hotel, Las Vegas, NV September 14-26, 1981 Fairmont Hotel, Dallas, TX September 28-October 3, 1981 Ritz, New York City, NY October 19-24 & 26-31, 1981 Fairmont Hotel, New Orleans, LA 5, 6 and 7 Nov. 1981 - Brendan Byrne Arena, East Rutherford, Nj 3 Dec. 1981 - Sala Kongresowa, Warsaw, POL 4 Dec. 1981 - Spodek, Katowice, POL 5 Dec. 1981 - Palác Lucerna Velký Sál., Prague, CZR 11 Dec. 1981 - Northstage Concert Hall, Glen Cove, NY 12 Dec. 1981 - Ritz, New York City, NY 19 Dec. 1981 - Forum, Los Angeles, CA (with Rod Stewart)

January 21, 1982 Billy Bobs Texas Stockyard, Fort Worth, TX 17 Febr. 1982 - First Avenue, Minneapolis, MN 18 Febr. 1982 - Park West, Chicago, IL 21-22 Febr. 1982 - The Sultan's Cabaret, Akron, OH 23 Febr. 1982 – Center Stage, Canton, MI 27 March 1982 - Congresgebouw, The Hague, NED March 29-30, 1982 - Le Palace, Paris, FRA 1 April 1982 - Philharmonie, Berlin, GER 2 April 1982 - C.C.H., Hamburg, GER 3 April 1982 - Alte Oper, Frankfurt, GER 4 April 1982 - Europa Saal, Aachen, GER 5 April 1982 - Ostseehalle, Kiel, GER 6 April 1982 - Zeche, Bochum, GER 9 April 1982 - Hammersmith Odeon, London, ENG 11 April 1982 - Arts Centre, Poole, ENG 12 April 1982 - Cornwall Coliseum, St. Austel, ENG 23 April 1982 - Commodore Ballroom, Vancouver, BC 17-19 June 1982 - St. George Leagues Club, Kogarah, AUS 20 June 1982 - Paramatta Leagues Club, Paramatta, AUS 1-3 July 1982 - St. George Leagues Club, Kogarah, AUS 9-11 July 1982 - Revesby Workers Club, Sydney, AUS 11 May 1982 - Hillside Memorial Park, Los Angeles, CA 13 July 1982 - Astrodome, Traralgon, AUS 15 July 1982 - Collendina Hotel, Ocean Grove, AUS 16 July 1982 - The Venue, St. Kilda, AUS 17 July 1982 - Waltzing Mathilda Hotel, Springvale, AUS 18 July 1982 - Dorset Gardens Hotel, Croydon, AUS 21 Aug. 1982 - Momarkedet, Mysen, NOR 22 Aug. 1982 - Konserthuset, Stockholm, SWE 24 Aug. 1982 - Kulttuuritalo, Helsinki, FIN 3-4 Sept. 1982 - Commodore Ballroom, Vancouver, BC 5 Sept. 1982 - Seattle Center, Seattle, WA 13 Nov. 1982 - De Doelen, Rotterdam, NED 14 Nov. 1982 - Forest National, Brussels, BEL 4 Dec. 1982 - Sports Hall, Budapest, HUN

Band: Chuck O'Steen - Keyboard and Musical leader Bob Feit – Bass Jack Bruno - Drums James Ralston – Guitar Kenny Moore – Piano and Vocals Lejeune Richardson - Dancer and Background vocals Annie Behringer - Dancer and Background vocals

January 12-13, 1983 Premier Center, Sterling Heights, MI

January 14-16, 1983 Caesars, Atlantic City, NJ

January 18, 1983 Mid-Hudson Civic Center, Poughkeepsie, NY

January 20, 1983 Wax Museum, Washington, DC

January 21, 1983 Front Row Theatre, Highland Heights, OH

January 27-29, 1983 Ritz, New York City, NY

April 8-9, 1983 Commodore Ballroom, Vancouver, BC

April 19, 1983 Hilton Hawaiian Village Coral Ballroom, Honolulu, HI

April 24, 1983 University of Washington, Seattle, WA

April 25, 1983 Rockefeller’s, Houston, TX

May 13, 1983 Gröna Lund - Sweden

June 10-11, 1983 Barrymore’s Music Hall, Ottawa, ON

June 27, 1983 First Avenue, Minneapolis, MN

July 13, 1983 Traralgon Astrodome, Traralgon, AUS

July 25, 1983 Pier 84, New York City, NY

August 3, 1983 Club Casino, Hampton Beach, NH

August 4, 1983 Park West, Chicago, IL

August 24, 1983 Kulttuuritalo, Helsinki, FIN

September 26-October 9, 1983 Fairmont Hotel Venetian Room, San Francisco, CA

October 13, 1983 Konserthus, Oslo, NOR

November 1, 1983 Olympen, Lund, SWE

November 2, 1983 Kulttuuritalo, Helsinki, FIN

November 4, 1983 Metropol, Berlin, GER

November 13, 1983 Zeche, Bochum, GER

December 6, 1983 Kongresshaus, Zürich, SUI

December 7, 1983 Théâtre de Beaulieu, Lausanne, SUI

December 9, 1983 Sala Morasol, Madrid, SPA

December 10, 1983 Sala Pachá, Barcelona, SPA

December 15, 1983 The Box, Arnhem, NED

December 16, 1983 The Venue, London, ENG

December 20, 1983 The Venue, London, ENG

December 22, 1983 Fairfield Hall, Croydon, ENG

Band: Annie Behringer - Singer and Dancer Lejeune Richardson - Singer and Dancer Jack Bruno - Drums Bob Feit – Bass Kenny Moore – Piano Chuck O'Steen - Keyboard James Ralston – Guitar

27 Jan. 1984 - Cornwall Colliseum - St. Austell, ENG 28 Jan. 1984 - Blazer's - Windsor - UK 30 Jan. 1984 - Top Rank Suite - Brighton - UK 1 Febr. 1984 - Guidhall - Portsmouth - UK 2.Febr. 1984 - Leisure Center - Gloucester - UK 3 Febr. 1984 - Gaumont Theater - Ipswich - UK 4 Febr. 1984 - Apollo Theater - Oxford - UK 5 Febr. 1984 - Fairfield Hall - Croydon - UK 6 Febr. 1984 - Civic Hall - Wolverhampton - UK 8 Febr. 1984 - De Montford Hall - Leicester - UK 9 Febr. 1984 - The Arts Center - Poole - UK 10 Febr. 1984 - Colston Hall - Bristol - UK 11 Febr. 1984 - Odeon Theater - Birmingham - UK 12 Febr. 1984 - St. David's Hall - Cardiff - UK 14 Febr. 1984 - Royal Centre - Nottingham - UK 15 Febr. 1984 - Derngate Center - Northampton - UK 17 Febr. 1984 - Maaspoort - Den Bosch - Holland 18 Febr. 1984 - Apollo Theater - Glasgow - UK 19 Febr. 1984 - Capitol Theater - Aberdeen - UK 20 Febr. 1984 - Playhouse Theater - Edinburgh - UK 21 Febr. 1984 - City Hall - Newcastle-upon-Tyne - UK 22 Febr. 1984 - City Hall - Sheffield - UK 23 Febr. 1984 - Davenport Theater - Stockport - UK 24 Febr. 1984 - Southport Theater - Southport - UK 25 Febr. 1984 - University of Lancaster - UK 26 Febr. 1984 - Haven Theater - Boston - UK 27 Febr. 1984 - Civic Hall - Harrogate - UK 28 February 1984 - Apollo Theatre, Manchester - UK

Band: Kenny Moore – Piano and Vocals James Ralston – Guitar Jack Bruno – Drums Bob Feit – Bass Chuck O'Steen – Keyboards and Vocals Lejeune Richardson - Dancer and Vocals Annie Behringer - Dancer and Vocals

After february 1984 Tina started with the recording of her "Private Dancer" album. She rehearsed some new songs and in May 1984 she became the opening act for Lionel Richie’s "Can't Slow Down" tour. She performed her own set of approximately 40 minutes and later in the show she performed "Hot Legs" and the duet "Three Times A Lady" together with Lionel.

Here are the dates of the tour Tina Turner did with Lionel Richie.

15 May 1984 – Mabee Arena, Tulsa , OK - USA 16 May 1984 – Mid South Coliseum, Memphis, TN - USA 18 May 1984 – San Antonio, TX - USA 19 May 1984 – Dallas, TX - USA 20 May 1984 – The Summit , Houston, TX - USA 22 May 1984 – Muncipal Auditorium – Nashville, TN- USA 23 May 1984 – Knoxiville, TN - USA 25 May 1984 – Jefferson Civic Center Coliseum, Birmingham, AL - USA 26 May 1984 – The Omni, Atlanta, GA - USA 27 May 1984 – Riverfront Coliseum, Cincinatti, OH - USA 29 May 1984 – Civic Arena – Pittsburgh, PA- USA 30 May 1984 – The Spectrum, Philadelphia, PA 1 June 1984 – Brendan Byrne Arena – East Rutherford, NJ - USA 2 June 1984 – Brendan Byrne Arena – East Rutherdord, NJ - USA 3 June 1984 – Nassau Veterans Memorial Coliseum, Uniondale, NY - USA 5 June 1984 – Boston Garden, Boston, MA - USA 6 June 1984 – Hartford Civic Cente , Hartford, CT - USA 8 June 1984 – Atlantic City, NJ - USA 9 June 1984 – Atlantic City, NJ - USA 10 June 1984 – Capitol Center, Landover, MD - USA 13 June 1984 – Market Square Arena, Indianapolis, IN - USA 14 June 1984 – Joe Louis Arena, Detroit, Michigan, USA 15 June 1984 – UIC Pavilion, Chicago, IL - USA 16 June 1984 – UIC Pavilion, Chicago, IL - USA 18 June 1984 – Richfield Coliseum, Richfield, OH - USA 19 June 1984 – Richfield Coliseum, Richfield, OH - USA 22 June 1984 – St. Paul Civic Arena – St. Paul, MN - USA 23 June 1984 – Kemper Arena , Kansas City, MO - USA 26 June 1984 – Olympic Saddledome – Calgary, AB - Canada 27 June 1984 – Northlands Coliseum – Edmonton, AB - Canada 29 June 1984 – Pacific Coliseum – Vancouver, BC - Canada 30 June 1984 – Memorial Coliseum, Portland, OR 1 July 1984 – Boise, ID - USA 3 July 1984 – Seattle, WA - USA 6 July 1984 – Los Angeles, CA - USA 8 July 1984 – Los Angeles, CA - USA 10 July 1984 – San Diego, CA - USA 11 July 1984 – Tempe, AZ - USA 13 July 1984 – Oakland, CA - USA 14 July 1984 – TCC Music Hall, Tucson , AZ – USA 22 July 1984 – Memorial Coliseum, Portland, OR - USA 26 July 1984 - Royal Oak Music Theater, Royal Oak, Michigan - USA

After the touring with Lionel Richie, Tina Turner continued her World Tour. 18 July 1984 - 1 Sept. - 40 Concerts in the USA and Canada 1 Aug. 1984 - First Avenue Club - Minneapolis, MN - USA 17 Aug. 1984 - Park West - Chicago - USA 24 Aug. 1984 - Long Wharf - Sag Harbor - USA 1-3 Sept. 1984 - Beverly Hills Theater - Beverly Hills, CA - USA 26 Oct. 1984 - Kemper Arena - Kansas City, MO - USA 15 Nov. – 13 Dec. 1984 - Concerts in Sydney, Melbourne, Adelaide and the Gold Coast 15 Dec. - 25 Dec. 1984: Concerts in Hong Kong, Bangkok, Manila and Japan

Band: Kenny Moore – Piano and Vocals James Ralston – Guitar and vocals Bob Feit – Bass Alan – Keyboard Hal Lindes – Guitar and Vocals Henry Spinetti - Drums

The Band Jack Bruno - Drums Timmy Cappello – Percussion,Keyboard, Saxophone and Vocals Bob Feit – Bass Jemie West-Oram – Guitar and Vocals Kenny Moore – Piano and Vocals James Ralston – Guitar and Vocals

19 Febr. 1985 - Icehallen - Helsinki, FIN 21 Febr. 1985 - Drammenhallen - Oslo, NOR 22 Febr. 1985 - Lisebergshallen - Gothenburg, SWE 23 Febr. 1985 - Isstadion - Stockholm, SWE 24 Febr. 1985 - Falkoner Theatre - Copenhagen, DEN 28 Febr. 1985 - Eberthalle - Ludwigshafen, GER 1 March 1985 - Basketballhalle - - Münich, GER 2 March 1985 - Jahrhunderthalle - Frankfurt, GER 3 March 1985 - C.C.H. - Hamburg, GER 4 March 1985 - Eissporthalle - Berlin, GER 7 March 1985 - Boeblingen, GER 8 March 1985 - Hallenstadion - Zürich, SUI 9 March 1985 - Karl Diehm Halle - Würzburg, GER 11 March 1985 - The Brighton Centre - Brighton, ENG 12 March 1985 - B.I.C. - Bournemouth, ENG 14 March 1985 - Wembley Arena - London, ENG 15 March 1985 - Wembley Arena - London, ENG 16 March 1985 - Wembley Arena - London, ENG 17 March 1985 - Wembley Arena - London, ENG 20 March 1985 - The Playhouse - Edinburgh - UK 21 March 1985 - The Apollo - Manchester, ENG 23 March 1985 - N.E.C. - Birmingham, ENG 24 March 1985 - N.E.C. - Birmingham, ENG 26 March 1985 - Zenith - Paris, FRA 27 March 1985 - Garnier - Lyon, FRA 28 March 1985 - Chapiteau - Marseilles, FRA 29 March 1985 - Palace Lido - Milan- Italy 31 March 1985 - Sportshalle - Klagenfurt, GER 1 April 1985 - Sportshalle - Graz, AUT 2 April 1985 - Sportshalle - Budapest, HUN 3 April 1985 - Stadthalle - Vienna, AUT 4 April 1985 - Sportshalle- Linz, AUT 6 April 1985 - Olympiahalle - Münich, GER 7 April 1985 - Saarlandhalle - Saarbrücken, GER 8 April 1985 - The Ahoy - Rotterdam - The Netherlands 9 April 1985 - The Ahoy - Rotterdam The Netherlands 10 April 1985 - Forest Nationale - Brussels - Belgium 11 April 1985 - Jahrhunderthalle - Frankfurt - Germany 12 April 1985 - Jahrhunderthalle - Frankfurt - Germany 13 April 1985 - Stadthalle - Bremen - Germany 14 April 1985 - Westfalenhalle - Dortmund, GER 15 April 1985 - Philipshalle - Düsseldorf - Germany 18 April 1985 - C.C.H. - Hamburg - Germany 19 April 1985 - Rhein-Neckar-Halle - Heidelberg - Germany 20 April 1985 - Olympiahalle - Münich, GER 21 April 1985 - Hallenstadion - Zürich, SUI 22 April 1985 - Frankenhalle - Nürnberg, GER 24 April 1985 - Deutschlandhalle - Berlin - Germany 25 April 1985 - Stadthalle - Bremen - Germany 26 April 1985 - Philipshalle - Düsseldorf - Germany 27 April 1985 - Festhalle - Frankfurt - Germany 28 April 1985 - Münsterlandhalle - Münster - Germany 30 April 1985 - Ostseehalle - Kiel, GER 1 May 1985 - Sporthalle - Cologne - Germany 3 May 1985 - Deutschlandhalle - Berlin - Germany 4 May 1985 - Niedersachsenhalle- Hannover - Germany 5 May 1985 - Aisterdorferhalle - Hamburg - Germany 7 May 1985 - Boblinger - Sporthalle - Stuttgart - Germany 8 May 1985 - Basketballhalle - Münich, GER 9 May 1985 - St. Jakob's Hall - Basel, SUI 8 July 1985 - Memorial Stadium - St. Johns - Canada 9 July 1985 - Memorial Stadium - St. Johns - Canada 10 July 1985 - Memorial Stadium - St. Johns - Canada 11 July 1985 - Memorial Stadium - St. Johns - Canada 13 July 1985 - Live Aid - Philadelphia, PA 14 July 1985 - Aiken Center - Fredricton - Canada 15 July 1985 - Coliseum - Moncton - Canada 16 July 1985 - Metro, Halifax - Canada 17 July 1985 - Metro, Halifax - Canada 19 July 1985 - Forum - Montreal- Canada 21 July 1985 - Worcester Centrum - Worcestor- USA 22 July 1985 - Worcester Centrum - Worcestor - USA 25 July 1985 - Civic Center - Providence - USA 26 July 1985 - Civic Center - Portland - USA 27 July 1985 - Civic Center - Hartfore - USA 28 July 1985 - Meadowlands - East Rutherford - USA 31 July 1985 - Spectrum - Philadelphia, PA August 1-2, 1985 Madison Square Garden, New York City, NY 3 Aug. 1985 - Fairground - Allentown - USA 5 Aug. 1985 - Capitol Center - Lanover - USA August 7-8, 1985 Jones Beach, Wantagh, NY 9 Aug. 1985 - Raindate - Long Island - USA 10 Aug. 1985 - Hershey Park - Hershey - USA 11 Aug. 1985 - War Memorial - Rochester - USA 12 Aug. 1985 - Saratoga Perf. Arts C. - Saratoga - USA 15 Aug. 1985 - Olympic Center - Lake Placid - USA 17 Aug. 1985 - CNE - Toronto, ON 18 Aug. 1985 - CCE - Ottawa, ON 21 Aug. 1985 - Centennial Hall - Toledo - USA 22 Aug. 1985 - Richfield Co - Cleveland - USA 23 Aug. 1985 - Civic Arena - Pittsburgh - USA 24 Aug. 1985 - Civic - Charleston - USA 25 Aug. 1985 - Revermont C. - Cincinnatti - USA 28 Aug. 1985 - Joe Louis Arena - Detroit - USA 29 Aug. 1985 - Joe Louis Arena - Detroit- USA 31 Aug. 1985 - Castle Farms - Charlevoix- USA 1 Sept. 1985 - Atwood Stadium - Flint - USA 4 Sept. 1985 - Wings Stadium - Kalamazoo - USA 5 Sept. 1985 - Coliseum Ft. - Wayne - USA 6 Sept. 1985 - Rupp Arena - Lexington - USA 7 Sept. 1985 - Market Square - Indianapolis, IN 8 Sept. 1985 - Roberts Stadium - Evansville- USA 10 Sept. 1985 - Assembly Hall - Champaign- USA 11 Sept. 1985 - Horizon - Chicago - USA 12 Sept. 1985 - Horizon - Chicago - USA 13 Sept. 1985 - MTV Awards Show - USA 14 Sept. 1985 - Mecca- Milwaukee- USA 15 Sept. 1985 - Dane City Arena - Madison - USA 18 Sept. 1985 - Civic Aud. - St. Paul - USA 19 Sept. 1985 - Carva Arena - Iowa City - USA 20 Sept. 1985 - Hilton Coliseum - Ames - USA 21 Sept. 1985 - Civic Arena - Omaha, NB 24 Sept. 1985 - Saddledome - Calgary, AB 25 Sept. 1985 - Coliseum - Edmonton, AB 27 Sept. 1985 - PNE Coliseum - Vancouver, BC 29 Sept. 1985 - Dome - Tacoma - USA 30 Sept. 1985 - Coliseum - Portland - USA October 1985 2 Oct. 1985 - Lawlor - Reno - USA 3 Oct. 1985 - Coliseum - Oakland- USA 4 Oct. 1985 - Coliseum - Oakland- USA 5 Oct. 1985 - Irvine Meadows - Irvine - USA October 8-12, 1985 Universal Amphitheatre, Los Angeles, CA 18 Oct. 1985 - ASU Activities - Tempe - USA 19 Oct. 1985 - Pan America Center - Las Cruces - Mexico 20 Oct. 1985 - Tingley Coliseum - Albuquerque - USA 23 Oct. 1985 - Kansas Coliseum - Wichita - USA 24 Oct. 1985 - Hammons - Springfield - USA 25 Oct. 1985 - Myriad - Oklahoma City - USA 26 Oct. 1985 - Kemper - Kansas City - USA 27 Oct. 1985 - Kiel - St. Louis - USA 28 Oct. 1985 - Kiel - St. Louis - USA 31 Oct. 1985 - Ass Center - Tulsa, OK 1 Nov. 1985 - Reunion Arena - Dallas, TX 2 Nov. 1985 - Erwin Events - Austin, TX 3 Nov. 1985 - Summit - Houston, TX 6 Nov. 1985 - LSU Assembly - Baton Rouge - USA 7 Nov. 1985 - Gulf Coast 8 Nov. 1985 - Auburn Memorial Center - Auburn - USA 9 Nov. 1985 - UTC - Chatanooga- USA 10 Nov. 1985 - MidSouth - Memphis - USA 13 Nov. 1985 - Hersht Coliseum - Shreveport - USA 14 Nov. 1985 - Humphrey - Starkville - USA 15 Nov. 1985 - Jeff Co. Civic - Birmingham - USA 16 Nov. 1985 - Murphy Center - Murfrebor - USA 17 Nov. 1985 - Stokely Center - Knoxville - USA 20 Nov. 1985 - W.V.U. Gym. - Morgntown - USA 21 Nov. 1985 - Civic - Roanoke - USA 22 Nov. 1985 - Hampton Coliseum - Hampton - USA 23 Nov. 1985 - Civic - Greensboro- USA 24 Nov. 1985 - Coliseum - Columbia- USA 27 Nov. 1985 - Coliseum - Richmond - USA 29 Nov. 1985 - Coliseum - Charlotte - USA 30 Nov. 1985 - Civic Center - Savannah - USA December 1, 1985 Omni - Atlanta- USA December 4, 1985 O´Connell Center - Gainesville - USA December 5, 1985 Conv. Center - Orlando - USA December 6, 1985 Sundome - Tampa - USA December 7, 1985 Baseball Stadium - Miami- USA December 10, 1985 Chandler Velodrome, Brisbane, AUS December 12-13 & 15, 1985 Entertainment Centre, Sydney, AUS December 17-20, 1985 Entertainment Centre, Melbourne, AUS December 23-24, 1985 Entertainment Centre, Perth, AUS December 27, 1985 Festival Hall, Osaka, JPN December 28, 1985 Budokan, Tokyo, JPN

The Band: Jack Bruno - Drums Deric Dyer – Saxophone and Keyboards Bob Feit – Bass Guitar and Vocals John Miles – Keyboards, Guitars and Vocals Steve Scales - Percussion James Ralston – Guitars and Vocals Laurie Wisefield - Guitar Don Snow – Keyboards, Saxophone and Vocals Ollie Marland – Keyboards and Vocals

4-5 March 1987 - Olympiahalle - Münich, GER 6-7 March 1987 - Frankenhalle - Nürnberg, GER 8-10 March 1987 - Deutschlandhalle - Berlin, GER 12-16 March 1987 - Festhalle - Frankfurt, GER 17 March 1987 - Sporthalle- Hamburg, GER 20-21 March 1987 - Isstadion - Stockholm, SWE 22 March 1987 - Scandinavium - Gothenberg, SWE 29-31 March 1987 - The Bercy - Paris, FRA 1 April 1987 - Palais Des Sports - Antwerp, BEL 3-6 April 1987 - The Ahoy - Rotterdam, NED 7 April 1987 - Weser-Ems-Halle - Oldenburg, GER 9-12 April 1987 - Westfalenhalle - Dortmund, GER 14-19 April 1987 - Olympiahalle - Münich, GER 21-25 April 1987 - Hallenstadion - Zürich, SUI 28-30 April 1987 - Eissporthalle - Mannheim, GER 1-2 May 1987 - Eissporthalle - Hannover, GER 4-7 May 1987 - Martin Schleyerhalle - Stuttgart, GER 9-11 May 1987 - Stadthalle - Vienna, AUT 17 May 1987 - Rockodrome - Madrid, SPA 19 May 1987 - Estadio Luis Casanova - Valencia, SPA 21 May 1987 - Plaza De Toros - Barcelona, SPA 23 May 1987 - Amphitheatre - Verona, ITY 26 May 1987 - Le Zenith - Montpellier, FRA 27 May 1987 - Palais De Sports - Lyon, FRA 28 May 1987 - Sports Ground- Nijmegen, NED 30 May 1987 - Royal Dublin - Dublin, IRE 1-3 June 1987 - S.E.C.C. - Glasgow, SCOT 5-8 June 1987 - N.E.C. - Birmingham, ENG 11-18 June 1987 - Wembley Arena - London, ENG 20 June 1987 - Valle-Hovin - Oslo, NOR 21 June 1987 - Wildparkstadion - Karlsruhe, DEN 24 June 1987 - Eisstadion - Liebenau Graz, AUT 27 June 1987 - St. Jakob Fussballstadion - Basel, SUI 28 June 1987 - Galopprennbahn - Münich, GER 30 June 1987 - Eissporthalle - Hannover, GER 2 July 1987 - Waldbühne - Berlin, GER 3 July 1987 - Volksparkstadion - Hamburg, GER 4 July 1987 - Georg Melches Stadion - Essen, GER 5 July 1987 - Idraetsparken - Copenhagen, DEN 8 July 1987 - Piazza Grande - Locarno, SUI 9 July 1987 - Stade Annecy - Le Vieux Annecy, FRA 11 July 1987 - Les Arena - Fréjus, FRA 13 July 1987 - Les Arena - Nimes, FRA 15 July 1987 - Stade De Dax - Dax, FRA 16 July 1987 - Plaza De Toros - Bilbao, SPA 18 July 1987 - Estadio Municipal Malaga - Marbella, SPA 21-22 July 1987 - Park Concert - Tel Aviv, ISR 24 July 1987 - Airport Festival - Oostende, BEL 25 July 1987 - Nürburgring - Koblenz, GER 26 July 1987 - VFB Waldstadion - Giessen, GER 10 Aug. 1987 - Civic Center - Portland - USA 12-14 Aug. 1987 - Jones Beach - Wangagh - USA 15 Aug. 1987 - Olympic Center - Lake Placid - USA 17-18 Aug. 1987 - Garden State - Holmdel - USA 19-20 Aug. 1987 - Great Woods - Mansfield - USA 22-23 Aug. 1987 - Merriweather Post Pavillion - Columbia 24 Aug. 1987 - Madison Square Garden - NY 25 Aug. 1987 - Spectrum - Philadelphia, PA 27 Aug. 1987 - Forum - Montreal - Canada 29 Aug. 1987 - CNE - Toronto - Canada 30 Aug. 1987 - CCE - Ottawa - Canada 31 Aug. 1987 - SPAC - Saratoga Canada 1 Sept. 1987 - State Fair - Syracuse - USA 2 Sept. 1987 - War Memorial - Rochester - USA 4 Sept. 1987 - Pine Knob Music Theatre - Clarkston - USA 5 Sept. 1987 - Pine Knob Music Theatre - Clarkston - USA 6 Sept. 1987 - Castle Farm - Charlevois - USA 9 Sept. 1987 - Blossom - Cleveland - USA 10 Sept. 1987 - Univ. of Dayton Arena - Dayton - USA 11-12 Sept. 1987 - Poplar Creek - Hoffmann Estate - USA 13 Sept. 1987 - Marcus Amphitheatre - Milwaukee, WI 2 Oct. 1987 - Pacific Amphitheatre - Costa Mesa - USA 4 Oct. 1987 - Tacomadome - Tacoma - USA 5 Oct. 1987 - PNE Coliseum - Vancouver - Canada 7 Oct. 1987 - Saddledome - Calgary Canada 8 Oct. 1987 - Northlands Coliseum - Edmonton, AB 10 Oct. 1987 - Arena - Winnipeg, MB 13 Oct. 1987 - Civic Center - St. Paul - USA 15 Oct. 1987 - SIU Arena - Carbondale - USA 16 Oct. 1987 - Civic Center - Peoria - USA 17 Oct. 1987 - Kemper - Kansas City, MO 18 Oct. 1987 - Hilton - Coliseum Ames - USA 21 Oct. 1987 - Metro Center - Rockford - USA 22 Oct. 1987 - Coliseum - Fort Wayne - USA 23 Oct. 1987 - Market Square - Indianapolis, IN 24 Oct. 1987 - Freedom Hall - Louisville, KY 27 Oct. 1987 - Coliseum - Charlotte - USA 29 Oct. 1987 - Murphy Center - Murfreesboro - USA 30 Oct. 1987 - UTC Arena - Chattanooga - USA 31 Oct. 1987 - Stokley Arena - Knoxville - USA November 1987 1 Nov. 1987 -- Civic Center - Charleston - USA 4 Nov. 1987 -- Civic Arena - Pittsburgh - USA 5 Nov. 1987 -- Coliseum - Richmond - USA 6 Nov. 1987 -- UNC Smith Center- Chapel Hill - USA 7 Nov. 1987 -- Coliseum - Hampton - USA 8 Nov. 1987 -- Carolina Coliseum - Columbia - USA 11 Nov. 1987 -- OMNI - Atlanta - USA 12 Nov. 1987 -- Ocean Center - Daytona Beach - USA 13 Nov. 1987 -- Sportatorium - Miami - USA 14 Nov. 1987 -- Sundome - Tampa - USA 15 Nov. 1987 -- Leon County Civic - Tallahassee - USA 18 Nov. 1987 -- Von Braun Civic - Huntsville - USA 19 Nov. 1987 -- Mid-South Coliseum - Memphis - USA 20 Nov. 1987 -- Jefferson County Coliseum - Birmingham - USA 21 Nov. 1987 -- Municipal Auditorium Mobile - Alabama - USA 22 Nov. 1987 -- Hard Rock Cafe - New Orleans, LA (private) 25 Nov. 1987 -- Summit - Houston, TX 27 Nov. 1987 -- San Antonio, TX 28 Nov. 1987 -- Erwin Center - Austin, TX 29 Nov. 1987 -- Reunion - Dallas, TX December 1987 4 Dec. 1987 - Municipal Coliseum - Lubbock, TX 5 Dec. 1987 - Tingley - Albuquerque, NM 6 Dec. 1987 - ASU Activity Center - Phoenix, AZ 7 Dec. 1987 - TCC Arena - Tucson, AZ 9 Dec. 1987 - Sports Arena - San Diego, CA 10 Dec. 1987 - Great Western Forum - Los Angeles, CA 11 Dec. 1987 - Great Western Forum - Los Angeles, CA 13-14 Dec. 1987 - Coliseum - Oakland, CA 15 Dec. 1987 - Arco Arena - Sacramento, CA 16 Dec. 1987 - Lawlor - Reno, NV 18 Dec. 1987 - Salt Palace - Salt Lake City, UT 20 Dec. 1987 - McNichols - Denver, CO

3 Jan. 1988 - River Plate stadium - Buenos Aires, ARG 9-10 Jan. 1988 - Pacaembu Stadium - Sao Paulo, BRA 12 Jan. 1988 - Estadio De National de Chile - Santiago, CHL 16 Jan. 1988 - Maracana Stadium - Rio de Janeiro, BRA (182.000 - Worldrecord!!) 21 Jan. 1988 – Neal S. Blaisdell Center – Honolulu, HI 26 and 27 Jan. 1988 – Perth Entertainment Centre - Perth, AUS 30 and 31 Jan. 1988 – Entertainment Centre – Adelaide, AUS 1, 2 and 4 Febr. 1988 – Festival Hall - Melbourne, AUS 6-7 Febr. 1988 - Entertainment Center - Sydney, AUS 10-11 Febr. 1988 - Entertainment Center Brisbane, AUS 12-15 Febr. 1988 - Entertainment Center - Sydney, AUS 17 Febr. 1988 - Entertainment Center - Melbourne, AUS 18 Febr. 1988 - Istora Senayan - Jakarta, INDO 20-23 Febr. 1988 - World Trade Center - Singapore 24 en 25 Febr. 1988 - Stadion Negara - Kuala Lumpur, MALAY 26 and 28 Febr. 1988 - Huamark Stadium - Bangkok, THAI 5, 6 and 8 March 1988 - Municipal Stadium - Taipei, TAI 14 March 1988 - Nippon Budokan Hall - Tokyo, JPN 20-23 March 1988 - Yokohama Stadium - Yokohama, JPN 24-25 March 1988 - Budokan - Tokyo, JPN 27-30 March 1988 - Castle Hall - Osaka, JPN

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Tina Turner  

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Tina Turner (born November 26, 1939) is the stage and recording name of Anna Mae Bullock, a critically acclaimed, world renowned R&B and soul singer-songwriter, actress and dancer, hailing from Nutbush, Tennessee, U.S.

Tina Turner’s earliest musical excursion came when she began singing in her teens under the name Little Ann, and later became a backing singer for Ike Turner’s Kings of Rhythm. It wasn’t long however before Anna Bullock’s soaring vocals stole the show and in 1960 the group transitioned into the Ike and Tina Turner Revue. Alongside Ike, Tina earned critical acclaim and commercial success with the singles “A Fool in Love”, “River Deep – Mountain High”, “Proud Mary”, and “Nutbush City Limits”. The singles earned the duo both national and international esteem, and resulted in a slot opening for the Rolling Stones. In 1974 plagued by Ike’s drug habits and tumultuous behaviour Tina Turner left the group to pursue a solo career.

A year later in 1975 Turner was offered the role of the Acid Queen in The Who’s film version of “Tommy”. Despite providing an unforgettable performance, the film was all too forgettable, and soon passed from public’s consciousness. Turner’s first few solo releases “Acid Queen”, “Rough” and “Love Explosion” all charted poorly and could all too well have deterred a singer of a lesser disposition. However with backing from the likes of Rod Stewart, The Rolling Stones, Chuck Berry and David Bowie, Tina Turner bounced back and released the Al Green Cover “Let’s Stay Together” in 1983. The single catapulted Turner into U.S. and a number of European charts, and resulted in the singer inking a three-album deal with Capitol Records.

The album “Private Dance” was subsequently released in June 1984 charting at No. 3 on the Billboard 200. Selling over 11 million copies, the album spawned the Grammy-winning, No. 1 single “What’s Love Got to Do with It”, along with “Better Be Good to Me”, and “Private Dancer”. Following the release Turner played the role of Aunty Entity in the film “Mad Max Beyond Thunderdome” for which she later won the NAACP Image Award for Outstanding Actress. In 1986 the singer released the single “Typical Male” after which Turner’s music moved away from the upper echelons of the chart. The albums “Foreign Affair” in 1989, “Wildest Dreams” in 1986 and “Twenty Four Seven” in 2000 earned strong reviews from critics and all saw respectable chart placing. The best-of compilation “All the Best” arrived in 2004, followed by a performance alongside Beyoncé at the 2008 Grammy Awards.

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Tiny Turner is arguable the best female performers ever! The power and tone of her voice, the energy of her performance and her sheer love for the stage. Very few have got gigs rocking the way Tiny Turner could! She has sold more concert tickets than any other live performer EVER! She has enjoyed success as a singer, dancer, writer and as an actress. She has received an enormous amount of respect from peers, many honours and awards, including 8 grammy awards and record sales of over 100 million! After breaking into the music scene in 1960 whilst part of the Ike & Tina Turner Revue she soon became known worldwide as an unbelievable live act! With amazing songs such as “Proud Mary”, “River Deep- Mountain High”, “A Fool in Love” and “Nutbush City Limits” there was no doubting they’re ability to get a crowd going. She certainly had something quite special, an ability to bring a room alive! To get the room dancing! Even, at the age of my nan, she would be rocking a stage at a stadium sized gig! Considered by many as the great female rock singer ever, the ‘queen of rock and roll’ and a performer who is still performing at the highest level after over 50 years!

Still need convincing? Ok! Once again! Tiny Turner has sold more concert tickets than any other live performer EVER!!!!!

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There are few vocalists who are completely incomparable due to the uniqueness of their tones, 80s soul/pop siren Tina Turner is very much one of those. She has a whole plethora of hits and is an icon within her own right and despite the hair not being quite outrageous these days, the stage show very much is. She is an impassioned performer even in her later years and really knows how to work the stage, her accompanying musicians and of course the adoring crowds.

The amount of legendary tracks included tonight could make your head spin 'River Deep, Mountain High' 'Private Dancer' and 'We Don't Need Another Hero' all feature along with covers of iconic rock musicians proving Tina very much lives and breathes the genre. A highlight was a downtempo rendition of 'Addicted To Love' by Robert Palmer which allows that sultry, raspy vocal to really shine. It is of course the finale of 'The Best' and 'Proud Mary' that gets the whole crowd singing, dancing and cheering as the fabulous songstress struts from side to side of shade proving she cannot be considered to be past it.

I wld love to see Tina Turner in concert..I grew up listening to all her songs with my parents when I was a kid..love all her songs all the way bk to Ike and Tina Turner..they really new how to put on a show for sure..!..and nothing like proud Mary..!..she is “simply the best”..!

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Tina Turner’s 1985 comeback concerts still resonate with those who were there

• Published: May. 02, 2021, 5:00 a.m.

Tina Turner takes the stage at Richfield Coliseum on Aug. 22, 1985. (Photo: Janet Macoska)

• Troy L. Smith, Cleveland.com

CLEVELAND, Ohio – Before she ever became a solo star who packed stadiums around the world, Tina Turner was already a legend.

Born Anna Mae Bullock, Turner spent 16-years with rock and roll pioneer and husband Ike Turner. The duo of Ike & Tina Turner earned a reputation as one of the greatest live acts in music history with iconic songs like “River Deep – Mountain High,” “A Fool In Love” and their iconic cover of Creedence Clearwater Revival’s “Proud Mary.”

However, none of that mattered by the late 1970s. Removed from her abusive relationship with Ike, Turner was relegated to playing cabaret shows in Las Vegas just to pay the bills.

But that wouldn’t last for long. Down but not out, Turner would embark on the greatest comeback story in music history with her album, “Private Dancer,” and the corresponding tour that stopped at Ohio’s Richfield Coliseum on Aug. 22, 1995.

“I loved that after being dominated by Ike for so long, Tina was able to take charge of the situation and envision what she wanted her life to be,” says photographer Janet Macoska , who shot Turner’s Richfield concert. “Tina always wanted to be in of a stadium full of people. And when you see that finally happen, you just are so thrilled for her that it all came true.”

[ Listen the CLE Rocks Podcast on Apple , Spotify , iHeart or Acast for the story behind Tina Turner’s 1985 “Private Dancer Tour” ]

What’s Love Got to Do with It

For almost all of their time together, Tina Turner would suffer a tremendous amount of emotional and physical abuse at the hands of Ike. Those horror stories would play out both the 1993 film “What’s Love Got to Do with It” and Tina’s autobiography “I, Tina.” But the abuse first came to light in a 1981 People Magazine interview.

“I went through basic torture,” Turner would say of her life with Ike. “I was living a life of death. I didn’t exist.”

The divorce between Tina and Ike was finalized in 1978. Tina asked for nothing in the form of spousal support or music royalties. But she did demand one thing – her stage name Tina Turner, which had been given to her by Ike. She was granted her wish.

“When she did go to court and she said, I don’t want anything from Ike. All I want is my name, she bet on herself,” recalls Barry Gabel, senior vice president of marketing and sponsorship sales. “Maybe nobody else saw her as more than just a niche Las Vegas act. But with the right handlers and the right songs, she knew she would be a superstar.”

Show Me Some Respect

Following her split with Ike, Tina Turner earned a living making appearances on TV shows like “The Hollywood Squares” and “The Sonny & Cher Show,” as well as playing cabaret shows at Caesars Palace in Las Vegas.

Tina Turner circa 1980. ullstein bild via Getty Images

Turner would take her show on the road to smaller venues. But her first two albums – 1978′s “Rough” and 1979′s “Love Explosion” – failed to chart. It wasn’t until a successful cover of Al Green’s “Let’s Stay Together” in 1983 that Turner earned enough confidence from her label Capitol Records to record a new studio album.

“Capitol Records took on the new Tina and who that was going to be,” says Macoska. “She wanted to be a rock singer. So, they knew they’d have to find a way to introduce all music fans to that side of her.”

After releasing “Let’s Stay Together” and a mellowed out, yet powerful cover of The Beatles’ “Help!” Capitol Records felt it had the song to take things to the next level. There was just one problem – Turner hated it.

“She didn’t particularly care for ‘What’s Love Got to Do with It,’” remembers Gabel. “Between the producer and her manager, they said just listen to it and make it your own. And she just wound up owning that song.”

“What’s Love Got to Do with It” was a modest hit for British pop group Buzz Fizz in 1984. But in the hands of Turner, it would become a sensation and the backbone of her third studio album, “Private Dancer.”

Two weeks before the release of “Private Dancer,” Turner would join Lionel Richie as the opening act on his “Can’t Slow Down Tour.” The trek came to Richfield Coliseum for two nights in June 1984.

“She was given that short period of time to play and she slayed everybody,” says Gabel. “She was the perfect setup for Lionel because she was incredibly high energy. She just did the six, seven, eight songs, whatever she did, and people were just so psyched to see Tina.”

Turner played a 40-minute opening set on the tour before returning to the stage to sing a few songs with Richie. Her show came with a full backing band and dancers who followed Turner’s every move as she navigated the stage in a small dress and high heels. It was the rock show she always desired.

“I guess she said, ‘You know, I don’t know what they’re going to make of me because I’m not Lionel’s audience,” remembers Macoska. “She didn’t think they were going to like me. Well, they loved her. And she got to introduce the material from ‘Private Dancer.’ It was a great lead-in for her.”

Turner’s tour with Richie would wrap up in July 1984. By that September she had achieved the superstar status she’d always coveted as a solo artist. “What’s Love Got to Do with It” reached No. 1 on the Billboard Hot 100. The singles “Better Be Good to Me” and “Private Dancer” would also become Top-10 hits. “What’s Love Got to Do with It” would go on to win Record and Song of the Year at the 27th annual Grammy Awards in February 1985.

“She happened to hit that time in music where she could get the airplay across the board,” says Macoska. “She could do MTV and her image was that of a powerhouse.”

Tina Turner holds up a Grammy Award on Feb. 27, 1985 in Los Angeles, Calif. (AP Photo/Nick Ut). AP

I Might Have Been Queen

A week before her Grammy wins, Turner embarked on the massive Private Dancer tour, which would take her from Europe to Australia, Asia and, of course, North America. A year after opening for Lionel Richie, Turner was now headlining Northeast Ohio’s premiere music venue in Richfield.

“It was glorious,” says Macoska, who shot the first few songs of Turner’s set on Aug. 22 at Richfield Coliseum before taking a seat nearby to watch as a fan. “She’s just shooting out energy the way Springsteen would shoot out energy or Jagger. I just loved the show top to bottom, just watch this woman take charge of 20,000 people.”

Tina Turner at Richfield Coliseum in 1985. (Janet Macoska)

This time around, the stage was bigger. The band was fuller. The lights were brighter. The outfits were more glamorous. Even Tina’s hair seemed to take on a life of its own as she delivered an 18-song set that would have the audience standing for more than 90 minutes. And it all came from a woman who just a few months shy of her 46th birthday.

“There was sweat dripping off her. You didn’t see that from female performers,” recalls Gabel. “She’s the woman who literally taught Jagger how to move. So, just think about that persona on a woman that held that audience captive for that two-hour time period. I think that’s what the audience loved about Tina, that she gave it her all”

Turner with her band at Richfield on Aug. 22, 1985. (Janet Macoska)

I Can’t Stand the Rain

“The Private Dancer Tour” would go on to net $40 million and earn Pollstar’s “Comeback Tour of the Year Award.” Two years later, Turner would up the ante with the “Break Every Rule Tour,” a record-setting run that would become the seventh highest-grossing tour of the 1980s.

“It’s not that she was just gifted. She created her own space and was wholly unique in terms of her vocal technique and her dancing skills,” says T.J. Martin, director of HBO’s 2021 documentary “Tina.” “The more we dove into making the film, the more we realized there’s no one else really that occupies that space in music history that Tina does.”

Tina Turner in Rio de Janeiro, Brazil. Her show there in 1988 on the Break Every Rule Tour remains the largest paying concert audience by a female artist with 180,000 spectators. Getty Images

Turner remained one of the biggest touring acts in the world for two more decades before retiring from performing in 2009 following her 50th-anniversary tour. She is nominated for the Rock & Roll Hall of Fame’s Class of 2021 as a solo artist outside of Ike & Tina, inducted as a duo in 1991.

Yet, even if Turner is inducted into the Rock Hall in Cleveland this October, she likely won’t be there to accept the honor in person. After a 60 year career, Turner now lives in Switzerland, happily removed from any burdens of being a celebrity.

“You get the sense from being around her that she wants to retire, not only from the stage but from being the persona of Tina Turner,” says Dan Lindsay, the documentary’s co-director. “She’s perfectly happy at her house gardening, decorating or going out to dinner with her friends in Zurich. I think she is at that stage in her life where she’s not interested in public life.”

Singer Tina Turner, left, speaks on stage at the opening night of "Tina – The Tina Turner Musical" at the Lunt-Fontanne Theatre on Thursday, Nov. 7, 2019, in New York. Turner has said the appearance would likely be the last public appearance of her 60-plus year career in the United States. Evan Agostini/Invision/AP

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How Tina Turner Pulled Off Pop’s Greatest Comeback

By David Browne

David Browne

O ne day in London’s Kensington district in 1983, Tina Turner ’s resurrection finally appeared within reach. The prior decade had been one of stage-shaking triumphs, personal nightmares, various degrees of mortification, and now, a chance at possible redemption. But as musician and producer Martyn Ware soon learned, Turner’s past was never in the rearview mirror — and on that day, it was terrifyingly in her face.

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Given how much she was embraced by old admirers, the MTV generation, and the industry — the holy-grail triumvirate in the music business at the time — Turner’s comeback should have been a cakewalk. Once the public learned what she’d endured with Ike, by way of a People interview in 1981, there were few pop stars more beloved. But the jarring reemergence of her ex-husband on an otherwise productive day in England would be far from the only hurdle in one of pop’s most unexpected returns. Even then, with the world cheering her on, Turner’s second act was never a given. At any moment, it could have been derailed by ageism, skeptics who wondered if she could make it on her own, music never released in her home country, and at least one racist music executive. Triggered in part by memories of life with Ike, she almost tripped herself up by not wanting to revisit the music that had made her a star to begin with. Only a series of happy accidents, combined with her unbridled belief in herself, would save her.

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At the time, few knew the horrors of her life offstage and in studios with her abusive and womanizing husband. “Ike was beating me with phones, with shoes, with the hangers,” she relayed in her first memoir, I, Tina . “Choking me, punching me — it wasn’t just slapping anymore.” Right before one show, he punched her so hard that he broke her jaw, and she had to still go onstage and sing. In 1976, at age 36, she left him and found herself raising four children while drowning in an ocean of debt. To earn a living, she took any work she could: on cheesy TV variety shows and in Vegas, where she resorted to covers of dance hits like “Disco Inferno”; during one dinnertime show, she accidentally dropped her mic into a customer’s steak. “Suddenly the booking agents didn’t think I had the ability to work without Ike,” she said. “It was like starting over again.”

But luckily for Turner, Davies stayed for the wilder second set. “People were standing on tables,” he recalled in I, Tina . “The chandeliers were shaking.” Before long, and with Turner’s consent, Davies fired two of her dancers and hired new musicians. “She wanted to rock,” says drummer Jack Bruno, one of the new recruits. “There were other tunes she would bring and put her touch on, which usually meant faster tempos. That was her signature thing, how she made songs her own.” To save money, the new musicians were outfitted in matching black karate suits (instead of the more costly tuxedos of the previous lineup). “Ike was the musician, the bandleader, the director, the business manager,” Turner said in 1981. “Now, that falls on me. That part is hard. I must make decisions I didn’t have to make before.”

As she told Rolling Stone at the time, “I want to get back into the rock of it!” Turner was still without a record deal and longed to be on par with the biggest bands of the time. “She wanted to be up there with the Stones and be mainstream and have hits of her own,” says Ann Behringer, one of her backup dancers and singers during this period — and with Davies’ help, that goal began taking shape. Rod Stewart invited her to join him on Saturday Night Live, and Turner opened for the Stones in New Jersey. 

During those early days of her rebirth, Turner still packed her set with Ike-era singles like “Proud Mary” and “River Deep, Mountain High.” But she often opened with a new addition to her repertoire — her own version of Stewart’s sleazy deep cut “Foolish Behavior,” renamed “Kill His Wife.” The lyrics alone were startling: “Why I wanna kill my wife?/I have this urge to take her life/Been planning for years to get rid of her/Not divorce, I really do mean to kill her.” During the instrumental break, Turner took the intensity one step further by grabbing a shocking prop — a noose, which she twirled around like a lasso.

STARTING WITH DAVIES sticking around for her Fairmont show, the happy-accident aspect of Turner’s return continued with James Brown. In 1982, British Electric Foundation — a partnership between Ware and Ian Craig Marsh — was working on a collection of synthed-up covers of songs from the Sixties and Seventies. The duo had enlisted Brown to front their remake of “Ball of Confusion.” But at the last minute, negotiations with Brown fell through, they say, and suddenly the producers were left with a backing track and no singer.

To Turner’s good fortune, the career-salvaging coincidences continued. In the offices of Virgin Records in London, Ware was bemoaning the fate of his project when Ken Berry, one of the founders of the label, walked by and overheard his predicament. Berry mentioned his friend Tina Turner: Maybe she’d be available? Ware had just seen her play in London and was reminded of the power of her voice and persona. “I was blown away by her talent and energy,” he recalls. “And I thought, ‘Well, if anybody can do it, Tina could.’”

I was blown away by her talent. I thought, ‘if anybody could do it, Tina could.’ 

When Ware offered Turner and Davies plane tickets to London, they accepted — but the first phase of her comeback almost fell through. When she learned that the song in question was “Ball of Confusion,” she “freaked out,” Davies later recalled in I, Tina . “She was so afraid of being put back into any kind of category like ‘oldies’ or ‘R&B.’” (In Ware’s memory, Turner had rehearsed the song before, but may have been unnerved by the fact that the “band” amounted to a bank of synthesizers.) Eventually, Turner went along with the idea, cutting the vocal in one day. Whether the song and era evoked memories of Ike was unclear, but she seemed ready to move on. “That was quite tricky, to sing that song — it sounds like there’s more than one voice on it,” Turner said afterward to Ware. “And I’m saying, ‘It’s the Temptations, Tina,’” he recalls. “She said, ‘Who are they?’ My theory is that she turned her back on soul music. It’s partly [Ike] and partly that she felt more connection with the world of rock & roll.”

A Turner revival now seemed possible — until, again, it almost wasn’t. In 1983, Capitol replaced its team with new management, who began questioning some of the projects in the works. In an infamous comment made to Carter, first reported on PopMatters in 2009, an unnamed executive informed Davies that he was dropping Turner from the label’s roster, slurring her as an “old n—-r douchebag.” (After audio of that comment was included in the 2021 documentary Tina, Capitol issued a statement saying the company was “under different ownership and management, and we’re only now learning of those reprehensible and appalling comments.”) Dropping to his knees in a meeting, Carter (as he told PopMatters) informed the boss that he wouldn’t leave the room until he called Davies to say he’d made “a mistake.” Eventually, the executive begrudgingly agreed to reverse his decision, while adding that the company would barely lift a finger to promote an album. Her new music would be dead on arrival.

To modernize her sound and image, Turner had dragged her repertoire into the Eighties, too, incorporating Don Henley’s “Dirty Laundry” and Bowie’s “Cat People (Putting Out Fire)” into her set. The Bowie association would lead to another pivotal, if accidental, moment in her life. In January 1983, Bowie was in New York to sign with EMI, and was asked what he was planning to do that evening. To the surprise of the staff, he announced he was going to see his favorite singer: Turner. Thanks to that endorsement, Davies unexpectedly received a request for more than 60 free tickets to the show, all for employees of the label. “I became infinitely more interesting to them after I got David’s seal of approval,” Turner said. “I didn’t know any of this until later.”

Dressed for part of the show in a black-leather minidress, Turner was up for the challenge: Her intro to “Proud Mary” was even more suggestive than usual, her renditions of the Bowie and Henley songs burned down the house, and a slow, simmering version of the Beatles’ “Help!” added a touch of real-life gravitas. At one point, Behringer turned toward the balcony that wrapped around most of the venue to see Turner’s all-star fans cheering her on. “You look up and there’s David Bowie and all these people, and it was like, ‘Whoa,’” she says. “They were all rooting for her 100 percent. They all idolized her.”  

After the show, everyone gathered in the small VIP room off the office of club owner Jerry Brandt, which held 10 people tops. Turner, who always insisted she didn’t drink or do drugs, playfully grabbed a champagne bottle and, in one of many flirty moments between them, pretended to pour it into Bowie’s mouth. According to photographer Bob Gruen, who was in the room, Bowie played along, although he was worried the champagne would spill on his clothes. The festivities carried on at Keith Richards’ room at the Plaza hotel, where Richards played piano, and food and alcohol were wheeled in until dawn. “Everyone was happy for Tina that night,” says Gruen. “She showed she could do it by herself; it didn’t have to be ‘Ike and Tina.’” As Turner later wrote, “For me, that night at the Ritz was the equivalent of going to the ball (minus the part about Prince Charming) because it changed my life dramatically.”

With that, work on what would become Private Dancer began, starting with Turner returning to London for another collaboration with Ware and Marsh. And again, Turner was less than enthralled with the songs they suggested, which included “Let’s Stay Together.” “Aren’t you guys into any rock & roll?” she asked. Again, Turner relented: As she admitted, “I had a crush on someone back in America,” so the song appealed to her. As with “Ball of Confusion,” her simmering take on the Al Green classic was initially not available in the states. Only after it had become a hit in the U.K. did Capitol deign to release it at home.

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But the success of “Let’s Stay Together” finally sent Private Dancer into overdrive, and Davies and Carter scrambled to find producers and songs. One of them, “What’s Love Got to Do With It,” had already been rejected by other big names. Turner herself nearly passed. “I didn’t like it,” Turner said. “I didn’t think it was my style,” also dubbing it “wimpy.” But Davies persevered, and the single, which brought out the weariness and tenderness in Turner’s voice, would be the one that firmly announced to the world that Turner was reborn. It had taken only four years of expectations, crushed hopes, wrong turns, and slurs, but Turner finally arrived, and for good. “The whole thing is about earning your way,” she later wrote in I, Tina , pondering advice to a child, “and you don’t really get there until you earn it.”

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Tina Turner After Ike: The ’80s Comeback

Guitarist and bandleader Ike had given Tina—originally named Anna Mae Bullock—an outlet for her impassioned vocalizing and mesmerizing performances in his band the Kings of Rhythm. Backed by him, a team of ferocious players and the Ikettes vocal group, Tina had already tasted considerable success, scoring such crossover hits as “A Fool in Love,” “It’s Gonna Work Out Fine,” the Phil Spector-produced “River Deep—Mountain High” and the pair’s Grammy-winning, million-selling total reimagining of Creedence Clearwater Revival’s “Proud Mary,” which gave Ike and Tina their signature tune following its rise to #4 on the Billboard chart.

Watch the Ike and Tina Turner Revue perform “Proud Mary” on The Ed Sullivan Show in 1970

Related: Tina Turner died on May 24, 2023, at age 83

[In March 2018, Tina – The Tina Turner Musical opened at London’s Aldwych Theatre to rave reviews. The musical opened at Broadway’s Lunt-Fontanne Theatre in November 2019 to equal acclaim.]

Ike and Tina had found favor not only with the R&B/soul crowd but with rockers as well—the Rolling Stones recruited what was by then called the Ike and Tina Turner Revue to open for them on their 1969 American tour and the couple became regulars on the rock concert circuit for the next several years: Their 1971 album Live at Carnegie Hall/What You Hear Is What You Get became the best-selling of their career; audiences were especially enthralled by Tina ’s onstage style, equal parts sensuality and raw, incendiary soul power.

What fans didn’t know at the time—but would find out later, in her autobiography, I, Tina— was that Ike had been increasingly abusive to Tina for years, both physically and emotionally. (When confronted with this later, Ike admitted to having slapped and punched his wife but denied beating her.) Married since 1962, Tina had finally had enough by the late ’70s; her well-being, she decided, was more important than hitching her career to that of a man who treated her so violently. She was done with him, and if she were to still have a career, it would sort itself out. (Ike Turner died in 2007.)

Related: Tina Turner was honored in 2018 with a Grammy Lifetime Achievement Award

Watch the official video for “What’s Love Got to Do With It”

It didn’t take long for Tina Turner to find her way back—bigger than ever, unimaginably so. With MTV having launched in 1981, the very visual Tina Turner was a perfect candidate for heavy rotation. She’d eased into her solo career while awaiting the divorce papers, playing smaller Vegas venues to receptive crowds, touring abroad and appearing on TV shows in the States. Still, her recordings weren’t doing well at all, so when her new manager advised that she refashion herself as a rock star, as opposed to a traditional soul singer, Tina agreed. High-profile gigs in New York and L.A., including opening dates for the Stones and Rod Stewart, led to a new singles recording deal with Capitol Records (friend David Bowie having nudged the label a bit to make it happen).

Her first release under the new arrangement, a cover of Al Green’s “Let’s Stay Together,” reacquainted fans with the veteran singer, although it peaked only at #26. It was big enough for Capitol to offer Turner an upgrade to her contract though, a three-album deal, the first result of which was Private Dancer , recorded in London and released in June 1984. Wholly of its time, the masterpiece took off quickly, as did the single “What’s Love Got to Do With It,” written by Terry Britten and Graham Lyle and previously recorded by the British group Bucks Fizz. By September, aided by the ubiquitous video play, Tina Turner had herself her first (and only) #1 single. Two other singles, “Better Be Good to Me” and the album’s title track, followed “What’s Love…” into the top 10. Private Dancer itself, meanwhile, climbed to #3 on the Billboard album chart, where it lodged for 11 solid weeks, eventually selling over 20 million copies worldwide.

Watch Tina duet with Mick Jagger at Live Aid in 1985

Tina Turner attained a superstardom in the 1980s that far surpassed what she’d achieved with her ex-husband. Her tours were sellouts, and she took home an NAACP Image Award for her role in the film Mad Max Beyond Thunderdome . In 1993, the film What’s Love Got to Do With It chronicled her professional rise amidst a very troubled marriage.

There were, of course, many other recordings, videos and sellout tours, until the 2000s, when she began winding down her involvement in the music business (her 50th anniversary tour in 2008 was also her farewell). Turner moved permanently to Switzerland, where she became a citizen in 2013, the same year she married her longtime companion, German music executive Erwin Bach. She published another book, My Love Story: A Memoir , in 2018.

Turner—born on November 26, 1939—will long be remembered as one of the most sensational, daring and courageous women in the world of rock ’n’ roll.

She sent a message to her fans on her 80th birthday

She was won every award imaginable, with 12 Grammys, selection to the Rock and Roll Hall of Fame (first with Ike, in 1991, and later as a solo artist in 2021) and a Kennedy Center Honor (2005).

Watch the video for the title track from Private Dancer

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1 Comment so far

TINA, Kudos to You and Your Musical Talents. The Musical Library that You have Given Us Over the Years Will Forever Live On in the Soulful Emotion of Your Musical Spirit.. I Need to Comment on Your Performance at Live Aid in 1985 with Mick Jagger. The Chemistry Between You Two was Undeniable. Keep Rockin’!!!

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Tina Turner Online

Jan. 1980 17 Jan. 1980 - TV: Performing at Musikladen - Germany Ike & Tina Turner perform "Nutbush City Limits" (Oldie: Dec. 1973)

Febr. 1980 18 - 23 Febr. 1980 - Concert: Hyatt Regency - Dearborn- Michigan, USA

April 1980 14 April 1980 - Performing on Olivia Newton John Hollywood Nights - ABC - USA Together with Olivia Newton John, Peaches, Karen Carpenter and Toni Tennille Tina performs "Heartache Tonight".

May 1980 May 1980 - LP - Tina Turner: Love Explosion (9 tracks) - Ariola (201 053-320)/ PGP RTB 2220156) - Yugoslavia 1980 - LP - Tina Turner: Love Explosion (9 tracks) - United Artists Records (UAJ (V) 1040) - South Africa 1980 - LP - Tina Turner: Love Explosion (9 tracks) - Derby (DBR 20190) - Italy

Nov. 1980 From the 17th of November 1980 till the beginning of December 1980 Tina Turner was on tour in Australia. 21 Nov. 1980 - Melbourne - Australia 23 Nov. 1980 - TV: Performing on Countdown Show - Australia Tina performs "Are you breaking my heart." 24 Nov. 1980 - Private Concert for a newspaper in Australia

Dec. 1980 From the beginning of December 1980 till the 24th of December 1980 she was on tour in Australia and the South-East of Asia. 9-13 Dec. 1980 - Concert: St. George Leagues Club, Kogarah, Australia 20 and 21 Dec. 1980 - Concert: Bangkok - Thailand 24 Dec. 1980 - Concert: Hongkong - China

Bette Midler was at a concert from Tina Turner. Tina Turner invited Bette to do the song "Hollywood Nights" with her. After the concert Elton John took Tina Turner to Bette Midler's birthday party. With Elton John she performed "The Bitch is back" in Australia.

1980 - Tina gets a new band. Kenny Moore who is a pianist and singer. Guitarist James Ralston, who brings drummer Jack Bruno with him. And Bob Feit, a bassist from New York. These four artists became the base of Tina´s group. 1980 - Concert: Hammersmith Odeon - London, UK 1980 - Concerts in Eastern Europe 1980 - Concerts in the Middle East

1980 - 7 Inch Single - Ike & Tina Turner: Shame, shame, shame/ Party vibes - Fantasy Records (1A 006-64159) - The Netherlands 1980 - 12 Inch Single - Ike & Tina Turner: Shame, shame, shame/ Party vibes - Fantasy Records (1A 052Z-64159) - The Netherlands 1980 - 12 Inch Single (Promo) - Ike & Tina Turner: Shame, shame, shame/ Party vibes - Fantasy Records (D-161) - USA (2 Versions) 1980 - 12 Inch Single - Ike & Tina Turner: Shame, shame, shame/ Party vibes - Fantasy Records (F 1967) - France

1980 - 7 Inch Single - Tina Turner: Are you breaking my heart/ Hold on - Interfusion (K8075) - Australia

1980 - 7 Inch Single - Tina Turner: Shake a hand/ Never been to Spain - Paula Records (PAULA 450) - USA

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