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Hace 3 días · Al año siguiente, Ware le propuso a Tina grabar un nuevo cover, esta vez de “Let’s Stay Together” de Al Green. El cual se convirtió en un sorpresivo éxito (el primero de Tuner en muchos años) y fue la piedra fundamental para “Private Dancer”, ya que terminaría siendo parte del disco.
Hace 2 días · It was therefore a bold move for Turner to cover the song; and her boldness was matched by her producers on this track, Martyn Ware and Greg Walsh. Formerly of The Human League, the duo had since formed Heaven 17, and had worked with Turner before, when she guested on the 1982 album Music Of Quality And Distinction Volume One , by Ware and Walsh’s British Electric Foundation project.
Hace 1 día · “How it all came about was a miracle,” says Terry Britten, the co-writer and producer of Tina Turner ’s “ What’s Love Got To Do With It.”. The enduring single on Turner's 1984 album Private Dancer, released 40 years ago this month, was the songstress' ultimate emancipating act.It liberated her from the strictures of a music career bound to former husband Ike Turner, and debuted a ...
Hace 4 días · Carter’s gamble paid off. Musically, Private Dancer wasn't a straightforward R&B record, a genre Tina was known for. Instead, it embraced the burgeoning new wave sound, incorporating elements of synth-pop and rock. With a new direction spearheaded by producers like Rupert Hine and Martyn Ware, Turner's first album with Capitol Records provided a modern and edgy backdrop for the singer’s ...
Hace 3 días · Pero era vista principalmente como una figura anticuada, alguien cuya fama era cosa del pasado. «Private Dancer», lanzado el 29 de mayo de 1984, ... Turner recordaba haber entrado al estudio con Martyn Ware y Greg Walsh y maravillarse con lo que ella llamó la máquina de «rayos X» que producía las pistas.
13 de may. de 2024 · Released in May of 1984, the album was recorded in the UK and produced by several different teams, one of which included Rupert Hine and Martyn Ware of Heaven 17. The sound was different – sexier and more richly produced than Turner’s previous R&B cannon – her raspy, distinctive voice backdropped with synths, sax and slick ...
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