Their first hit, “A Fool in Love,” was recorded in 1961 when another singer failed to show up for a session. After several early ‘60s hit R&B singles, including “It’s Gonna Work Out Fine” in 1961, they became major stars in England.
A 1971 cover version of John Fogerty’s “Proud Mary” reached No. 4 on the pop chart. Ike and Tina divorced in 1976.
TIMELINE
November 5, 1931: Ike Turner was born.
November 26, 1939: Tina Turner was born.
March 1, 1951: Sam Phillips records “Rocket 88” with singer Jackie Brenston and Ike Turner’s band. for Chess records. This recording is widely considered the first rock and roll record.
October 17, 1960: Ike and Tina Turner hit #27 on pop and #3 on R&B with the Sue records single “A Fool In Love”.
September 18, 1961: Ike and Tina Turner #14 on pop and #2 on R&B “It’s Gonna Work Out Fine”.
1961: Ike and Tina Turner hit #4 on the R&B chart and #38 (1/27/62) on the pop chart with “Poor Fool”.
July 2, 1962: After getting hurt during a jump, Jimi Hendrix gets an honorable discharge from the Army. Over the next three years, he will play numerous gigs and studio sessions with such R&B stars as Little Richard, the Isley Brothers, Ike and Tina Turner and Sam Cooke.
March 27, 1971: Ike & Tina Turner hit #4 with “Proud Mary.”
November 17, 1973: Ike & Tina Turner hit #22 with “Nutbush City Limits”.
(2) As husband and wife, Ike & Tina Turner headed up one of the most potent live acts on the R&B circuit during the '60s and early '70s. Guitarist and bandleader Ike kept his ensemble tight and well-drilled while throwing in his own distinctively twangy plucking; lead vocalist Tina was a ferocious whirlwind of power and energy, a raw sexual dynamo who was impossible to contain when she hit the stage, leading some critics to call her the first female singer to embody the true spirit of rock & roll. In their prime, the Ike & Tina Turner Revue specialized in a hard-driving, funked-up hybrid of soul and rock that, in its best moments, rose to a visceral frenzy that few R&B acts of any era could hope to match. Effusively praised by white rock luminaries like the Rolling Stones and Janis Joplin, Tina was unquestionably the star of the show, with a hugely powerful, raspy voice that ranks among the all-time soul greats. For all their concert presence, the Turners sometimes had problems translating their strong points to record; they cut singles for an endless succession of large and small independent labels throughout their career, and suffered from a shortage of the strong original material that artists with more stable homes (Motown, Atlantic, Stax, etc.) often enjoyed. The couple's well-documented marital difficulties (a mild way of describing Ike's violent, drug-fueled cruelty) eventually dissolved their partnership in the mid-'70s. Tina, of course, went on to become an icon and a symbol of survival after the resurgence of her solo career in the '80s, but it was the years she spent with Ike that made the purely musical part of her legend.
Izear Luster "Ike" Turner, Jr. was born in Clarksdale, MS, in 1931; initially a pianist, he formed his first band in high school and put together the Kings of Rhythm in the late '40s. In 1951, that group cut the pivotal "Rocket 88," a tune often pinpointed as the first ever rock & roll record; however, since sax player Jackie Brenston took the vocal, the song was credited to Brenston & His Delta Cats rather than Turner & the Kings of Rhythm. Not long after, Turner switched from piano to guitar, and he and his band became a prolific session outfit in Memphis, backing various Sun artists and bluesmen during the early '50s. Turner moved the Kings of Rhythm to East St. Louis in the mid-'50s, where they became kingpins of the local R&B circuit. In 1956, he met a teenage, gospel-trained singer from Nutbush, TN, named Anna Mae Bullock, and promised her a chance to sing with his band. That chance kept failing to materialize, until one night Bullock simply grabbed the microphone and started belting. Impressed, Turner made her a part of his revue, changing her name to Tina. After Tina became pregnant by the band's saxophonist, Raymond Hill, she moved into Turner's house, an arrangement that led to their own relationship; the two were married in 1958 and soon had a child of their own.
In late 1959, Turner's band entered the studio to cut a song called "A Fool in Love" for the Sue Records label. The scheduled male vocalist failed to show up for the session, and Tina was pressed into service. Released in 1960, "A Fool in Love" shot to the number two spot on the R&B charts, also making the pop Top 30. Tina was now clearly the focal point of the act, which Turner rechristened the Ike & Tina Turner Revue; with a large, horn-filled ensemble and a group of leggy backup singers dubbed the Ikettes (who complemented Tina's short-skirted, uninhibited gyrating), the Revue eventually developed a reputation for putting on one of the most exciting live shows in R&B. The R&B-chart hits came fast and furious during the early '60s: 1961's "I Idolize You" (number five) and "It's Gonna Work Out Fine" (number two), 1962's "Poor Fool" (number four) and "Tra La La La La" (number nine). It was an impressive run, but the well went dry over the next several years; Ike supplied much of the band's original material, and although he was responsible for many of the early successes, he simply wasn't a world-class songwriter who could deliver hit-caliber tunes with regularity. Much of the Revue's repertoire consisted of bluesy, chitlin circuit R&B that wasn't exceptionally memorable. Ike & Tina branched out from Sue Records and spent the next few years issuing records on additional labels, including Kent, Modern, and Loma. While they had some undeniable high points and several chart entries, none reached the level of their initial run of Top Ten hits.
In 1966, the Turners worked with legendary producer Phil Spector, who was seeking a way to restore his artistic and commercial standing at the forefront of pop music in the wake of advances by the Beach Boys and Beatles. The powerful instrument that was Tina's voice appealed to Spector's sense of grandeur, and he conceived of a massive-scale production framing that voice that would rank as his greatest masterpiece. Ike already had a reputation for demanding control, and Spector struck his deal accordingly: although the records would be fully credited to Ike & Tina Turner, Ike would not be allowed to enter the studio or alter the finished recordings (in effect, Spector was paying him not to meddle). The centerpiece of Spector's collaboration with Tina was "River Deep - Mountain High," a monumental pop symphony that cost over $22,000 to produce (in 1966, this was a whopping sum for an album, let alone a single). The single represented Spector's so-called Wall of Sound style at its most gloriously excessive, and Tina's was one of the few voices in popular music strong enough to cut through the monolithic orchestral backing. With the high cost and his own slipping stature, Spector was betting the farm on "River Deep - Mountain High," and although it rocketed into the British Top Five and made Tina a star in the U.K., it flopped in America, where its mixture of black and white musical aesthetics was still slightly ahead of its time. A crushed Spector retreated from the music business not long after, and his Philles label yanked the accompanying album of the same name from American release (Spector wound up producing only five of the 12 cuts). Although some critics dismiss "River Deep - Mountain High" as overproduced bombast, many still consider it one of rock's greatest singles; George Harrison famously described it as "a perfect record from start to finish."
After the Spector deal fell through, Ike & Tina returned to their somewhat mercenary recording habits, cutting songs for Modern and Innis, then moving to Minit and Blue Thumb in 1969. That year, they went on the road as the opening act for the Rolling Stones, and Ike slightly retooled the Revue's sound to appeal to white rock audiences in addition to their core black following. In 1970, they signed with Liberty/United Artists and recorded Come Together, which incorporated contemporary rock & roll covers into their repertoire; versions of the Beatles' title track and Sly & the Family Stone's "I Want to Take You Higher" made the R&B Top 30. Released later that year, Workin' Together became the most popular album of their career, making the Top 25 on the strength of a storming reinterpretation of CCR's "Proud Mary." Featuring a notorious spoken intro by Tina, the "nice...and rough" version of "Proud Mary" gave Ike & Tina their first Top Five hit on the pop charts, and returned them to the same heights on the R&B side as well; it also won them a Grammy. The covers gimmick couldn't last forever, though, and their formula soon grew predictable; their last major success was 1973's "Nutbush City Limits," a semi-autobiographical song written by Tina that made the R&B Top 20 and just missed that placing on the pop side. By that point, Tina had grown increasingly uninterested in the duo's well-established act, and was tiring of the largely unchallenging material she continued to perform.
Unfortunately, the music itself wasn't the only factor in Ike & Tina's downturn. As a bandleader, Ike had long been a disciplinarian, but during the '60s he developed severe addictions to alcohol and, especially, cocaine. Wanting to maintain control over the star of his show at any cost, Turner kept his wife in line through an increasingly violent pattern of emotional and physical abuse; often drug-related, his flights of rage could result in severe beatings or burns that pushed Tina to attempt suicide in 1968, according to her autobiography. She continued to endure Ike's dominance through the early '70s, and her performances were clearly weary by the end; finally, she walked out on her husband and generally declined to pursue claims for financial compensation from their work together. Their divorce became official in 1976. After a long period of struggle, Tina re-emerged triumphantly in the '80s as a superstar solo act; Ike, meanwhile, ran his own recording studio for a time, but his drug problems worsened, resulting in several arrests. Sadly, and perhaps fittingly, he was serving prison time when he and his former wife were jointly inducted into the Rock and Roll Hall of Fame in 1991, and was unable to attend the ceremony. ~ Steve Huey, Rovi
Get You When I Want You
Ike & Tina Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Beat is gettin' stronger
Beat is gettin' longer too-oo-oo
Music's soundin' good to me
But I want to, said I want to
I want to take you higher
Baby, baby, let me light your fire
Ooo yeah, little bit higher
Boom-shaka-laka-laka
Boom-shaka-la-boonka-boo
(Hey! Hey! Hey! Hey!)
Beat is nitty-gritty
Music's in your city too-oo-oo
Music's gettin' good to me
But now don't ya, I said don't ya
Don't ya want to get higher
Yeah, don't ya want to get higher
Baby, baby, let me light your fire
Ooo ha, little bit higher
Boom-shaka-laka-laka
Boom-shaka-la-boonka-boo
(Hey! Hey! Hey! Hey!)
------ guitar ------
Come on baby (higher!)
Don't ya want to get high (higher!)
Ooo yeah! (higher!)
Light your fire (fire!)
Come on daddy (higher!)
A little bit higher (higher!)
I want to (higher!)
Said I want to light your fire (fire!)
Boom-shaka-laka-laka
Boom-shaka-la-boonka-boo
(Hey! Hey! Hey! Hey!)
Beat is here to make you mo-ove
Music's here to help ya groo-oo-oove
Music's soundin' good to me
But take your places
I'm gonna take you higher (higher!)
Yeah, baby (higher!)
Gonna take ya higher (higher!)
Ooo yeah (higher!)
Little bit higher (higher!)
c'mon daddy (higher!)
A little bit (higher!)
(higher!)
(higher!)
(higher!)
(higher!)
(higher!)
{fade}
The lyrics of Ike & Tina Turner's song I Want To Take You Higher celebrate the power of music to elevate the mind and spirit. The repetitive "boom-shaka-laka-laka" and "boom-shaka-la-boonka-boo" lines create a tribal-like chant that invites listeners to follow the rhythm and let themselves be carried away by the beat. The singer exclaims that the "beat is gettin' stronger" and "nitty-gritty," while the music is "soundin' good." Yet, there is something missing, and the singer confesses that "I want to take you higher." The call to transcendence is repeated throughout the song, with the singer urging the listener to let themselves go and feel the music in their bones. The refrain of "baby, baby, let me light your fire" reinforces the idea that the song is intended to ignite a passion that goes beyond the physical realm.
Moreover, the lyrics use call and response techniques, with the singer asking a question or making a statement, and the background singers echoing it. This creates a sense of community and shared experience, as if everyone is part of a ritual where the music is the conduit for a higher state of consciousness. The guitar solo towards the end of the song is a moment of liberation, as if the instrument is breaking free from the song's structure and soaring into a cosmic realm. The lyrics of I Want To Take You Higher are simple and repetitive, but their power lies in the way they capture the essence of the human desire to connect with something greater than oneself, and how music can be the vehicle to achieve it.
Line by Line Meaning
Beat is gettin' stronger
The rhythm of the music is intensifying
Beat is gettin' longer too-oo-oo
The rhythm of the music is also steadily increasing in length
Music's soundin' good to me
The sound of the music is appealing to the singer
But I want to, said I want to
The artist expresses a desire to take things to a higher level
I want to take you higher
The artist wants to elevate the energy and excitement of the music
Yeah, let me take you higher
The singer wants to guide the listener to a more intense musical experience
Baby, baby, let me light your fire
The singer wants to ignite a passion for music in the listener
Ooo yeah, little bit higher
The artist wants to increase the energy of the music just a little bit more
Boom-shaka-laka-laka
This is an exclamation of excitement and enthusiasm
Boom-shaka-la-boonka-boo
This is another exclamation of excitement and enthusiasm
Beat is nitty-gritty
The rhythm of the music is now more detailed and complex
Music's in your city too-oo-oo
The music is emanating from within the listener's own environment
But now don't ya, I said don't ya
The singer asks the listener to pay attention to their desire to intensify the music
Don't ya want to get higher
The singer is asking if the listener shares their desire to elevate the music
Baby, baby, let me light your fire
The singer wants to excite the listener with the music
Ooo ha, little bit higher
The artist wants to increase the intensity of the music even more
Come on baby (higher!)
The artist is urging the listener to join them in elevating the energy of the music
Don't ya want to get high (higher!)
The singer continues to encourage the listener to experience the heightened musical intensity
Ooo yeah! (higher!)
The singer emphasizes the excitement of the music
Light your fire (fire!)
The artist wants to inspire passion through the music
Come on daddy (higher!)
The artist addresses a male listener and encourages him to join in the musical excitement
A little bit higher (higher!)
The artist continues to ask for a slight increase in the intensity of the music
I want to (higher!)
The singer reiterates that they are striving for greater musical intensity
Said I want to light your fire (fire!)
The artist wants to ignite a passion for music in the listener
Beat is here to make you mo-ove
The rhythm of the music is meant to get the listener to dance
Music's here to help ya groo-oo-oove
The music will assist the listener in finding their own groovy rhythm
Take your places
The singer is preparing the listener for the ultimate musical experience
I'm gonna take you higher (higher!)
The artist is confident that they will be able to increase the intensity of the music
Yeah, baby (higher!)
The artist expresses eagerness to pursue greater musical excitement
Gonna take ya higher (higher!)
The singer reiterates their determination to elevate the energy of the music
Ooo yeah (higher!)
The singer emphasizes the excitement of the music
Little bit higher (higher!)
The artist continues to ask for a slight increase in the intensity of the music
c'mon daddy (higher!)
The artist directs this line at the male listener, asking them to participate in elevating the music's energy
A little bit (higher!)
The artist continues to urge a slight increase in intensity
(higher!)
The singer is intent on taking the music to its highest level of energy and excitement
(higher!)
The artist wants the listener to share in the excitement of the intense music
(higher!)
The singer is exhilarated by the intense music
(higher!)
The singer is encouraging greater energy and excitement in the music
(higher!)
The singer continues to urge greater intensity in the music until the song fades out
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Songtrust Ave, Warner Chappell Music, Inc.
Written by: Sylvester Stewart
Lyrics Licensed & Provided by LyricFind