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
I've Been Loving You To Long
Ike & Tina Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There were time and you want to be free
My love is growing stronger, as you become a habit to me
Oh I've been loving you a little too long
I don't wanna stop now, oh
With you my life,
Has been so wonderful
There were times and your love is growing cold
My love is growing stronger as our affair [affair] grows old
I've been loving you a little too long, long,
I don't want to stop now
oh, oh, oh
I've been loving you a little bit too long
I don't wanna stop now
No, no, no
Don't make me stop now
No baby
I'm down on my knees Please, don't make me stop now
I love you, I love you,
I love you with all of my heart
And I can't stop now
Don't make me stop now
Please, please don't make me stop now
Good god almighty I love you
I love you, I love you, I love you
I love you, I love you
I love you in so many different ways
I love you in so many different ways
The song "I've Been Loving You Too Long" by Ike & Tina Turner is a heart-wrenching ballad about a love affair that has reached a tipping point. The singer is confessing to their lover that they cannot stop loving them, no matter how much they may try. The lyrics convey a sense of desperation and pleading, with the singer begging their partner not to make them stop loving them. The phrase "I've been loving you too long to stop now" is repeated throughout the song, emphasizing the singer's deep attachment and unwillingness to let go.
The lines "There were times and you want to be free / My love is growing stronger, as you become a habit to me" suggest that the singer's partner may be pulling away or considering leaving, but the singer's love is only growing stronger. The phrase "I've been loving you a little too long" implies that the relationship has been going on for some time, and the singer may feel like they are at risk of losing their partner if they don't express their love fully and sincerely.
The final lines of the song, "I love you in so many different ways / I love you in so many different ways," suggest that the singer is trying to express the depth and complexity of their love, and that their partner means everything to them.
Overall, the song is a powerful expression of love and attachment, with a haunting melody and lyrics that tug at the heartstrings.
Line by Line Meaning
I've been loving you too long to stop now
My love for you has been lasting a long time and I cannot just stop loving you abruptly.
There were time and you want to be free
There were times when you expressed a desire to be free and move on from this relationship.
My love is growing stronger, as you become a habit to me
The longer we are together, the more my love for you grows and becomes an integral part of my life.
Oh I've been loving you a little too long
I have realized that my love for you has exceeded a certain limit and I may have been loving you for too long.
With you my life,
Has been so wonderful
I can't stop now
You have brought happiness and positivity to my life and I cannot imagine living without you.
There were times and your love is growing cold
There were moments when I felt like your love for me was fading away and becoming cold.
My love is growing stronger as our affair [affair] grows old
However, despite that, my love for you is getting stronger as our relationship progresses with time.
Don't make me stop now
Please do not ask me to stop loving you as my feelings for you are genuine and strong.
I'm down on my knees Please, don't make me stop now
I am pleading with you not to make me stop loving you as it would be unbearable for me to do so.
I love you, I love you,
I love you with all of my heart
And I can't stop now
I love you deeply and completely with all my heart and soul, and I cannot just give up on this love.
Good god almighty I love you
My love for you is so strong and intense that it feels almost divine.
I love you in so many different ways
My love for you is multi-faceted and diverse, and I express it in various ways.
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
@jenniferzamora7052
Ti ho amato da troppo tempo per fermarmi ora
Eri stanco e vuoi essere libero
Il mio amore sta diventando più forte, mentre diventi un'abitudine per me
Oh, ti ho amato da troppo tempo
Non voglio fermarmi ora, oh
Con te la mia vita
È stato così meraviglioso
Non riesco a smettere ora
Eri stanco e il tuo amore si sta raffreddando
Il mio amore sta diventando più forte mentre che la nostra relazione diventa vecchia
Ti ho amato per così tanto tempo
Per fermare ora
Oh oh oh
Ti ho amato per così tanto tempo
Non voglio smettere ora no, no, no
Non farmi fermare ora, niente baby
Sono in ginocchio, per favore, non farmi fermare ora
Ti amo ti amo
Ti amo con tutto il cuore
E non posso smettere ora
Per favore, per favore, non farmi fermare ora
@katgrrl77
A League of Her Own brought me here. 🔥
@carladourado5508
samee
@ezerlenewatkins9644
Tina is sho nuff on this. I never heard her sing this. She is singing the shit out of it. Don't know why I had not heard it until now. Rest in heavenly piece Tina!
@johnmorrell2670
With all due respect to Otis Redding, a super-talent in his own right, Tina crushes this song, as they both did with other songs throughout their lives. Treasures, all!
@anthonybetancourt718
Would have been a nice duet
@marcimonge3859
A League of Their Own?
@alextudor7688
They played this in a league of their own
@mlwtsn9971
Aye was looking for this comment haha
@romellofly7137
That’s how I found it too.
@norrisfong6445
RIP TINA! The greatest.