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
Lovin Him Was Easier
Ike & Tina Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Aching with the feeling of the freedom of an eagle when she flies
Turning on the world, the way she smiled upon my soul as I lay dying
Healing as the colors in the sunshine and the shadows of her eyes
Loving her was easier than anything I'll ever do again
Coming close together
With a feeling that I'd never known before in my time
I don't know the answer to the easy way she opened every door in my mind
But dreaming was as easy as believing it was never gonna end
Loving her was easier than anything I'll ever do again
Waking in the morning to the feeling of her fingers on my skin
Wiping out the traces of the people and the places that I"ve been
Teaching me that yesterday was something that I never thought of trying
Talking of tomorrow and the money, love and time we had to spend
In the first verse of the song "Lovin Him Was Easier" by Ike & Tina Turner, the singer describes a serene and peaceful morning where the sun rises golden over a mountain, evoking a sense of freedom and vastness akin to an eagle soaring through the sky. The imagery is vivid and powerful, setting the tone for the intense emotions that follow in the lyrics. The singer reflects on a moment when someone, presumably a lover, smiled at them as they felt vulnerable and in need of healing. The smile is described as healing, much like the colors of sunshine and the depth of the person's eyes, suggesting a sense of comfort and solace in the presence of this individual.
The chorus of the song emphasizes the profound impact this person had on the singer, suggesting that loving them was a unique and unparalleled experience that cannot be replicated. The lyrics convey a sense of intimacy and connection, as well as a newfound understanding of love that transcends previous experiences. The singer admires the person's confidence in their femininity and their willingness to be a supportive friend. There is a sense of wonder and gratitude for how this person brought about a profound shift in the singer's perspective, unlocking doors in their mind and making them believe in the beauty of their shared dreams.
The second verse delves deeper into the intimate moments shared between the singer and this person, highlighting the physical and emotional closeness they experienced. The singer describes waking up to the tender touch of the person's fingers on their skin, erasing the memories of past experiences and guiding them towards a fresh start. The person teaches the singer the value of living in the present moment and looking towards a future filled with love, time, and shared experiences. There is a sense of renewal and rejuvenation in the relationship, with the singer feeling inspired and enlightened by the connection they share with this person.
Overall, the lyrics of "Lovin Him Was Easier" by Ike & Tina Turner reflect a deep, transformative love that brings healing, joy, and a newfound appreciation for life. The imagery of nature, freedom, and intimacy is woven throughout the song, painting a vivid picture of a profound connection between two individuals. The singer expresses gratitude for the love and support they receive, acknowledging the impact this person has had on their life and their outlook on love and relationships. The song captures the beauty and complexity of loving someone deeply and wholeheartedly, leaving a lasting impression on the listener.
Line by Line Meaning
I have seen the morning burning golden on the mountain in the skies
Witnessing the beautiful sunrise over the mountain, feeling a sense of hope and renewal.
Aching with the feeling of the freedom of an eagle when she flies
Longing for the sense of freedom and liberation experienced by an eagle soaring through the sky.
Turning on the world, the way she smiled upon my soul as I lay dying
Feeling comforted and rejuvenated by her warm smile during difficult times.
Healing as the colors in the sunshine and the shadows of her eyes
Finding healing and solace in the beauty and depth of her eyes and in the warmth of the sunshine.
Loving her was easier than anything I'll ever do again
Expressing how effortless and natural it was to love her, a feeling that may never be replicated.
Coming close together
Building a strong connection and bond with each other.
With a feeling that I'd never known before in my time
Experiencing a new and intense emotion that was previously unfamiliar.
She ain't ashamed to be a woman or afraid to be a friend
Confidently embracing her femininity and valuing the importance of friendship.
I don't know the answer to the easy way she opened every door in my mind
Being amazed by how effortlessly she was able to unlock his inner thoughts and emotions.
But dreaming was as easy as believing it was never gonna end
Indulging in dreams of a never-ending love, with belief that it was possible.
Waking in the morning to the feeling of her fingers on my skin
Starting each day feeling the warmth and comfort of her touch on his skin.
Wiping out the traces of the people and the places that I've been
Her presence erasing the memories of past encounters and locations.
Teaching me that yesterday was something that I never thought of trying
Encouraging him to let go of the past and focus on the present and future.
Talking of tomorrow and the money, love and time we had to spend
Discussing plans and possibilities for the future, including how to allocate resources like money and time.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Kris Kristofferson
Lyrics Licensed & Provided by LyricFind