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
Son Of A Preacher Man
Ike & Tina Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And when his daddy would visit he'd come along
When they gathered around and started talkin′
That's when Billy would take me walkin'
Out through the back yard we′d go walkin′
Then he'd look into my eyes
Lord knows, to my surprise
The only one who could ever reach me
The only boy who could ever teach me
Was the son of a preacher man
Yes, he was, he was, ooh, yes, he was
Bein′ good isn't always easy
No matter how hard I try
When he started sweet talkin′ to me
He'd come′n tell me, "Everything is all right"
He'd kiss and tell me, "Everything is all right"
Can I get away again tonight?
The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes, he was, he was, ooh, yes, he was
(Yes, he was)
How well I remember
The look that was in his eyes
Stealin' kisses from me on the sly
Takin′ time to make time
Tellin′ me that he's all mine
Learnin′ from each other's knowin′
Lookin' to see how much we′ve grown and
The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes, he was, he was, oh yes, he was
(The only one who could ever reach me)
He was the sweet talkin' son of a preacher man
(The only boy who could ever teach me)
Was the son of a preacher man
(The only one who could ever reach me)
Was the sweet talkin' son of a preacher man
In the first verse of "Son of a Preacher Man," the singer, a female, talks about her relationship with a man named Billy Ray who was the son of a preacher. She talks about how Billy Ray would take her for a walk whenever his father would visit and they would go out to the backyard. The singer is surprised that Billy Ray is the only person to have ever been able to reach her, and the only boy who could ever teach her anything. This suggests that the two had a strong connection and that Billy Ray had a big influence on her life.
In the second verse, the singer talks about how difficult it is to be good all the time, no matter how hard she tries. When Billy Ray sweet talks her, he says everything is all right, and she can get away with him again tonight. This is where their relationship is revealed to be more than just a simple friendship. The singer then talks about how she remembers the look in his eyes when they would steal kisses on the sly. They would take time to make time and learn from each other. The singer again emphasizes that Billy Ray was the only person who could ever reach her and teach her anything.
Overall, the song is about a deep connection between two people from different backgrounds. The singer is drawn to Billy Ray because of who he is and the influence he has had on her life. The song suggests that even though they come from different worlds, their love for each other is strong and they learn from each other.
Line by Line Meaning
Billy Ray was a preacher's son
The singer, Billy Ray, was raised by a preacher.
And when his daddy would visit he'd come along
Billy Ray would accompany his father when he visited people.
When they gathered around and started talkin'
When the group would sit down and chat.
That's when Billy would take me walkin'
That's when Billy would take the artist for a walk outside.
Out through the back yard we'd go walkin'
They walked through the backyard together.
Then he'd look into my eyes
Then Billy would stare into the singer's eyes.
Lord knows, to my surprise
The singer was surprised by the fact that this was happening.
The only one who could ever reach me
Billy was the only person who could connect with the artist on a deep level.
Was the son of a preacher man
Billy was the child of a religious leader.
The only boy who could ever teach me
Billy was the only guy who could teach the artist anything.
Bein' good isn't always easy
It's not always easy to act morally.
No matter how hard I try
Despite trying one's hardest.
When he started sweet talkin' to me
When Billy began to flirt with the singer.
He'd come 'n tell me, 'Everything is all right'
He would say things to comfort her.
He'd kiss and tell me, 'Everything is all right'
He would demonstrate his affection for her.
Can I get away again tonight?
The artist wants to spend time with Billy again.
How well I remember
The artist has fond memories of the relationship.
The look that was in his eyes
The way Billy looked at her.
Stealin' kisses from me on the sly
Kissing each other secretly.
Takin' time to make time
Taking things slowly.
Tellin' me that he's all mine
Billy declared his exclusivity to the artist.
Learnin' from each other's knowin'
Growing and learning from one another.
Lookin' to see how much we've grown and
Reflecting on the progress they've made.
He was the sweet talkin' son of a preacher man
Billy was a smooth-talking, religious man.
Writer(s): Wayne Wilkins, Andy Hurley
Contributed by Audrey W. Suggest a correction in the comments below.
FanOfJanis
This old-timer has heard them all, folks. Been following music closely since the later-1950s.
The Dusty Springfield version is sexy-sweet and, oh, so good! Dusty was actually my first-ever girl crush. Seem to remember doing it live on TV around 1968 or so. So good!
Aretha Franklin's version? Respect! Great job!
Tina's version right here? Among the very best! Tina Turner, to me, was The Hostess with the Mostest (as they say) and showed the ladies that came along later exactly how it was done with any song she did! To my personal taste, only one female singer is in Tina's league for pure, raw, amazing emotion and power doing a song: Janis Joplin. Notice my avatar. Yep, it's Janis in 1968 ... enough said!
However!
There is one version that is wham-bam, AMAZING! Who I call The Soul of England, Ms. Joss Stone, doing her live version at only age 19 takes us ALL to school and nails what, to me, what is arguably the best version of this song I've ever seen anybody do! Again, just my opinion.
All the versions are really great in their own way. What an amazing legacy of song, spirituality and joy!
Peace & Joy
Carrie Stephan
Never heard this version… and I love it!!! Tina is the Queen!!!
A.B.S Productions, LLC
Dusty Springfield and Aretha made this song a huge hit but Tina killed this! And props to Ike for his arrangement to this them horn were on fire!
Dario Western
This is one of the greatest soul songs of all time. Tina has really done it justice here as with other songs she's covered. She's definitely THE BEST! :-)
remco potter
what a beautiful voice
Adam B. Smith
Dusty Springfield, Aretha Franklin and Tina Turner are the only women to sing this and kill it.
Ike really did a great job arranging this. The dynamics with the horn line is awesome!
Miroljub
I've never heard any bad version of this song.
eckankar
I remember seeing Barbara Eden in a skin tight halter top jump suit open her Las Vegas act with this number wiggling through a very suggestive dance. she was amazing.
Kasnar Burns
Wow!! I never knew Tina recorded this song. It sounds live. I like all of their versions: Dusty's, Aretha's and now Tina's.
janay xx
And erma Franklin is pretty decent
KojiRecords
Tina is a song stylist; she puts her own stanp on a many song, which gives a nod of soulful respect to the song's originator(s) while putting her own take on it, including "I Wnat To Take You Higher," "Sugar, Sugar," Proud Mary," "Livin' For The City," and many others. If you study Tina's numerous recordings with and without Ike then you will get the picture. Tina never competed with singer/songwriters, only complimented them in her own musical renditions. "Son of A Preacher Man" here an example