Tina Turner

The legs, the hair, the history! If Tina Turner comes across like a marketing concept in
shimmy shoes, she's only being true to her past. Turner's never been an originator;
instead, she's always been the expression of that colorful ex-husband or today's smooth
corporate team. It's just as well that she doesn't call the musical shots: Turner passed on
"Physical," which became Olivia Newton-John's biggest success, and only sang "... More >

Charges that Tina has betrayed her precious heritage come twenty years too late--not since she and Ike reeled off five straight r&b top-tens between 1960 and 1962 has she pursued the black audience with any notable passion. Her benefactors of the late '60s were Phil Spector, Bob Krasnow, the Rolling Stones, and the Las Vegas International Hotel, where she and Ike were fixtures at the time of Elvis's comeback; their big numbers of the early '70s were the totemic rock anthems "Come Together" and "Proud Mary." That she should now realize the pop fabrications of white svengalis is just a couple more steps down the same appointed path, and she's damned good at it, even an innovator--Private Dancer remains the archetypal all-singles all-hits multiproducer crossover, and Whitney Houston should be so soulful. Unfortunately, the follow-up musters no archetypal crossover singles, and no totemic rock anthems either (Bryan Adams induces her to go metal, which is more than Bowie or Knopfler can claim). Fortunately, ranking svengali Terry Britten gets his own state-of-the-pop-art side. If he and Tina can't convince you that rich people have feelings too, you're some kind of bigot for sure. (Grade: B+)