TINA TURNER'S PRIVATE DANCER CAPITOL RECORDS USA COLLECTORS FACTORY SEALED ANALOG PRESSING LONG OUT OF PRINT ISSUE. PRESSED BEFORE BARCODES WERE EVER PLACED ON VINYL LP'S

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 You should never pass up the opportunity to upgrade your collection. They're each very limited in their pressings and disappear with extraordinary quickness from the vinyl market. This causes prices to skyrocket because once they are gone, they are gone forever! Don't second-guess yourself with this chance to upgrade your collection because before you know it, the opportunity will have passed forever. The nicest thing you can do for your stylus and your ears. The ultimate record -- the way music was meant to be heard 

 TINA TURNER'S PRIVATE DANCER CAPITOL RECORDS ISSUE

While many debate the syndrome of blockbuster, recording breaking pop albums of the 1980's? The fact is,it's effects on a given artist was pretty dependent on the strength of their persona's-and the necessity of success in relation to their career arc. The Ike & Tina Revue had disintegrated into a mess of domestic and drug related issues for Ike-sadly despite him being a huge musical talent and rock 'n' roll innovator. While no personal tragedies can take Ike's career arc away from him? Tina was evolving in another direction. After an aborted relaunch of her solo career in the disco era? She began to find phenomenal success in public duets/appearances with rock stars such as Rod Stewart and opening for the Rolling Stones in the early 80's. Apparently at the insistence of David Bowie? Tina decamped to England-where she released a single in 1983. Working with the funk/soul inspired new wave band Heaven 17,she began to announce a huge comeback which culminated in this 1984 release.

"I Might've Been Queen" begins the album with a steely , danceable new wave dance/rocker where Tina discusses her lost changes of earlier solo stardom. As many times as I've heard "What's Love Got To Do With It", today considered her signature song, I realize what a wonderfully sleek jazz-pop/reggae hybrid this song actually is. Probably why it's had at least two generations since singing and swaying along to it. "Show Some Respect" is a soulfully ballsy slice of mid 80's rock 'n' soul while her version of Anne Peebles famous "I Can't Stand The Rain" merely updates the songs famous synthesized raindrops and off kilter rhythm with 80's electronics and drum machines. The title song is a beautifully elegant,mid-tempo jazzy soul-pop number with some wonderfully piano and melodic dynamics. "Let's Stay Together" was the first single released from this interestingly enough-and takes Al Green's classic and gives it similar instrumental dynamics of the title song.

"Better Be Good To Me" is an arena friendly dance/rock anthem-powerfully declaring Tina's feelings on how she should...no MUST be treated by others in her eyes. "Steel Claw" represents the only real guitar oriented pop/rock on this album while,similar to the manner in which the band Lakeside did "I Want To Hold Your Hand, Tina takes the Beatles "Help" and transforms it into a contemporary 80's Southern soul ballad. "1984" updates Bowie's 1984 classic with electro dance beats. Between the hits, original song and interpretations? This album not only invented Tina Turner as a contemporary artist. But did so while keeping her throaty soul shouter vocals totally intact. All of the interpretations and performances,instrumentally and vocally, are top notch. And despite some naysayers? I personally feel that this album withstands the test of time pretty well for the most part. Tina's persona seems strengthened by many times by her music's UK soul/funk/rock gentrification. It was all based on the sound she pioneered with Ike, among many others, anyway. And with this albums huge international success? Tina Turner was officially back in action!

 Track Listings

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