“What’s Love” 30Th Anniversary Edition

12 Replies to ““What’s Love” 30Th Anniversary Edition”

1. J’adore…..

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2. Thanks for the update, Ben! So excited and hopefully, the tracks and the concert footage are remastered better this time around!!

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3. Thanks for the info. Do you think the Private Dancer album and concert video will ever be released in a deluxe format like this? That was the first Tina concert I attended. I have the official VHS release of the concert but no machine to play it on! I’m really hoping it sees a deluxe release sometime.

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4. This is great. Didnt she sing «What You Get Is what you see» and «Shake a Tail Feather» at this concert?

   Lets hope that we one day will get a BlueRay box set with all her solo tours. Tina was known for her concerts.

   Will the full Private Dancer show ever get released? Only parts have been issued on vhs of her big comeback tour.

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5. Wonder if the two unreleased Tracks are live or Lip Synced? Can anyone say?

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6. Spécial merci pour cette nouvelle ꔛᘏBenᏪପ. J’attends avec impatience le Live from the Blockbuster Pavilion San Bernardino, California. Un grand merci Ⓜ📧®©❗pour nous tenir informer de l’actualité de Tinaꕥꕤɞʚ❥♥︎

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7. Unfortunately, in this reissue of «What’s love got to do with it ?» There is nothing valuable. Only the mercantile desire of the record company to capitalize on the posthumous fame of Tina Turner. At the right time, when twenty (twenty-five) years have passed since the release of the albums «Break Every Rule» and «Foreign Affair», the record company did not bother to reissue any of these albums. They were finally re-released only at the end of 2021 and 2022, despite their anniversaries. And then these editions were manufactured only in Germany and distributed mainly in Europe. The American and Japanese editions have not been released. Only the album «Private dancer» was re-released in 2015. But even this reissue did not include extended and instrumental mixes for the songs «We don’t need another Hero» and «One of the Living».

   All this indicates that Tina was greatly underestimated in the music industry, especially in her homeland in the USA. After all, not a one iconic album of Tina was reissued and re-released in a timely manner, at the right time and with the full inclusion of all materials of that time in accordance with its era.

   On the deluxe edition of the album «Break Every Rule» in 2022, the disc capacity was incorrectly used to record extended and instrumental versions. As a result, two instrumental versions of the songs «Typical Male» and «Two People» were not recorded on the second CD. The B-sides had to be recorded on the first CD, then there would be enough free space on the second CD to record these instrumental versions and the remaining twelve-inch versions of other single songs. Instead, «The Tina Turner Montage mix» was added, a mix of short cuts of Tina’s single songs. In general, this edition did not include five full-fledged audio tracks, which were released on twelve-inch records and represent musical and creative value:

   1) Typical male [Dub mix] is Instrumental without back vocals

   2) Two people [Dub mix] is Instrumental without back vocals

   3) What You get is what You see [Extended rock mix]

   4) Break every rule [Extended mix]

   5) Afterglow [Glowing dub].

   This new reissue of «What’s love got to do with It?» 2024 includes 4 CDs and 1 DVD. In my opinion, there is not much point in re-releasing this album, unlike the re-release of Tina’s albums from the 80s. I don’t understand why remastering is needed here, when everything was recorded and mixed well in 1993 and sounds very good. At that time, in the early 90s, mastering had already become optimal and balanced. The sound of the recordings was clearly audible, the volume was made optimal, unlike the recordings of the 70s and the first half of the 80s. Also, at that time, there was still no such excessive compression of audio recordings during mastering, which would be used later in the second half of the 2000s.

   The second CD contains various promo mixes used exclusively to promote the album in nightclubs and on the new urban radio with the dominance of hip-hop and modern R&B. These mixes and remixes are of little importance from an artistic and musical point of view and, in fact, do not represent special creative and musical value. Since the remixes and the music of the 90s itself were very strongly influenced by hip-hop, rap, contemporary R&B and club electronic music. In fact, this is a very monotonous looped, sampled sound, which did not correspond at all to those musical genres and sounds in which the great and powerful Tina Turner worked. This is not her sound at all, which poorly corresponded to her style and manner of performance.

   The only valuable ones are the third and fourth CDs, which contain a recording of Tina’s live concert performance in San Bernardino, California. Previously, these recordings had not been released on audio media. The DVD contains a recording of the same concert in HD quality, previously a video recording of this concert was released on videocassettes in a similar quality and was distributed on the Internet and uploaded to YouTube. Therefore, unfortunately, this DVD is not particularly valuable.

   Actually, this is my least favorite album in Tina Turner’s work. Why?

   I think artists like Tina Turner (and Chaka Khan) should have created and released another brand new numbered album in the very early 90s, because it was a magical time in the music industry. The 80s, with their magnificent, extraordinary, masterful, inventive sound, are truly priceless, original and grandiose in an artistic and musical sense. This is a truly Unique and Inimitable sound in which there is a special magic and energy, a harmonious union of human talent and technical means used to write music, create arrangements, mix. Musical instruments and sound banks of those years sound really great, interesting and genuine.

   Therefore, Tina Turner and her producers, composers and arrangers needed to create and record a completely new original musical material. It could have been recorded and released on a CD and included 14 songs. And also to release 4 singles, each of which could include one B-side, an extended mix and an instrumental version of the title song of the single. That would be great!!! This should have been done in 1991-1992 years, when drastic changes in the sound in the music industry had not yet occurred. (The same goes for Chaka Khan). Unfortunately, this precious time was lost. After all, such an album and songs recorded at that time could very well expand and complement Tina’s repertoire. It would also be that unique original rock sound and performance in the spirit of Tina Turner, that magical and rock’n’roll sound of Tina.

   In the 90s, in search of a new sound and as a result of bad experiments, most of the musical works were frankly spoiled. The result was a monotonous sound, which eventually became too primitive, rustic, and focused on purely commercial purposes. The rock sound was replaced by the rustic sound of country music and the distorted monotonous sound of music in the genre of “Alternative”, as well as Ambient, Rave and other monotonous genres of club electronic music. They began to use voice tuning and excessive sound processing everywhere. It was then that a lot of reality shows and purely pop artists appeared who actually can’t sing. All this has greatly simplified and cheapened the music industry artistically and culturally to extremes and misunderstandings.

   As you can hear in some interviews, Tina did not intend to record this album («What’s love got to do with it ?» 1993), her decision was rather forced, since people from the film industry wanted to make a film about the relationship between Tina and Ike Turner and bring their invented vision about it, present it in a distorted or exaggerated form. At the same time, it is also good to cash in on this, having received a large fee from the film distribution. Therefore, Tina had to get involved and participate in this process of curating filming so that producers and screenwriters would not distort this film beyond recognition. And in many ways this album was recorded and released in support of this film. This album is a reference to the retro sound of the 60s, a reference to the past, which was just a waste of time. Unfortunately, the world and the public were fixated on this relationship between Ike and Tina Turner. While Tina herself wanted to get away from it and forget about the past. But it haunted her all the time.

   Therefore, I believe that this album was created involuntarily, under the pressure of circumstances and was not desirable and successful in a creative sense. It has an old-fashioned 60s sound. Rather, it is an involuntary nostalgia for those times and this collection itself has a pronounced sound in the style of a “Musical” with an admixture of R&B. It would have been much better if Tina had recorded a new album at that time with a cheerful indefatigable modern rock sound so characteristic and very successful for her. At a time when Tina was only fifty-one or two years old and her vocal cords had not yet undergone noticeable age-related changes, She could have recorded a great album. It is a pity that circumstances turned out differently and prevented this.

   Another talented singer, Chaka Khan, also failed to record an album at the time (1990) when she was at the very dawn of her powers and at the peak of her popularity, because she suffered from chronic fatigue and dependence on psychoactive substances. Even moving to London and Europe did not contribute to the recording of a new album that was not superfluous at all.

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   1. I dont agree at all i what you are saying here. First of all the recordings of Tina strongly needed a Remastering, we have come a long way with recording since the 90s. Why is this album important? Because its the album that showed the fans that she had done music many years before Private Dancer and finally she could sing the songs the way she wanted them to sound and not in the screaming way Ike had her sing the songs. And it was also important to update the sound instead of using the masters that Ike owned the rights to.

      This album also sparked new interest in her older material and showed that the songs had stood the test of time. The album was fantastic and she sounded fresher than ever .

      The Tour was also great and Tina was on fire.. she sang songs like «Shake a Tail Feather», «Darling You Know I Love you», «I Dont Wanna Fight», «Disco Inferno» and «I Might Have been Queen» for the first time in many years and her voice was the best it has ever been on any tours. Yes this was a important album. Tina would never recorded this album if she didnt want to do it.

      This is probably my favorite album of Tina’s of all time and finally we will see the full show in HD with the two songs they excluded last time.

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8. From the marketing point of view, of course, this is an important album, but not from the point of view of creativity. Considering that Tina had been on the stage for about 30 years by that time, but she didn’t have enough of her new songs by the early 90s. There are only three relevant albums that were recorded and released in the 80s. For a superstar with thirty years of experience on stage, this is not enough. At her concerts, she performed mostly singles and cover versions of songs by other artists. Is that enough? Thirty-three songs that were released on her three albums in the 80s? That’s not enough for a star like Tina.

   She didn’t have many solo songs, her repertoire was small. Precisely because she had worked with Ike for a long period of her life and the repertoire that was then written in duet with Ike was not suitable for this. These are not her solo works. She needed brand new rock-style songs, not r&b. And why even sing those songs that were created while working with Ike, what he imposed on her? And in general, why was there anything to prove to someone? All that needed to be shown and proved, Tina had already done it in the 80s. Why cling to the past? Why sing the same songs over and over again year after year?

   After all, at that time it was still possible to create a great sound with amazing arrangements. And not to repeat the sound of the 60s. And the new tour would not be any worse than the one Tina went on in 1993 – 1994. Those who are Tina’s age peers knew so well that she was a professional singer and dancer and was engaged in music long before the 80s. It was already well known, as she was quite famous (in a duet with Ike Turner) on both sides of the Atlantic.

   Therefore, I want to emphasize once again: this album was of course important, but precisely in terms of sales and marketing, since it is easier and more familiar for people to hear and perceive something that has already been heard before. But in terms of creativity and development, it was not the right choice. It is better to perform such songs at a time when you are doing a benefit and are going to leave the stage, but not at a time when there is still a lot of strength and energy to create something new and triumphant, especially when the sound of the 80s was still relevant and in demand.

   We don’t see what’s going on behind the scenes, we do not see the relationship that develops between an artist and his record label in the recording industry during collaboration. Artists often have to put up with and adjust to the conditions that this industry puts forward, and Tina is no exception here. Many famous and talented artists who were famous and popular in the 80s suddenly found themselves unclaimed due to such disagreements and in the 90s simply disappeared from the view of the audience, because they stopped being promoted and funded and broke the contract for further recording and support. (MTV, for example, has changed the genre format to the exact opposite). Tina understood this perfectly well, so most likely she had to cooperate and accept the conditions put forward by the new management of the record label. This is indirectly stated by Tina herself in some interviews of that time. So I doubt that Tina really wanted this very much. (Should I re-record old songs in a new way and remember about Ike again?).

   At that time, and indeed always, Tina sounded powerful, cheerful and fresh, and the early nineties was no exception.
   It’s not about that, but about what kind of songs were really needed at that moment. And the album “What’s love got to do with it (1993)” was not the best choice, it had to be recorded and released in the early 2000s. It would be more timely and rational. In addition, remastering became more advanced in the 2000s. Just to re-record these old songs and go on a new tour.

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   1. She did record new songs for the album as well and she Sou def fantastic. Tina would not have recorded and album she didnt want to record, we know Tina better than that.

      why was the album important? Because it boosted new interest in her music when they saw the movie and that again was the step into her next level of Fame with all the promotions and interviews that came after on the next tour.. Oprah, 60 minutes etc.. and what about the musical? They also leaked heavy on the movie and this album, the sountrack of her life. So this was totally what she needed to boost new interest in her past and music, why do you think they released Whats love again? Because it was her biggest hit ever and it gave it a new interest again. Vocally this is the best recording she ever did.

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9. Terje Morewood, I agree with You. In other words, this album was a competent and well-thought-out commercial move.

   But I would like it to be then that Tina recorded something more rock-sounding than an compilation like «What’s love got to do with it?». Because after all, this is a retro sound, which then in the early 90s became very popular in the music world for a while. But it could have been recorded ten years later and it would have been received by the public with the same success as in the early 90s. An example of this is the musical «Tina» (2018), which was shown 25 years later and was a success equivalent to the compilation-album and film «What’s love got to do with it?» in 1993. Because retro is retro, people tend to indulge in nostalgia. This topic never loses its relevance. But recording and releasing a rock album with the same success in the mid-90s or early 2000s would not have worked, since colossal metamorphoses took place in the music world (not for the better) and the sound would have been completely wrong.

   And then when she was fifty-two years old, at that time her voice had not yet undergone significant age changes and allowed her to perform rock music. But music in the musical genre such as the compilation «What’s love got to do with it?» She would have performed masterfully even at the age of sixty-odd. Unlike rock vocals, which require significant energy, effort and voice control.

   And as history has shown, unfortunately the next album «Wildest Dreams» (1996) was already written entirely in the popular genre, it was no longer rock music. It has been subjected to such a total electronic processing! After all, it was by performing rock music that she sounded more organic and natural. After all, it was rock performance that helped her return to the big stage in the 80s. It was her signature feature. And this set her apart from all the other African-American artists who performed mainly disco, R&B, soul, urban, hip-hop and the like.

   Therefore, creatively and artistically, it was a strategic miscalculation, misplaced priorities in time. A new rock album had to be recorded and released in 1991 – 1992. And such an album would be a great and very necessary addition to the grandiose three albums released in the 80s: «Private Dancer» (1984), «Break Every Rule» (1986) and «Foreign Affair» (1989). This would be a necessary addition to her repertoire with new fresh rock compositions. It should have been released instead of the compilation «Simply the Best» (1991). The compilation «Simply the Best» should have been released after this fourth album, for example in 1993. And then everything that was released in the second half of the 90s: «Wildest Dreams» (1996) and «Twenty Four Seven» (1999). And finally record and release the compilation «What’s love got to do with it?» in 2002-2003. And make a movie. Both the effect and the success of this compilation of old hits would have been as successful in scale and demand by the public as in the early nineties. And in a musical creative sense, this would be the optimal solution.

   How many times can you write and rewrite your autobiography? Once, twice, three times? And in time to record a rock album with an authentic original sound in the short passing rock era only once. Luck and a combination of many favorable circumstances and factors are needed here. It was important not to waste time.

   As for her biggest hit in history, it depends where? In the USA and Canada, of course, «What’s love got to do with it?» It was her most popular hit. And it was used by her record company and Hollywood to promote this theme and make a movie in 1993. However, in UK, Europe, Australia, Russia and generally outside of North America, the song «The Best» turned out to be more popular, much more popular. This song is most likely her biggest and most famous hit in history. But in her homeland, for some reason, the album «Foreign Affair» (1989) was received very coolly? While the story of her relationship with Ike was constantly being mussed there from year to year, and the public was fixated on it. Hollywood loves stories like this. Unfortunately.

   In Europe, Tina was perceived and respected much better and there was no need to stir up any interest in her work, unlike in the United States. All this is very upsetting. This is probably one of the reasons why Tina left the United States and changed her citizenship. And she did the right thing by moving from there.

   Sincerely, Alexander

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10. Afterword.

    Americans recognize only strength and take into account the interests of only the strong. This is clearly manifested in the behavior of the American government, who all over the world rob and destroy weak states that are unable to resist them, kill innocent civilians, arrange color revolutions in foreign countries and overthrow the governments of these countries they do not like.

    Americans did not so much love and recognize Tina, as they saw in her the embodiment of their American Dream – because after life’s trials, Tina rose from the ashes and returned, becoming even stronger. Otherwise, they recognized and appreciated her little, talking about her and remembering her only when the news of her death spread around the world on May 24, 2023. This was evident, for example, by how poorly the record company with which Tina signed a contract in the early 80s promoted and promoted her songs. If Roger Davis and David Bowie hadn’t helped her then. People from the recording industry did not take her seriously, as they doubted that they could make good money from her work.

    In many ways, this applies to members of the public, the professional community, and the American music industry as a whole. And this also applies to the perception of Tina’s work by the broad masses of the American population as a whole. This censure certainly does not apply to Tina’s true fans in the United States and those who really loved and respected her.

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