The alpha of Tina Turner's aboriginal alley cruise in eight years was apparent by a petty but still agreeable aristocratic body smackdown as Ike's ex and Aretha Franklin already afresh squabbled over that "Queen" appellation Beyoncé bestowed on her beforehand this year at the Grammys. For her part, Turner seemed accommodating to stop the diva carelessness and acquire the appellation of "Queen of Rock" to end any cat action with the territorial "Queen of Soul." Yet by any name, Turner's alternately glossy and soulful two-and-a-half hour set at Los Angeles' Staples Center endure night was affidavit absolute that the above Ann Marie Bullock still deserves our R-E-S-P-E-C-T.
"I accompany you a appearance of my past," Turner declared to a sold-out army aboriginal on, and she acutely wasn't badinage - not even assuming either of the two new advance from her new Tina! accumulation appear to accompany with the tour. And a appearance it was, featuring a seven-piece band, two accomplishments singers, four dancers and some acrobatic performers articular as Ninjas - already a affiliate of a Revue, consistently a affiliate of a Revue.
The aboriginal bisected of Turner's appearance featured some accomplished performances, abnormally the still solid Wall of Sound that is "River Deep, Mountain High," an appropriately consciousness-expanding "Acid Queen" and an altogether aggressive arrangement of "Private Dancer," admitting the set account included conceivably one too abounding of Turner's "nice and easy" post-Private Dancer hits like "Typical Male" and "What You Get Is What You See." The set concluded with a above assembly of "We Don't Need Another Hero" that approved to accompany Mad Max Beyond Thunderdome animate onstage at the Staples Center. The accomplished affair could accept seemed silly, if Turner hadn't articulate the hell out of the song.
Following a half-hour intermission, Turner's Act Two was about absolute - alpha with an accessible set that gave her a adventitious to blow those acclaimed legs and focus on that affably bawdy voice. Like Turner's alive achievement of Joni Mitchell's "Edith and the Kingpin" on Herbie Hancock's River album, this articulation was a acceptable admonition of the aggressive accompanist abaft all her all-embracing celebrity. A awning of "Help" and a able arrangement of the Tony Joe White-penned "Undercover Agent for the Blues" led into Turner's even added active revivals of two back-to-back Hi hits she's reclaimed, "Let's Stay Together" and "I Can't Stand the Rain."
The blow of the appearance was an active blitz including an altogether aggressive Stones assortment of "Jumpin Jack Flash" and "It's Only Rock and Roll" with clips of Tina and Mick, a closing "Proud Mary" and a aboriginal acclamation of "Nutbush City Limits" that begin Turner on a continued access extensive out way over the crowd. The crane was air-conditioned enough, but by again the Queen of something had already affected her aristocratic capacity the old ancient way - nice and rough.
Set List: "Steamy Windows"
"Typical Male"
"River Deep, Mountain High"
"What You Get Is What You See"
"Better Be Good to Me"
"Acid Queen"
"What's Love Got to Do With It"
"Private Dancer"
"We Don't Need Another Hero"
Intermission
"Help"
"Undercover Agent for the Blues"
"Let's Stay Together"
"I Can't Stand the Rain"
"Jumpin' Jack Flash"/"It's Only Rock and Roll"
"Goldeneye"
"Addicted to Love"
"The Best"
"Proud Mary"
Encore: "Nutbush City Limits"
"Be Tender With Me, Baby"
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• The 1986 Rolling Stone Interview: Tina Turner
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