Private Dancer

An interesting and cool album. I’m not sure how much Tina Turner you’re supposed to consume at one time, but by the end of it I was feeling overwhelmed. Very aggressive. I can’t stand the rain is phenomenal.

"WHO RUNS BARTERTOWN!?" TINA FUCKIN' TURNER, that's who! –– | –– I was dreading this album when I saw it come in last night. The '80s have a special place in my trashcan. I was relieved, however that the saxophone didn't make an entrance until track five—'Private Dancer' which I immediately hated. However, I think that if you can remove that wretched instrument from this song, you can find the beauty in the juxtaposition of Tina's strong, survive-at-all-costs voice singing those lyrics. A quick note on the saxophone. Byrd, Coletrane and James Bond– theyr're all great ... In the late '90's and early 2000's there was this belief that any crappy movie could be made better if only Sean Connery was in it. Studios figured this out and it worked for a bit until audiences eventually realized that Sean Connery equals suckfest, making him redundant and leaving us with movies like LXG. In the '80's the same thing happened with the saxophone. Anyway, Tina - an empirical 'YES!' The music backing up Tina... that's a harder sell. The flat drum machines, the stiff-lo-tech-robot percussion and errant guitar strum sprinkled through tracks is pure Connery. Is it possible to remix this without all that 80's baggage? If so, I'm on board. Just do me one favor and keep 'I Can't Stand the Rain.' Somehow, in ways I can't explain, this song just works as-is.

The musical instruments on this album are meaningless background noise. Tina’s voice is the main instrument and oh man is it powerful. Unfortunately the album is more than just her voice.

Okay, Aunty Entity. Aunty Entity, okay. This record is painfully 80s. It's so 80s, it goes to work with a Lisa Frank trapper keeper tucked under its arm. It's a plastic imitation of real music with a rough coat of paint slapped over top to give it the impression of edginess. Not good.

I've heard the big hits, but never sit down and listened to Tina Turner. Not sure what to expect at all. Holy cow, this is good. Her voice is great and the songs allow her to showcase a full range of emotional power. The music is brashly 1980s with schmaltzy sax and synth. But it works really well, and the whole album rocks out, with little touches of funk, soul, R&B, etc. Even the cover songs (Beatles, Al Green, David Bowie) cohere with the album as a whole. 5/5, glad I gave this a chance!

Thanks a lot, Ike Turner. I blame this on you. And don’t take my word for it, either. YouTube the Ike and Tina Turner Revue’s performance of just two songs: ‘Nutbush City Limits’ and ‘Proud Mary.’ Then, listen to 'Private Dancer,' and on the mega hit ‘What’s Love Got to Do with It’ when Tina sings, ‘Who needs a heart when a heart can be broken,’ that’s my heart she’s breaking with this awful, awful LP. Sure, it contains two other smash hits- ‘Better Be Good to Me,’ and ‘I Can’t Stand the Rain,’ as well as, I believe, a minor hit with the final title track. Sure, it was her big comeback following some lean years after her breakup with Ike. Sure it features one song written by David Bowie and another by Mark Knopfler, not to mention two guitar solos by Jeff Beck. Sure, it was selected by the Library of Congress for preservation in the National Recording Registry. But they’re all wrong. They’ve all made a terrible mistake. Bowie’s song, ‘1984,’ no doubt works when Bowie does it. At least I hope so, because Tina’s version was painful to listen to. Knopfler’s song, ‘Private Dancer,’ was more tolerable. At last until the interruption of a horrendously bizarre guitar solo, squealing like a cat with his tail pinched under a rocking chair; likewise on the song before, ‘Steel Claw.’ Two of the worst guitar solos I’ve ever heard. And then to discover they were played by Jeff Beck!!! Ohhh, who needs a heart when a heart can be broken? In spite of the fact that I do enjoy some of the 1980’s bands and their LPs, for the most part I hate with a burning hatred one general thing about 80s music: the drum sound. Following an upbringing in and adoration for the full, rich sound of acoustic drumming in the 60s and 70s (John Bonham is a great example) I simply cannot tolerate that tinny, trebly, crashing sound of the electronic drums of the 80s. Like the drums on 'Private Dancer.' I don’t really have much more to add, except for my own theory that the wounds she incurred from Ike seem to run like an underground current on the the entire first side! You listen and tell me if I’m wrong. On second thought, reverse my suggestion at the beginning of this review, and listen to 'Private Dancer' first. Relive whatever good memories you have from the year 1984. Then, YouTube the Ike and Tina Turner Revue and lament over what was and what could have been. '1001 LPs' personnel- you ‘better be good to me’ when you send me the next recording to review. My heart just can’t take another experience like this. ‘Rollin’, rollin’, rollin’ on a river. Do do do do dup do do do…’ (sigh)

An incredilbe voice with identity and power... cruelly unwind by that horrible 80's production... the title song sucks and that guitar on steel claw sounds like a chihuahua in distress.

It’s fine. Private Dancer and What’s Love Got To Do With It are the best songs. Tina’s voice is amazing, but the sound/music doesn’t really seem to age well.

I love Tina Turner. Love her. I own many Tina Turner records. But it's the r'n'b and funk output of the 60s and 70s that really do it for me. I do not in any way begrudge her the massive success she found in the 80s as a solo artist. She wanted to make it as big as Bowie and the Stones, and she did. Because she is awesome. She really wrote the book on female rock performance, and is is one of the rock and roll greats of any gender. Full stop. And this is the album that really did it for her, pushing her into success in a way she never had before. But... what is required for mainstream success buffs off many of the edges that made her a really compelling force of nature. Many reviews refer to the slick production (Which it sure is, and terribly 80s, and not all of it has dated well) and her raspy voice. But I am familiar with her earlier material, and the rasp is downplayed quite a lot. She never really tears it up (although she gets closer on some of the b-sides). Seven hit singles from one album is a pretty amazing strike-rate, and she makes some otherwise middle-of-the-road material compelling. I love you, Tina, and I play your records all the time. Just not this one. (As a side note, I am getting a bit tired of 1001 albums throwing out albums because they are the commercial breakthrough, or big selling (particularly in the UK), but not necessarily the albums that was influential, ground-breaking or representative of what that artist really had to offer. This is a good case in point.)

I love Tina Turner. Love her. I own many Tina Turner records. But it's the r'n'b and rock-edged funk output of the 60s and 70s that really do it for me. Tina Turner has a long and influential history of rock music that is deeply rooted in black musical forms (funk, soul, R'n'B) but this album is pitched very clearly at a white mainstream audience. I do not in any way begrudge her the massive success she found in the 80s as a solo artist. She wanted to make it as big as Bowie and the Stones, and she did. And she earned it. Because she is awesome. Tina Turner really wrote the book on female rock performance and is one of the most iconic rock and roll singers of any gender. Full stop. And this is the album that really did it for her, pushing her into success -- multi-million sales, Grammy wins, world tours -- in a way she never had before. But... those compromises required to achieve mainstream success buffs off many of the edges that made her a really compelling force of nature. Many reviews refer to the slick production (which it surely is, and terribly 80s. Not all of it has dated well) and her raspy voice. But compared with her earlier material, and the rasp is downplayed quite a lot. She never really tears it up although she gets closer on some of the b-sides. It is telling that a lot of the harder edged material from the sessions were clearly held off the album itself. None of the covers on this record offer any reason to prefer them over the originals unless you have a fetish for 80s drum machines and cheesy synthesizers. Seven hit singles from one album is a pretty amazing strike-rate, and she makes some otherwise middle-of-the-road material compelling. I love you, Tina, and I play your records all the time. Just not this one, which is disappointing. As a side note, I am tired of 1001 albums nominating albums seemingly because they were the commercial breakthrough or big selling (particularly in the UK), but not necessarily the albums that was influential, ground-breaking or representative of what that artist really had to offer. This is a good case in point. Is there a possibility that Dimery wants to avoid having to acknowledge Ike? Or is the music just too black?

This album may be the 80s-ist album to ever 80s. At first, I thought I Might Have Been Queen was possibly the most 80s song I had ever heard, but then Show Some Respect came on to challenge it. Then I Can't Stand the Rain came on, and then Private Dancer...who will win the 80s crown? If you're a fan of every 80s music cliche, then YOU are the winner. Then again, with those covers of Help! and 1984 we all lose. The only saving grace is that at least Tina Turner has a great voice (but even she managed to sound bad on Help!).

This album is a little too commercial for my liking. 1984 was prime time for Prince, The Smiths, Talking Heads, The Police, Eurythmics and others so there were lots of quality influences for someone looking to make a crossover. I'm glad that she was able to make some money at an age when breakthroughs aren't typical and I guess making a formula album was the ticket. If you don’t write your own music you need to take direction from whoever steps up to manage and fund the LP. She certainly knows how to sing. I'm impressed with her vocals on Let's Stay Together. Given how amazing Al Green sings the original very few will be brave enough to try to cover it. She pulls it off no problem. The vocals on Private Dancer start flat but come around by the end. The cover of Help is an interesting take and the sax solo is a neat touch. Aside from the fact Private Dancer was released in 1984, I can’t understand why she covered Bowie's song 1984. It’s not a good take and she didn't add anything interesting to it. I guess this was around the time she recorded her duet with him on Tonight. Her vocals on Tonight were quite good although they were mixed into the background in his studio album. Check out the version on Tina Live which is true co-lead vocals with HIM. The Beatles and Al Green cover are good but otherwise the album is lame probably because the programmed percussion and synths are kinda cheesy.

She pours her entire soul into these performances. I was carried away on the wave of raw emotion. The only miss is the song penned by my personal music god David Bowie and I feel like I’m committing a crime by saying so.

Love Anna Mae Bullock. Feisty, exciting, unique voice. Such energy and passion. Reminded me of the days when I could really dance the night away! Only wish I had had the chance to see her live back then. Her version of Help very evocative what it feels like to be getting older. Nice bit of sax too.

Private Dancer is 100% a big "fuck you" to Tina Turner's abusive ex-husband. These songs hold so much empowerment; I feel her strength forty years later. Despite Private Dancer being Turner's fifth solo album, she is reclaiming herself and her music. I'm just beside myself--because it's so clear her songs were created with such purpose. I mean, she has songs entitled "Show Some Respect" and "Better Be Good To Me"! Turner's "What's Love Got To Do With It" was released when she was 45, yet it revived her career. A Black woman in her mid-forties singing about physical attraction and pondering if love is even worth it? Ob-sessed. Also, the music video is iconic. ✨ Turner had such a voice! You can hear her charisma through every note. She's mesmerizing. Her cover of "Help!" is so emotive and tender; I've never heard that song covered that way. And the way she wails? Oh, there is and was never anyone like her. Speaking of "Help!", I love what Turner did with the covers. She gave each of them the 80s synth treatment, and they sound so unique from the originals. The sax on "Help!" is a stellar choice, and so is that gospel choir backing her up in the chorus. "Let's Stay Together" still has Al Green's soul but she puts this disco-pop spin on it!

Great album overall. Some songs seem to blend together, but the standouts are great songs with so much replay value. The pop and rock genre are perfectly molded with Turner's vocals, creating a fresh and sweet sound that is sonically pleasing. The change of sound from her past songs is welcomed and at some points in the album, invited. Her raspy vocals still provide a strong and seamless album that is enjoyable to listen to.

Tina Turner lived her life so that the music biopic machine could run… and run… and run. Perverse as it feels to say so, her story is the perfect blueprint: an unsustainable rise to fame alongside her abusive husband, years of brutal and harrowing exploitation, a high-profile and high-cost divorce, endurance through the wilderness of obscurity, wildly successful solo comeback with “Private Dancer”, and “legend” status that would follow for the rest of her life. It’s almost impossible not to project all of this onto the opener of “Private Dancer”, “I Might Have Been Queen” (I listened to the international edition of the album, which has a slightly altered track list). It was written as an autobiographical track for Turner, and finds her wistful, snarling, passionate: it’s a winning performance, instantly bringing the listener on side and compelling them to hear her story. The same passion follows across the rest of the album, which is a hitmaking tour de force (seven of its ten songs were at some point released as singles). In amongst the inescapable hits are some more left-field choices: a Beatles reworking? A deep-cut Bowie cover from “Diamond Dogs”? Jeff Beck on guitar? Sure, throw them all in: it’s just a shame that, in all honesty, not many of them pay off. While Turner’s vocals are flawless throughout, they’re swamped in stylistic boo-boos, like overbearing 80’s production (in fairness, hardly her fault) or irritating onomatopoeic guitar (Jeff Beck might be a god, but he should have really read the room and understood “Steel Claw” wasn’t calling for a tortured coyote solo). Case in point: the covers of The Beatles’ classic “Help!” and Al Green’s gorgeous “Let’s Stay Together” are both hot messes. Take the latter: all the subtlety and tenderness of the original is stripped away by a poor mix and a bludgeon of a drum machine. The final track, “1984”, is even worse: choked out with synths, drums, over-compression and a truly jarring key change, it ends the album on a real sour note. But there are enough highs to make the album a decent listen overall. I’ve never been keen on the biggest hits, “What’s Love Got To Do With It” and “Private Dancer”, but in amongst the rest of the album they do work, standing out as runaway successes. As well as the rousing “I Might Have Been Queen”, the track to surprise me the most here was “Better Be Good To Me”, one I hadn’t heard before: it boasts a groovy bassline, a simple and heartwarming hook, and a lovely percussive breakdown. Turner’s ad-libbed vocals during the break- and the call-and-response that follows- is the perfect icing on the cake.

A great voice, but other than the hits, the rest is sort of forgettable. Tina is a fantastic singer, but I was kind of bored, especially with the bland music. Normally a 2 star from me, but her talent carries it to a 3.5/5.

I didn’t love it. The covers felt a bit uninspired and the whole album just didn’t feel like it was pushing any boundaries. Tina turner does have a great voice though. Maybe it’s just the instrumentation that felt a bit dated

For me, this album is like Thriller - I'd never heard the album as a whole before, but I'd heard almost all the tracks as singles. It's fire! This is how you make a comeback. Tina mixes up new tracks that capture her newfound cougar status with well-picked covers. As well, the music is on trend with 80s synthpop but also lets her completely rock out. So many good tracks and such a solid album!

Never thought twice about Tina Turner. This album is a masterpiece.

Private Dancer is a bold, confident, and very '80s comeback record that really lets Tina Turner show what she can do with the right songs behind her. I think what makes it stand out is how varied it is—some tracks lean pop, others feel more rock or soul, but her voice holds it all together. “What’s Love Got to Do with It” is the obvious highlight, but I also really like the title track for how haunting and subtle it is. For me, this album feels like someone reclaiming their power. It's polished, but never cold, and it has that mix of vulnerability and strength that Tina was so good at. A few of the songs don’t stick as much as others, which is why it’s not quite a perfect score in my book, but it’s still a really solid album that deserves the praise it gets.

Resulted in me checking out her earlier stuff from Ike & Tina. Great vocalist all around.

Going into Private Dancer, I really only knew Tina Turner from “What’s Love Got to Do with It,” so I wasn’t sure what to expect. Turns out, there’s a surprising amount of range on this album, and it’s a fun ride from start to finish. Each track brings a little something different to the table, and honestly, I don’t think there’s a bad song here. Tina’s voice is powerful and full of character, and the production balances '80s polish with a bit of grit. That said, the album's uniqueness is a double-edged sword. It’s not exactly in my usual rotation, and I’m not sure I’d come back to it, but I’m definitely glad I gave it a full listen.

I think it's mostly good. That cover of Help brought out something ugly in me though.

Tina Turner - Private Dancer Tina's solo breakthrough. It has the hits on here but for me it falls victim of the 80s machine in regards to production. I get the love for this album, but it's not something I'll revisit. 4/5

When I saw this album pop up, I was far from excited. I was bracing myself for a bad ‘80’s pop record but this was surprisingly good. Of course, the production here is very ‘80’s but it’s Tina Turners voice that blew me away and is just so incredible. She makes this thing very listenable.

I’ve never sought Tina Turner out so this is the first body of work I’ve listened in full. It was okay - didn’t hate it but didn’t love it. There’s of course the classics “what’s love..” and “private dancer” and one or two others I thought were pretty alright. But I saw another review here call the cover songs “uninspiring” and that’s how to summarise those covers for me. Would I go back as a whole? No. Have I saved any songs since listening? No. But you could throw it on in the car and find it pleasant enough to listen to on any journey. Probably more a 2.5, but let’s round it to 3.

Was ready to give this a 4 until 1984 hit. Listening to that song is worse that living in an actual Orwellian nightmare.

I loved Nuts Crush Titty Remit or whatever it was called. Reminds me of a great holiday in Newquay Cornwall when that song was in the charts. So a great song and part of my musical formitive years. As regards other Tina Turner stuff well it’s a big turn off for me. Cannot deny that she has one of the strongest, best and recognisable voices ever and deserves all the plaudits for that. But her musical output does not do anything for me at all. Know most of the songs on this album partly because you cannot avoid hearing them. If not on the radio but when at wedding evening do’s or Christmas party’s. But her records are nowhere near my collection apart from that song about a little old town in Tennessee. The nice little kitty on the cover is the best thing for me about this album. 2/5 3/10/24

This album is fraught with the bloat of 80’s production, bad arrangements and songwriting. Not all of the songs are bad, “I Might Have Been Queen” and “What’s Love Got to Do With It” in particular are favorites, I don’t mind the 80’s sound here. They kept it clean and simple. The extended version of “Private Dancer” was long winded for no reason, and this version of “Let’s Stay Together” seems like a weird ‘about face’ to the attitude of “I Might Have Been Queen”. Tina is a specific voice, a strong voice, but not a large voice like an Aretha (who had their own issues production wise at this time as well). Tina’s biggest strength is in live performance, this should have been a live album with all the greats, and far better originals and cover arrangements, and it would have been killer.

Out of the slot, down and dirty with a little kink in the gravel vocals that pop way higher than the drum machine or the syncopation of the brassy guitar. I mean when this dropped in '84, I was 8. So some of this is seminal, emotional music that still hits me so deep. When I hear her voice, I am right back there on the edge of my seat watching Mad Max or waiting for Mom's aerobics class to end. These early tracks are etched deep into the silicon of my motherboard. Her cover of Al Green is one that put me of two minds. The drum machine is not enough for this song. The synth falters. But her voice. It does carry. The Beatles cover on Help is sort of awful. Ball of confusion earns its name and hmm there are a bunch of songs in the middle that aren't good at all. I feel that all the way through the most of the end. This is one I want to fall in love with again, but just can't.

The album is a mix of pop rock and typical 80's synth. Tina Turner's voice is excellent but I think many of the songs fell flat. I'm surprised on how many songs are covers. Some individual songs like "What's Love Got to Do with It" and "Private Dancer" are 5/5 but others like the cover song of 1984 originally by David Bowie pales by comparison. The album as a whole is not that great.

Hope the strip club closes down

So annoying. She’s got a powerful voice but I don’t enjoy this music in the slightest.

I love her raw raspy voice and I'm curious how she would sound singing other genres or more contemporary music. I like her version of Al Greene's "Let's Stay Together" - such a great song; I could still do without the cheesy synthesizer sounds. It's hard to get past some of these 80's synthesizer and keyboard sounds - they make me start dancing really weird and jerky, and I feel cheesiness. However, I do love some 80's songs, like by The Cure or The Smiths, so sometimes I like those sounds. Maybe it's nostalgic? I didn't know that Missy Elliot had sampled her song, "I can't stand the rain" - that's such a good line/tune. Ooh we got some elevator music now. And "1984" sounds like it's from a musical and it's kinda chaotic - nope, don't like it.

Well done to the hipsters for putting in a genuine pop smash by a major female talent. Tina was a massive talent too and some of the songs here would have been dreadful pap in the hands of a lesser singer. Any album with Jeff Beck gets an instant two stars added to its score. And Jeff is equal to Tina’s talent. Vale to the both of them. For reasons that don’t need to be gone into here her extraordinary work with Ike is difficult to judge. It is more dangerous, raunchier and wilder. But the trauma porn that fuels a lot of this stuff is too much for them. So we have this. Like the Bonnie raitt album it’s slick, it’s professionally done. It beyond competent. And you can see the flash of ranch, of sleaze, of sex occasionally. This album made her the superstar she always was. 6 stars.

A fascinating pop record. Firstly hats off to whoever in Capitol Records decided to get behind her and find great songs. Secondly to then give her an array of producers to work with, which is what makes this a terrific record. Incredible to think Martyn Ware is involved here. All the awfulness of her experience on the rock and roll road, literally and metaphorically, sadly overshadows her incredible ability as a recording artist. What this album does is give her a eclectic mix of tunes which affords her the opportunity to show off her range as a singer and interpreter. It is a great album. I know that sounds like the bleeding obvious, but the whole record hangs together as a fantastic album. The hits are the hits, brilliant, timeless, tattooed on our brains forever. But the album tracks are equally special, her takes on 1984, Better Be Good to Me, Show Some Respect are just fantastic. The 80's drums are a bit nasty on occasions etc, but importantly some of the production stuff does not get in the way of the performance. A great record, she's simply the best.

Ms. Turner I love youuuu

When people talk about Beyonce being so great it's because they never heard Tina, Aretha or Whitney. Tinas voice can move mountains. Icon.

outstanding

YES!

So many hits that I didn't know were originally on this album

banger after banger

Wow— what a banger. These songs are fantastic! Smooth 80s instrumentation, great lyrics and an amazing voice. The covers are amazing too

banger after banger. even the extended edition added songs go hard (Thunderdome song)

I always forget how much I like Tina

Exceptional

I mean... how could anyone give this less than a 5? And now that I'm done with my review, I've reviewed the other reviews, and apparently a lot of alleged "people" could and did give this less than a 5 - as in, like, 1s and 2s. Assuming no one would bother putting in the effort to spambot this silly challenge, I can only, once again, conclude that I'm simply living on a different planet than the majority of humanity... and thank goodness for that!

Tina auf dem Höhepunkt Ihres Schaffens. Ihr gelingt eine perfekte Symbiose zwischen Soul und Rock. Mit dem fulminanten Leitsong „Private Dancer“, und den Hits „What‘s Love Got To do with it“ und „I can‘t Stan The Rain“. Aber auch die weiteren Songs gliedern sich excellent ein. 👍

The kind of album that makes you wanna sing along to it at the top of your voice.

Love Tina!!

Absolutely amazing! But I can't help imaging the producers bopping their head with an uncomfortable look on their face listening to pop bangers about domestic abuse. At least that's how I reacted.

Bangers none stop bangers. Favorite fact about this album is “Private Dancer” was written by Mark Knopfler of Dire Straits.

The production is cheesy as hell on this but there are just too many great songs and her vocal performances are incredible. She also more than does justice to both a classic Beatles song and Bowie song.

I can’t stand the rain!!

Near perfect album.

Der Sound meiner Studienzeit Unverwechselbare Stimme

Another really fun album this week, wow. It feels like the slog through shitty britpop fans might finally be over, or more likely temporarily on hold. Tina Turner was such an incredible vocal powerhouse, it’s hard not to get goosebumps from her singing. This is an album with some really incredible singles, but also some underrated deep cuts that deserve a little more credit. It’s soulful and bluesy, but it’s got that 80’s energy coming from the electric guitar style and all the synths. It’s such a fun sound throughout, it’s really hard to find any fault at all. The way she reimagined the classic Beatles tune “Help” is really quite striking. It’s a beautiful version of an already excellent song. The kind of cover where an artist really makes it their own. This album really earned its 5 stars here.

What a fantastic run of albums the past few days! “What’s Love Got to Do With It” is of course the most recognizable song on this album and it is an absolute 10/10 no notes classic. But the rest of this album holds its own, as well. Her (or her producers’) reimagining of “I Can’t Stand the Rain” and “Let’s Stay Together” are both fantastic, but “I Might Have Been Queen” and the title track are both standouts as well. Interesting to note Mark Knopfler wrote the title track and originally intended it for Dire Straits. I could happily listen to Tina Turner belt the phone book. Another 5 ⭐️!!!

❤️

Every song is a masterpiece

THE Comeback Album

Despite the coking up of the BPM, par for the course in ‘83-‘84, this is absolutely mastery of a songstress at the top of her game.

Awesome all classics!

Bueno

The goddess is back!

This is a no-brainer. So choc-full of 80's goodness and hits it's no wonder it's a solid 5*****

What a pleasant surprise. This absolutely rips. Phenomenal powerhouse vocal performance backed by the most maximalist, genre-smashing, sensual, bombastic production money could buy. Even the cover songs are transformative. I fucking loved this.

A classic album. Great songs all around! My favorite songs were probably, “Let’s Stay Together”, and “1984”.

Maybe the greatest comeback album ever

One of the best performers of the 80s. I'll always remember the roadtrip I made with a friend from Nashville to Chicago to see Tina live. It was incredible. This album has some of my favorites along with a few I've never heard before. I love her feist, strength, and raspy rocker voice. 4.5 stars.

This was wonderful. I was really struck by the lyrics and the musical vibes throughout the entire album. Nothing short of fantastic.

Great

Looking at all the 1 and 2 star reviews for this banger of an album leads me to ask the question: are any women doing the 1001 album challenge? Or is this site strictly just loser dudes in stupid hats? 5 star album, bite it you scum. Queen Tina forever

yeeeeea motherfuckerrrrrrr

Queen Turner has so much fun. I love her covers.

This terrific album by Tina Turner turned (no pun intended) me from familiar with her work to a bona fide fan. The ratio of absolute bops to skips is staggering. Obviously there are multiple tracks that exhibit her chops as a soul icon with the album opener "I Might Have Been Queen", the seminal "What's Love Got To Do With It", and another smash "Let's Stay Together". The catchiness and vocal performance on these songs stands the test of time even in 2024. Another aspect of Turner that I was only partially aware of was her rock influence, which are evident on the tracks "Show Some Respect" and "Steel Claw". These songs blend the rock sound of that era with some 70s funk sounds wonderfully. These songs combined with the titular epic "Private Dancer" create one of the most complete R&B records I've ever heard. An absolute powerhouse of an album. 9/10

Großartige Songs einer tollen Künstlerin!

Tina is simply the best! May her soul rest in peace!

This is so much better than I remembered.

Great Album

All time classic

What is there to say? It's Tina Turner...5/5

my 80's bias is showing. 5/5.

Tina is otherworldly and there should bee statutes erected for her greatness. Total 80's sound and some of it was super cheesy but her presence and voice are transcendent. Amazing!!

Ok. This is the record with: What’s Love Got to Do with It, I Can’t Stand the Rain, Private Dancer, Let’s Stay Together, and Better Be Good to Me. Basically, all of her best songs. All from her first solo album. This woman was a goddess.

Fantastic album

I love Tina. Great album

Wonderful and great to listen regularly

Once I got past the 80's dance vibe, I truly enjoyed the whole album. Most of the tracks were new to me and I could feel the foundation of OG R&B.

So many songs on this album, damn Tina. What a bomb ass album. No skips. I forgot how much I love her music.

So viel Power!

She was a national treasure. 5 stars.

This album was just fantastic. What an icon.

Absolutely excellent. What a total Queen she was

Álbum bom demais, parecia que eu estava no carro dos meus pais a 15 anos atrás ouvindo 101.7

Tina is a legend. Unique person, unique voice. Great songs!

Excellent album with some great songs

This was great, Tina’s amazing.