British guitarist analyses Tina Turner with Ike live in 1974!

hello phil here from wings of pegasus and welcome to another analysis video if you enjoy this video please give it a thumbs up and subscribe on the agenda tonight we're going back to 1974 we're gonna be taking a look at ican Tina Turner and they're going to be performing proud Mary and I will be jumping into this halfway through so the link to this is going to be in the description below if you want to watch the video the whole way through because there are two distinct sections here going from the slow-tempo version into the up-tempo version that these guys performed so well but let's get them up on screen and see how they get on yeah every now and then I kind of like to do things that's nice and easy [Applause] [Music] we keep [Music] [Music] [Music] [Music] [Applause] [Music] [Music] I'm just gonna jump in here one thing that I do want to mention is that in this video I'm mostly gonna be focusing on Tina Turner out of the front of the stage and analyzing her voice but also her performance overall the first thing I want to draw your attention to is the way that Tina Turner smiles in her singing in order to get her tone and this is something that when you're watching this particular performance and any performance of Tina's but especially here rewind about at the beginning and see her facial expressions when she's singing the verse because as soon as she starts singing she has this smile is something that a lot of singers vocal teachers will show you how to set up your resonance by smiling into the sound to try and get it in your eyes on your eyebrows in terms of the resonance that's where you want that sound to happen and it's exactly what we've got here with Tina but people watching it will just think this she's smiling and then suddenly changing her expression it certainly does help that Tina looks like she's smiling when she's singing because that draws you in I am gonna be calling Tina Tina in this video even though she was born Anna and her friends called her and and then I came up with a name Tina Turner he was thinking of Sheena of the jungle for the first name and and tina rhymed sounded the same so he went for that but also the turner part of the name is trademarked so it meant that if Ike was in the situation where Tina Turner left he could get another female vocalist in and call her Tina Turner so he wouldn't have to change the name of the act this is getting towards the mid 70s so 1974 here which is you can really tell in this video where Tina started to take on that solo artists persona and direction and was more in demand as a solo artist especially the mid to late 70s they split up in 1976 and their divorce was finalized in 1978 so this was just before that period but she's got such a strong vocal and a unique vocal quality to her voice because of the way that she's got that rasp in there all the time and this isn't something that Tina is trying to put onto her voice as an afterthought it's just naturally there because if it wasn't it sounds like she would just kill her throat because of the amount of rasp that she does manage to maintain throughout all of these performances on all of her live shows all of her tours if she was faking that rasp and doing it in an unhealthy way her voice just wouldn't last whereas she is always vocally on song live the other quality that Tina has in her voice is the ability to keep the tone consistent throughout her range and when she does start to lean into the sound get a little bit of that rasp she connects her vocal cords even more tightly the highest she goes therefore using less air which is exactly hit what you're aiming for and when she does use the lower part of her range you can hear when she does add a little bit more air into that sound to the point where when she is saying yeah and oh yeah in this performance listen out for it because you can hear the more air that is being used in those vocal phrases but as soon as she gets up to the top end of her range and she starts belting it out there's no air in that sound it's just pure vocal cord connection so a massive part of live shows with Tina Turner was the showmanship side of things and also I mentioned on this channel all the time about all the top artists and bands have three things in common and those are always great songs great technical ability whether playing an instrument or using your vocal cords and lastly being able to put on a show and be entertaining and that's certainly what Tina Turner can do because she definitely puts on a show which we will be seeing later so in this performance we do have some serious light and shade I have run it forward by about 25 seconds so that we can get into this dramatic tempo change that we go through and also have a listen to Tina's voice where she puts her foot to the floor and really opens up the taps vocally but let's get back into this [Music] good job [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Applause] and there we have it the thing about Tina Turner live is that she's a force of nature in terms of watching her performance and her confidence and the amount that she rolls into a live performance noni vocally but all of the choreography that is happening and this kind of thing was so early in its development Tina Turner was one of those that were put on such a show live in terms of having dance routines and things that we take for granted now especially in mainstream pop it's just something that is always there but Tina Turner being able to roll in that entertainment element where the top quality vocal was such an interesting thing to do because you're starting to get quality from so many different aspects and so many different angles of the performance because sometimes you might have a great vocalist who just stands there doesn't really do anything or you have a really entertaining performer who isn't very good at singing but rolling it all into one no pun intended is exactly what Tina did and she set the bar also having the full band setup that's another thing that Tina Turner always had live even after Ike well into the 80s and 90s and around 2000 I know that she did retire for a few years but then came back for the fiftieth anniversary she certainly was a perfectionist in every single element of her live performances not only getting her vocal spot on which she always did but getting the choreography spot-on as well making sure the band are getting everything as it should be and that brings up an interesting point about this performance because the dancer on the far left here does 18 squats in a row so it's quite a good workout she goes through but the other three are doing a separate routine and I don't know if that was previously planned or if it wasn't I'm sure Tina had a word with her afterwards the other thing is this version of the song because it's something that Tina is now known for and was known for with her live shows people would be waiting to hear this because of this version and the in German is something that is so rare that doesn't happen all the time sometimes artists take on a great song and they can't do justice to that original or they change it too much and lose some of the feeling from that original where is Tina with this version of the song her vocal added so much to it the arrangement here playing it at this tempo spot-on as well for the choreography so there are so many new elements to this John Fogerty track that have been injected into it to take it to a totally different place but still keep the original melody in there and the original quality of that composition there is always something going on musically with hooks or with a horn section that come in here in order to keep your attention the whole time whilst you're watching the choreography because if everything just went a bit flat and there weren't any hooks in there it would lose the impact and the dancing would just look like biding your time whereas the dancing is something that is supposed to keep you entertained and interested and that's exactly what we have musically going on in the background at the same time another thing to factor in with singers that do a lot of choreography is the breath control because when you're running around on stage or you're doing a dance routine not that I know about dance routines but I certainly know about covering some distance on stage you have to manage your breathing you could not get up to the microphone and then be out of breath and struggle to sing those vocal phrases so it's a whole nother side to singing and breath control and breath management she's using a lot of support in order to add all of this compression to her sound and get the drama get that effect of having that high vocal range in chest voice to put across that emotion so all of these things that she's managing that will fly under the radar and a lot of people spend so much time trying to sing like somebody else but singers like Tina weren't trying to sound raspy when they were singing it just happened because that was the way her voice worked I also mentioned sometimes about the range has and being able to take that lead vocal up an octave pitch wise in order to get a really dramatic effect and we certainly have that here I think Tina ends up at around d5 if you want to find that on your keyboards but we start an octave lower than that and she's covering more than an octave in this performance the way that Tina sings in her lower register it's almost as if the rasp and her voice is percentage-based with her range so we start low down an octave below d5 there'll be a hint of rass to her voice but that rasp is maybe 25% is in there because that is her vocal quality and tone that she has naturally so by the time she puts her foot on the accelerator it is like a roaring engine because she's getting up into fifth sixth and seventh gear and the rasp is now at a higher percentage with that compression at the top end of her chest voice so you get such a dramatic change compared to when you take maybe a clean tone higher and higher and higher but it stays clean you don't really get that grit and that edge and that attitude that you do with Tina's voice and that's something that sets her apart vocally that naturally she can produce that rasp where other people would struggle and that's why Tina's voice works so well with rock songs and this being a great example of that Tina is always going to put on an amazing vocal performance but an amazing choreographed performance and an entertaining show in all and this is why when she played in Brazil in 1988 she set a new record for the largest attendance for a female artist and it was 180,000 people that turned up to watch her but it's great to have a look back at Ike and Tina putting on a show worthy of a stadium for the Midnight Special TV show and a lot of that is to do with Tina her natural ability to entertain but also her vocal ability and all of that choreography that she throws in as well just really putting on a show and she really did raise the bar for any other artists around I'm probably going to do another video on Tina because I hadn't had a chance to cover Ike and Tina Turner and what they did in the 60s and the early 70s so I'll probably do another video soon but thank you guys so much for suggesting this video for me to take a look at and keep their suggestions coming in the comments below let me know what you guys think and if you enjoyed this video please give it a thumbs up and subscribe and I'll see you guys and the next one

Channel: Wings of Pegasus

Views: 40,214

Rating: 4.9603133 out of 5

Keywords: ike and tina turner proud mary, ike and tina turner rolling on the river, tina turner proud mary, tina turner live proud mary, tina turner the midnight special, the midnight special, tina turner live 1974, proud mary ike and tina turner, proud mary tina turner, proud mary creedence clearwater revival, wings of pegasus, wingsofpegasus, british guitarist reacts, british guitarist analysis, british guitarist analyses

Id: sr_Flrnire8

Length: 17min 50sec (1070 seconds)

Published: Wed Dec 11 2019