| Private Dancer | |
| Type: | studio |
| Artist: | Tina Turner |
| Cover: | Tina Turner Private Dancer US CD cover art 1984 original.jpg |
| Recorded: | 1983–1984 |
| Studio: | Farmyard, Mayfair, Wessex, Good Earth, Abbey Road, CBS (London, United Kingdom) |
| Genre: | |
| Label: | Capitol |
| Producer: |
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| Prev Title: | Love Explosion |
| Prev Year: | 1979 |
| Next Title: | Break Every Rule |
| Next Year: | 1986 |
Private Dancer is the fifth solo studio album by American singer Tina Turner. It was released on May 29, 1984 by Capitol Records and was her first album released by the label. After several challenging years of going solo after divorcing Ike Turner, Private Dancer propelled Turner into becoming a viable solo star, as well as one of the most marketable crossover singers in the recording industry. It became a worldwide commercial success, earning multi-platinum certifications, and remains her best-selling album in North America to date.
In 2020, the album was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".[2]
A&R man John Carter of Capitol Records is credited with relaunching the career of Tina Turner in the 1980s.[3] In 1983, despite opposition from within Capitol, he signed her and managed her first album for the label, Private Dancer. Recording sessions were overseen by four different production teams and took place at several studios in England, including Rupert Hine, and Martyn Ware of Heaven 17. A radical departure from the rhythm and blues sound Turner had performed with her former husband and performing partner Ike Turner, the tracks in the album are a mixture of uptempos and ballads, inspired by pop and rock genres; it also features elements of smooth jazz and R&B.
"Let's Stay Together" was produced by Martyn Ware of British band Heaven 17. Terry Britten produced the reggae-tinged "What's Love Got to Do with It". Rupert Hine produced "Better Be Good to Me", which had been written by Holly Knight, Mike Chapman, and Nicky Chinn, and most of the other songs. John Carter produced "Private Dancer", which was written by Mark Knopfler and has a guitar solo by Jeff Beck. "Help!" was recorded with The Crusaders.
In 1997, EMI, the parent label of Capitol Records, released a digitally remastered Centenary Edition of the Private Dancer album on CD. This version includes four additional demo tracks recorded in late 1983 and early 1984 with the producer John Carter, first released as B-sides to some of the Private Dancer singles; it also includes three extended 12" remixes.
In 2015, the 30th Anniversary edition of this album was released by the Parlophone Records unit of Warner Music Group which now controls this album.[4]
See main article: Private Dancer Tour. A 177 date tour to promote the album took place from February 8, 1985, to December 28, 1985. Called the Private Dancer Tour, there were 60 shows in Europe, 105 in North America, 10 in Australia, and 2 in Japan. Opening acts in North America included Glenn Frey and Mr. Mister. As well as songs from the album, Turner performed hits from her time with Ike & Tina, such as "River Deep – Mountain High", "Nutbush City Limits", and "Proud Mary".
The album received a positive reception from critics. The Los Angeles Times wrote that Turner's voice "melts vinyl".[5]
Debby Miller, in a July 1984 Rolling Stone review, felt that the album was a powerful comeback, with Turner's voice "rasping but strong", and a range of songs that were all good in a "modern rock setting" that was "neither detached nor very fussy". Robert Christgau of The Village Voice felt that she embraced the "middlebrow angst of contemporary professional songwriting". He said that "four different production teams" on the project was a "sign of desperation", despite the resulting "seamless authority" of the album.[6]
Alex Henderson, in a retrospective AllMusic review, says that the album was slicker than her R&B classics recorded with Ike & Tina, but she was still able to sing with a throaty passion to deliver her finest solo production. Stephen Holden has written in The New York Times that by using her English producers to soften her raw Southern soul style, discarding the "blaring horns, frenzied percussion and gospel calls and responses", the album became a "landmark" in the "evolution of pop-soul music".[7]
Michael Lydon, in Robert Dimery's 1001 Albums You Must Hear Before You Die, says that the album's lyrical themes embodied her persona of a "tough, sexy woman schooled in a tough world", and that her vocal delivery overcomes the slick production, with her "indomitable soul" unifying the multiple producers.[8] In 1989, the album was ranked number 46 on Rolling Stone magazine's list of The 100 Greatest Albums of the '80s. In 2001, VH1 named Private Dancer the 95th greatest album of all time. Slant Magazine listed the album at number 63 on its list of "Best Albums of the 1980s", saying, "Both a personal liberation and sonic redemption, Private Dancer established Turner not only as a genuine diva, but a bona fide force of nature".[9]
Production
The album was released on May 29, 1984, and became an outstanding global commercial success.[19] [20] [21] The album peaked at number three on the Billboard 200 chart for ten consecutive weeks[22] and remained in the top ten for 39 weeks from August 1984 to May 1985. In the United States it was certified 5× platinum.[23] In Germany, the album went 5× gold becoming one of the best selling albums in history. It peaked at number two on the UK Albums Chart, where it was certified 3× platinum, remaining on the charts for 150 total weeks. It was certified 7× platinum for the shipment of over 700,000 copies in Canada by the Canadian Recording Industry Association. The album has sold more than 12 million copies worldwide.[24] [25] At the 1985 Grammy Awards, Private Dancer won four of the six awards for which it was nominated.
| Peak position | |
| Australian Albums (Kent Music Report)[26] | 7 |
|---|---|
| Canadian Albums (The Record)[27] | 1 |
| European Albums (Music & Media)[28] | 1 |
| Finnish Albums (Suomen virallinen lista)[29] | 5 |
| Peak position | |
| Australian Albums (ARIA)[30] | 53 |
|---|---|
| Position | ||
| Australian Albums (Kent Music Report) | 17 | |
|---|---|---|
| Canada Top Albums/CDs (RPM)[31] | 8 | |
| Dutch Albums (Album Top 100)[32] | 9 | |
| German Albums (Offizielle Top 100)[33] | 17 | |
| New Zealand Albums (RMNZ)[34] | 27 | |
| Norwegian Fall Period Albums (VG-lista)[35] | 6 | |
| Swiss Albums (Schweizer Hitparade)[36] | 6 | |
| UK Albums (Gallup)[37] | 18 | |
| US Billboard 200[38] | 39 | |
| US Top R&B/Hip-Hop Albums (Billboard)[39] | 11 |
| Position | ||
| Australian Albums (Kent Music Report) | 26 | |
|---|---|---|
| Austrian Albums (Ö3 Austria)[40] | 1 | |
| Canada Top Albums/CDs (RPM)[41] | 28 | |
| Dutch Albums (Album Top 100)[42] | 25 | |
| European Albums (Music & Media)[43] | 6 | |
| German Albums (Offizielle Top 100)[44] | 2 | |
| New Zealand Albums (RMNZ)[45] | 15 | |
| Swiss Albums (Schweizer Hitparade)[46] | 1 | |
| UK Albums (Gallup)[47] | 16 | |
| US Billboard 200[48] | 5 | |
| US Top R&B/Hip-Hop Albums (Billboard)[49] | 2 |
| Position | ||
| UK Albums (Gallup)[50] | 78 |
|---|
| Year | Winner | Category | |
|---|---|---|---|
| 1985 | "Better Be Good to Me" | Best Female Rock Vocal Performance | |
| 1985 | "What's Love Got to Do with It" | Best Female Pop Vocal Performance | |
| 1985 | "What's Love Got to Do with It?" | Record of the Year | |
| 1985 | "What's Love Got to Do with It?" | Song of the Year |
