The lavish 24-track original London cast recording of Tina: The Tina Turner Musical – streaming at Spotify – is a risky project. Covering an icon like Turner is a potential minefield: mess up and you will be held accountable. But singer Adrienne Warren, in the lead role, shows off a strong, throaty, versatile delivery. The band behind her are superb, particularly on the vintage soul numbers, and the supporting cast rise to the occasion as well. It’s not often that a Broadway pit band can school other musicians on how to play much of anything, but they do here. And the script doesn’t shy away from what a creep and an abuser Ike was.
The music doesn’t follow a chronological narrative, with songs from Turner’s big 80s comeback mingled within material that spans from edgy blues to high-voltage vintage soul to the poppier stuff of her later career. Sending out a shout to her gospel beginnings, the first version of Nutbush City Limits has a lavish, ecstatic choral arrangement. The band add a welcome raw edge to Shake a Tail Feather; likewise, Daniel J. Watts, whose salacious rasp makes a great fit in Ike’s Innuendo-fueled hit The Hunter.
Tina enters in the background in Matchbox, done here as a swinging jump blues. Her dad warns Ike what’s going happen if he strays from Tina in a witheringly cynical take of It’s Gonna Work Out Fine over some delicious guitar textures. In context, the angst-fueled intro to A Fool in Love packs a punch.
With a beefy rhythm section and bright spacerock guitars, Better Be Good to Me is a vast improvement on the original. The whole crew shift gears seamlessly back to a blue-flame, unexpectedly psychedelic take of Higher, the first song the Turners – battling hard behind the scenes by now – played on national tv.
River Deep Mountain High has a lavish intensity that rivals the record. Be Tender With Me, Ike’s plea for forgiveness, has a simmering intensity from both sides of the battle. Smartly, the version of Proud Mary here draws on the epic album version rather than the single – or Creedence, for that matter.
The group do their best to add an elegant, harder-rocking edge to I Don’t Wanna Fight, a good setup for Private Dancer, which is arguably even more weary and worn than the original even if it is a tad faster. And the cover of the Trammps’ hit Disco Inferno is practically punk rock.
Warren does a more-than-decent imitation of original singer Ann Peebles in Can’t Stand the Rain. After a low-key, starry version of David Bowie’s elegaic ballad Tonight, What’s Love Got to Do With It rocks a lot harder than the techy original, commemorating Turner’s first post-comeback New York appearance.
Likewise, Warren and the band reach toward Pink Floyd angst and grandeur in We Don’t Need Another Hero. Simply the Best may be epically cheesy no matter how epically you play it, but the decision to go back to Nutbush City Limits in the 1960s for the finale pays off mightily. There are only a couple of duds here: covering Al Green was ill-advised, and that odious Journey song is a real buzzkill. That’s why we have the mute button.