Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry. Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates-bassist Sal Samano and singer Josh Lane-have been playing together for a lifetime already.
“Things just seem to happen naturally when the three of us get together.” “Every step of the way has just been so organic,” says drummer Alex Garcia. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut. The band’s first club dates led to a record deal with the revered Daptone label their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Of that lot, Turner deserved to be regarded as having similar potential for enduring influence and commercial sustainability in and around country music.For Thee Sacred Souls, the first time is often the charm. Moreover, famed contraltos include Cher, Etta James and Stevie Nicks. Other mezzo-soprano musical stars include Adele, Beyonce, Miley Cyrus, Sheryl Crow, Janis Joplin, Taylor Swift, and Carrie Underwood. Tina Turner's growling, gritty contralto or mezzo-soprano voice is not unusual in country music and related musical spaces. Still, they were primarily an afterthought. In Nashville, past Linda Martell's four singles released from her 1970 album "Color Me Country," Black women in the space wanted greater involvement. However, in the review, the idea of the songs gaining country radio airplay is downplayed in lieu of more likely soul and pop radio airplay. In a September 1974 edition of Billboard, "Tina Turns the Country On!" is referred to as a "fine mix of country, folky and soft rock tunes" where Tina's voice "perfectly around each cut." It contains cover songs from country and folk artists like Kris Kristofferson, Bob Dylan, Olivia Newton-John, James Taylor and Dolly Parton. Released in September 1974 by United Artists Records, "Tina Turns the Country On!" is Tina's solo studio album debut. Looking to mirror the success of the era's other barnstorming, Grammy-winning acts, like Elvis Presley (three Best Inspirational Performance Grammy awards between 19) and The Pointer Sisters (Best Country Performance by a Duo or Group with Vocal and Best Country Song for "Fairytale" in 1975), the tandem recorded country and gospel albums to pair with their regular spate of rock 'n roll covers and soul-leaning original material to maintain their global success. Moreover, "Nutbush City Limits" was a global Top-20 single. The Ike and Tina Turner Revue was a Grammy-winning and world-renowned act.
The song was considered an "absolutely sensational smash" in an August 1973 edition of Cash Box magazine.īy 1974, Tina was still paired with Ike. The biographical song outlines Turner's stereotypical country bona fides by noting that Nutbush is a dangerous, "one-horse town" that penalizes whiskey bootlegging with incarceration, where salt pork and molasses are the only meals served to those behind bars. John's also 1973-released, New Orleans-drenched anthem "Right Place, Wrong Time," opened a door for funk, jazz and rock to intersect with country's rock edge. Hook & the Medicine Show's 1972 hit "Cover Of The Rolling Stone" and Dr. In 1973, Ike and Tina Turner released "Nutbush City Limits," which, alongside Dr.
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