Editing Ike Turner (section)

== Career ==

=== 1946–1950: Formation of the Kings of Rhythm ===
{{Main|Kings of Rhythm}}

As a teenager, Turner joined a local rhythm ensemble called the Tophatters, who played around [[Clarksdale, Mississippi]].<ref name=Collis-2003-28>{{harvnb|Collis|2003|pp=28–30}}</ref> Members of the band were Clarksdale musicians and included Turner's school friends [[Raymond Hill (musician)|Raymond Hill]], Eugene Fox and [[Clayton Love]].<ref>{{cite web|title=Mississippi Blues Trail-Ike Turner|url=http://www.msbluestrail.org/_webapp_3382162/Ike_Turner|work=Mississippi Blues Trail|publisher=Mississippi Blues Commission|access-date=October 1, 2011}}<br />{{cite web|title=Ike Turner's Kings of Rhythm – I'm Tore Up|year=1976 |url=http://www.discogs.com/Ike-Turners-Kings-Of-Rhythm-Im-Tore-Up/release/3049883|publisher=Discogs|access-date=October 1, 2011}}</ref> The Tophatters played [[big band]] arrangements from [[sheet music]]. Turner, who was trained by ear and could not [[sight read]], would learn the pieces by listening to a version on record at home, pretending to be reading the music during rehearsals.<ref name="Collis-2003-28" /> The Tophatters had over 30 members, but they broke up into two groups after six months to a year. One faction wanted to play [[jazz music]] and became the Dukes of Swing.{{Sfn|Turner|1999|p=40}} The other band led by Turner became the Kings of Rhythm. Turner said, "we wanted to play [[blues]], boogie-woogie and [[Roy Brown (blues musician)|Roy Brown]], [[Jimmy Liggins]], [[Roy Milton]]."<ref name="Collis-2003-28" /> Turner kept the name throughout his career, although it went through lineup changes over time. Their early stage performances consisted largely of covers of popular [[jukebox]] hits. [[B.B. King]] helped them to get a steady weekend gig and recommended them to [[Sam Phillips]] at [[Sun Studio|Memphis Recording Service]].<ref name="Pareles 12-13-2007">{{cite news|url=https://www.nytimes.com/2007/12/13/arts/music/13turner.html|title=Ike Turner, Musician and Songwriter in Duo With Tina Turner, Dies at 76|last=Pareles|first=Jon|date=December 13, 2007|newspaper=The New York Times|access-date=September 30, 2011|issn=0362-4331}}{{subscription required}}</ref> In the 1950s, Turner's group got regular airplay from live sessions on the radio stations WROX in Clarksdale and [[KFFA (AM)|KFFA]] in [[Helena, Arkansas]].<ref name="Martin-12-17-1999" /><ref>{{cite journal|last=Hawkins|first=Martin|title=Sun- The Roots of Rock: Delta Rhythm Kings sleevenotes|year=1976|volume=3|series=Sun – The Roots of Rock}}</ref>

Around the time he was starting out with the Kings of Rhythm, Turner and Lane became unofficial [[Road crew|roadies]] for blues musician [[Robert Nighthawk]], who often played live on WROX.<ref name="Moser-03-16-2001" /> The pair played drums and piano on radio sessions. Turner gained experience performing by supporting Nighthawk at gigs around Clarksdale.<ref name="Palmer-06-20-19932">{{cite news|url=https://www.latimes.com/archives/la-xpm-1993-06-20-ca-5089-story.html|title=Commentary: What Ike Had to Do With It|last=Palmer|first=Robert|date=June 20, 1993|newspaper=Los Angeles Times|access-date=November 6, 2011}}{{subscription required}}</ref><ref name="Collis-2003-30">{{harvnb|Collis|2003|pp=30–31}}</ref> He played [[juke joint]]s alongside other local blues artists such as [[Elmore James]], [[Muddy Waters]], and [[Little Walter]].<ref name="Moser-03-16-2001" /> Performances typically lasted about twelve hours, from early evening to dawn the next day. Turner recalled, "there wasn't no intermission. If the drummer had to pee, I would play drums until he returned....There were no breaks. We just switched around."{{Sfn|Turner|1999|p=43}}

=== 1951: "Rocket 88" ===
{{Main|Rocket 88}}
[[File:Sun Studio, Memphis, TN (3636820842).jpg|thumb|[[Sun Studio]] at 706 Union Avenue in [[Memphis, Tennessee]], where in 1951 Turner and the [[Kings of Rhythm]] recorded "[[Rocket 88]]", one of the first [[rock and roll]] records. Turner would later work at the studio as in-house producer for [[Sam Phillips]].|alt=]]

In March 1951, Turner and his band recorded the song "[[Rocket 88]]" at Memphis Recording Service. Turner's vocalist [[Johnny O'Neal (singer)|Johnny O'Neal]] had left to sign a solo contract with [[King Records (United States)|King Records]], so [[Jackie Brenston]], a saxophonist in the Kings of Rhythm, sang lead vocals while Turner was on piano. "Rocket 88" is notable among other things for Willie Kizart's [[Distortion (music)|distorted]] guitar sound.<ref>{{Cite book|last=Shepard|first=John|url=https://books.google.com/books?id=pJvzEzjahkQC&q=rocket%2088%20distortion&pg=PA286|title=Continuum Encyclopedia of Popular Music of the World|publisher=Continuum International|year=2003|isbn=978-0-8264-6322-7|series=Performance and Production|volume=II|page=286}}</ref>

Phillips licensed the recording to [[Chess Records]] in Chicago.<ref name=":3">{{Cite news |last=Sims |first=Lydel |date=March 28, 1951 |title=Rocket Becomes Flying Disc, Spins Toward Record Glory |pages=1 |work=The Commercial Appeal |url=https://www.newspapers.com/article/the-commercial-appeal-rocket-becomes-fly/133218311/}}</ref> Chess released it under the name "Jackie Brenston and His Delta Cats" instead of "Ike Turner and His Kings of Rhythm Featuring Jackie Brenston".{{Sfn|Turner|1999|p=46}} Turner blamed Phillips for this misrepresentation. Soon after its release, the single caused a sensation and Turner performed with his band at the [[W.C. Handy Theatre]] in Memphis.<ref name=":3" />

The single reached [[List of Billboard number-one rhythm and blues hits|number-one]] on the [[Hot R&B/Hip-Hop Songs|''Billboard'' R&B]] charts in June 1951 and spent 5 weeks on top of the charts.<ref>{{Cite magazine|date=June 9, 1951|title=Best Selling Rhythm & Blues Records|url=https://www.americanradiohistory.com/Archive-Billboard/50s/1951/Billboard%201951-06-09.pdf|magazine=Billboard|pages=32}}</ref><ref>{{Cite magazine|date=July 7, 1951|title=Most Played Juke Box Rhythm & Blues Records|url=https://www.americanradiohistory.com/Archive-Billboard/50s/1951/Billboard%201951-07-07.pdf|magazine=Billboard|pages=28}}</ref> The record sold approximately half a million copies. Turner and the band were paid $20 each for the record. The exception was Brenston, who sold the rights to Phillips for $910.{{Sfn|Turner|1986|p=55}} Phillips used profits from the success of the record to launch [[Sun Records]] in February 1952.<ref>{{Cite web|url=https://www.culturesonar.com/rocket-88-one-of-the-pioneering-songs-of-rock/|title="Rocket 88": One of The Pioneering Songs of Rock|last=O'Toole|first=Kit|date=August 8, 2019|website=CultureSonar|language=en-US}}</ref>

The song is often cited as the first rock n' roll record,<ref>{{cite web |url=https://www.theguardian.com/music/2004/apr/16/popandrock |title=Will the creator of modern music please stand up? |date=April 16, 2004 |work=The Guardian |access-date=December 26, 2022 |quote=}}</ref> but in a later interview, Turner offered this assessment: "I don't think that 'Rocket 88' is rock 'n' roll. I think that 'Rocket 88' is R&B, but I think 'Rocket 88' is the cause of rock and roll existing".<ref>{{Cite web|url=https://faroutmagazine.co.uk/the-first-ever-rock-and-roll-song/|title=Listen to the first rock and roll song ever recorded|website=Faroutmagazine.com|date=November 13, 2021 |access-date=December 26, 2022}}</ref>

The success of "Rocket 88" generated tension and ego clashes in the band which culminated with Brenston leaving to pursue a solo career, causing the band to fall apart. Turner, without a band and disappointed his hit record had not created more opportunities for him, disbanded the Kings of Rhythm for a few years.<ref name="Palmer-06-20-19932" />

=== 1951–1954: Session musician and talent scout ===
Soon after the release of "Rocket 88", Turner moved to [[West Memphis, Arkansas]] and played with various local bands.{{Sfn|Turner|1999|p=47}} He then became a [[Freelancer|freelance]] talent scout, session musician, and production assistant for Sam Phillips at Sun Studio, commuting to Memphis, Tennessee. Wishing to exploit his [[Mississippi Delta|Delta]] music connections, the [[Bihari brothers]] at [[Modern Records]] also hired Turner as a talent scout, paying him to find southern musicians who might be worth recording.<ref name="Palmer-06-20-19932" /> Turner arranged for B.B. King and the [[The Beale Streeters|Beale Streeters]] to record for Modern at the [[YMCA]] in Memphis.<ref>{{Cite book|last=Salem|first=James M.|url=https://books.google.com/books?id=bNIN6UB5G_EC&q=YMCA&pg=PA29|title=The Late, Great Johnny Ace and the Transition from R & B to Rock 'n' Roll'|date=2001|publisher=University of Illinois Press|isbn=978-0-252-06969-7|pages=37|language=en}}</ref> Turner played piano on King's early records "[[You Know I Love You (B.B. King song)|You Know I Love You]]" and  "[[3 O'Clock Blues]]", which became King's first two number-ones.<ref name=Collis-2003-52>{{harvnb|Collis|2003|pp=41–52}}</ref> According to Joe Bihari, Turner had brought King to his attention years prior. He said, "Ike wasn't more than sixteen then. He would send dubs of things he cut to us, and if we'd like them we'd make a seal or sign the artist. That's how we acquired B.B. King."<ref name="Farley-2011">{{Cite book|title=Soul of the Man: Bobby "Blue" Bland|last=Farley|first=Charles|publisher=University Press of Mississippi|year=2011|isbn=978-1-60473-919-0}}</ref> King also maintained that Turner introduced him to the Bihari brothers.<ref>{{Cite book|url=https://archive.org/details/bbkingreader6dec00kost/page/7|title=The B.B. King Reader: 6 Decades of Commentary|last=Kostelanetz|first=Richard|publisher=Hal Leonard|year=2005|isbn=0-634-09927-2|editor-last=Kostelanetz|editor-first=Richard|edition=2nd|location=Milwaukee, WI|pages=7|editor-last2=Reiswig|editor-first2=Jesse}}</ref>

Unaware of [[Royalty payment|songwriter's royalties]], Turner also wrote new material which the Biharis copyrighted under their own names.{{Sfn|Turner|1999|p=50}} They often purchased or claimed [[Songwriter|co-writer]] credit of songs written by artists on their labels using [[pseudonym]]s.<ref>{{Cite web|url=https://www.allaboutbluesmusic.com/saul-bihari/|title=The Bihari Brothers|date=February 22, 2013|website=All About Blues Music|language=en-US}}</ref><ref>{{Cite news|last=Yardley|first=William|date=December 12, 2013|title=Joe Bihari, Who Put Early R&B on Record, Dies at 88 (Published 2013)|language=en-US|work=The New York Times|url=https://www.nytimes.com/2013/12/12/arts/music/joe-bihari-who-put-early-rb-on-record-dies-at-88.html|access-date=March 2, 2021|issn=0362-4331}}{{subscription required}}</ref> Turner estimated he wrote seventy-eight hit records for the Biharis.{{Sfn|Turner|1999|p=50}} Artists Turner discovered for Modern and Sun include [[Bobby Bland]], [[Howlin' Wolf]], [[Rosco Gordon]], [[Boyd Gilmore]], [[Houston Boines]], [[Charley Booker]], and [[Little Milton]].<ref>{{Cite book|last=Broven|first=John|url=https://books.google.com/books?id=Y3zdJ66VAOQC&q=houston+boines+ike+turner&pg=PA155|title=Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers|publisher=University of Illinois Press|year=2009|isbn=978-0-252-09401-9|pages=155|language=en}}</ref> He played piano in sessions with them and lesser-known artists such as [[the Prisonaires]], [[Driftin' Slim]], Ben Burton, Matt Cockrell, [[Dennis Binder]], Sunny Blair, and Baby Face Turner.{{Sfn|Turner|1999|p=246}}<ref name="Collis-2003-52" />

Turner was contracted to the Bihari brothers, but he continued to work for Phillips, where he was effectively the in-house producer. This sometimes created conflicts of interest.<ref>{{Cite magazine|date=December 22, 1951|title=Chess, Biharis Skirmish; This Time Over Wolf|url=https://www.americanradiohistory.com/Archive-Billboard/50s/1951/Billboard%201951-12-22.pdf|magazine=Billboard|pages=17}}</ref> In 1951, Turner recorded two Howlin' Wolf tracks for Phillips, playing piano on "[[How Many More Years]]" and "[[Moanin' at Midnight]]", which Phillips sent to Chess.<ref>{{Cite magazine|url=https://www.rollingstone.com/music/artists/howlin-wolf/biography|title=Howlin' Wolf Bio|magazine=Rolling Stone|archive-url=https://web.archive.org/web/20150109044148/http://www.rollingstone.com/music/artists/howlin-wolf/biography|archive-date=January 9, 2015|url-status=dead}}</ref><ref name="Collis-1998" /> Turner and Howlin' Wolf then recorded a version of "Moanin' at Midnight" at radio station [[KWAM|KWEM]] in West Memphis without Phillips' or the [[Chess Records#Chess brothers' company|Chess brothers']] knowledge. He sent the results to the Biharis at Modern and they released it on their subsidiary label [[RPM Records (United States)|RPM Records]].<ref name="Collis-1998">{{Cite book|last=Collis|first=John|url=https://books.google.com/books?id=ZASIpS00zv8C&q=%22Moanin'+at+Midnight%22+ike+turner&pg=PA54|title=The Story of Chess Records|publisher=Bloomsbury Publishing USA|year=1998|isbn=978-1-58234-005-0|pages=54|language=en}}</ref> Turner also attempted to poach Elmore James from [[Trumpet Records]] and record him for Modern. Trumpet found out and Modern had to cancel the record. However, James did eventually sign with Modern, and Turner played on his recordings that were released on Modern's subsidiary label [[Flair Records]].<ref name="Collis-2003-52" /><ref name="Club desire">{{cite web|title=Club Desire, Canton|url=http://www.msbluestrail.org/blues-trail-markers/club-desire|work=Mississippi Blues Trail marker|publisher=Mississippi Blues Commission|access-date=March 27, 2012}}</ref>

While in [[Helena, Arkansas|Helena]], Turner tried to recruit [[Little Walter]] to record for Modern in January 1952, but Little Walter was on his way to Mississippi.<ref>{{Cite book|url=https://books.google.com/books?id=Jfa3AAAAQBAJ&q=ike+turner&pg=PA163|title=The Voice of the Blues: Classic Interviews from Living Blues Magazine|last1=O'Neal|first1=Jim|last2=Singel|first2=Amy van|date=September 5, 2013|publisher=Routledge|isbn=978-1-136-70741-4|pages=131|language=en}}</ref> In 1952, Turner discovered [[Junior Parker|Little Junior Parker]] in West Memphis, and they formed a band with [[Matt "Guitar" Murphy]].<ref name="Selvin-1997" /> Turner recorded Parker's first single, "You're My Angel" / "Bad Women, Bad Whiskey", credited to Little Junior Parker and the Blue Flames.<ref>{{Cite web|title=Matt "Guitar" Murphy|url=https://blues.org/blues_hof_inductee/matt-guitar-murphy/|access-date=March 2, 2021|website=Blues Foundation|language=en-US}}</ref><ref name="Farley-2011" /> That summer Turner recorded with the new vocalist and pianist in his band, Marion Louis Lee, resulting in "My Heart Belongs to You" / "Looking for My Baby". The records were released on RPM as Bonnie and Ike Turner and they performed together at the [[Hippodrome (Memphis)|Hippodrome]] in Memphis.<ref>{{Cite news |date=August 31, 1952 |title=The Hippodrome's Annual Labor Day Breakfast Dance - Sunday Night, August 31 (Advertisement) |pages=6 Section V |work=The Commercial Appeal |url=https://www.newspapers.com/article/the-commercial-appeal-ike-turner-and-bon/130257833/}}</ref> Turner married Lee in September 1952.<ref name="706 Union Avenue Sessions" />

Unbeknownst to Turner, during his time in West Memphis, he met [[Elvis Presley]], who was a truck driver.<ref>{{Cite web|url=https://www.timeout.com/newyork/music/ike-turner|title=Ike Turner|last=Ruttenberg|first=Jay|date=May 17, 2001|website=Time Out New York|language=en|access-date=December 31, 2019|archive-date=December 30, 2019|archive-url=https://web.archive.org/web/20191230012706/https://www.timeout.com/newyork/music/ike-turner|url-status=dead}}</ref><ref>{{Cite magazine|date=August 2001|title=Bobbito plays the tracks. Ike Turner states the facts.|url=https://books.google.com/books?id=gSYEAAAAMBAJ&q=west+Memphis+ike+turner&pg=PA62|magazine=Vibe|pages=62}}{{Dead link|date=February 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> He recalled, "[Presley] was just a white boy that would come over to black clubs. He would come in and stand behind the piano and watch me play. I never knew he was no musician."<ref>{{Cite web|url=https://www.telegraph.co.uk/culture/4724825/Rocky-road-to-rock-and-roll.html |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/culture/4724825/Rocky-road-to-rock-and-roll.html |archive-date=January 11, 2022 |url-access=subscription |url-status=live|title=Rocky road to rock and roll|last=Maycock|first=James|date=August 3, 2001|website=The Telegraph}}{{cbignore}}</ref> Turner discovered his identity many years later after Presley approached him when they were both playing at the [[Westgate Las Vegas|International Hotel]].{{Sfn|Turner|1999|p=47}}

To accommodate his then-wife Bonnie, who also played piano, Turner taught himself how to play guitar by ear, and [[Willie Kizart]] taught him blues guitar techniques.{{Sfn|Turner|1999|p=58}} He began playing guitar in sessions in 1953, and by 1954, with the assistance of Joe Bihari, he built a makeshift recording studio at a defunct [[Greyhound Lines|Greyhound]] bus station in Clarksdale.{{Sfn|Turner|1999|p=246}} Turner used his Kings of Rhythm as session musicians. They played on many recordings for Bihari's Modern, RPM, and Flair labels. Some of the artists Turner backed on piano and guitar during this period include Elmore James, [[Johnny Ace]] and [[the Flairs]].<ref name="Discogs">{{Cite web|url=https://www.discogs.com/Ike-Turner-That-Kat-Sure-Could-Play-The-Singles-1951-To-1957/release/5135357|title=Ike Turner – That Kat Sure Could Play! The Singles 1951 To 1957|website=Discogs|year=2010 }}</ref> Around this time Turner discovered [[Billy "The Kid" Emerson]] in [[Greenville, Mississippi|Greenville]]. He brought Emerson to record at Sun Records and backed him on guitar in 1954.<ref>{{Cite web|url=https://www.sunrecords.com/artists/billy-the-kid-emerson|title=Billy "The Kid" Emerson – Sun Record Company|website=Sun Records|date=March 27, 2012}}</ref>

=== 1954–1959: St. Louis ===
In 1954, Turner visited his sister Lee Ethel Knight in [[St. Louis, Missouri]]. During his stay, he went clubbing at Ned Love's in [[East St. Louis, Illinois]]. Love invited Turner and his band to play at his club.<ref name=":2" /><ref name="Durchholz-2001">{{Cite web|url=https://www.riverfronttimes.com/stlouis/we-like-ike/Content?oid=2471513|title=We Like Ike|last=Durchholz|first=Daniel|date=May 16, 2001|website=Riverfront Times}}</ref> Eventually, Turner returned with his reformed version of the Kings of Rhythm. The band consisted of Willie Kizart on guitar, Willie "Bad Boy" Sims on drums, vocalist Johnny O'Neal, Turner's nephew Jesse Knight Jr. on bass, and Turner's wife Annie Mae Wilson on piano and vocals.<ref name=Palmer-1992>{{harvnb|DeCurtis|1992|pp=32–36}}</ref>

Turner maintained strict discipline and the band lived at his home on Virginia Place in East St. Louis which doubled as a studio.{{Sfn|Turner|1999|p=66}} A [[Teetotalism|teetotaler]] at the time, he avoided drugs and insisted all band members also adopt this policy, firing anyone he even suspected of breaking the rules.<ref name="Christian-10-2008" /> Turner established his group as one of the most highly rated on the St. Louis club circuit, vying for popularity with their main competition, [[Johnnie Johnson (musician)|Sir John's Trio]] featuring [[Chuck Berry]].<ref name=Palmer-1992 /> The bands would play all-nighters in St. Louis, then cross the river to the clubs of East St. Louis, and continue playing until dawn. Initially, they played for predominately black audiences at clubs in Illinois such as the [[Club Manhattan]] in East St. Louis, which Turner and his band built, the [[Club Riviera]] in St. Louis, the Harlem Club in Brookline and the Kingsbury in [[Madison, Illinois|Madison]].<ref>{{Cite news |date=May 24, 1957 |title=Club Riviera - In Person Sat., May 25 - Ike Turner (Advertisement) |pages=19 |work=The St. Louis Argus |url=https://www.newspapers.com/article/the-st-louis-argus-ike-turner-at-club-r/131926052/}}</ref>{{Sfn|Turner|1999|p=62}} In St. Louis, Turner was exposed to a white audience who were excited by R&B. He played at the Moonlight Bar, Latin Quarter, and the [[Club Imperial]], which was popular with white teenagers.<ref name=":2">{{Cite news |last=Finney |first=Chick |date=October 14, 1955 |title="Chick" Finney's Blue Notes |url=https://www.newspapers.com/article/the-st-louis-argus-ike-turner-at-ned-lo/131188749/ |work=[[St. Louis Argus|The St. Louis Argus]] |pages=22}}</ref><ref>{{Cite news |last=Duncan |first=Steve |date=January 20, 1956 |title='Cry Me A Creek' |pages=9 |work=The St. Louis Argus}}</ref><ref>{{Cite web |last= |first= |date=January 19, 2018 |title=Club Imperial in St. Louis in Its Heyday [PHOTOS] |url=https://www.riverfronttimes.com/stlouis/club-imperial-in-st-louis-in-its-heyday-photos/Slideshow/37134777/37091972 |access-date=September 4, 2023 |website=Riverfront Times |language=en}}</ref> He also gained a big following at Club DeLisa and locally he was acknowledged as the "King of Rock and Roll."<ref>{{Cite journal |last=Lonesome |first=Buddy |date=August 9, 1957 |title=Ike Turner Converts Renovated Tavern Into Rock and Roll Rendezvous |url=https://www.newspapers.com/article/the-st-louis-argus-ike-turner-converts/132488061/ |journal=The St. Louis Argus |pages=13}}</ref><ref>{{Cite news |last=Lonesome |first=Buddy |date=November 30, 1956 |title=Strolling Along The Avenoo |pages=23 |work=The St. Louis Argus}}</ref> As his popularity grew among both whites and blacks, he demanded that the clubs should be integrated.<ref name="Durchholz-2001" /> He performed regularly on [[Dave Dixon (DJ)|Dave Dixon]]'s radio show, which aired live from the Birdcage Lounge, on [[KSTL (AM)|KSTL]].<ref name=":2" /> He also had live music broadcasts on the St. Louis radio station [[KATZ (AM)|KATZ]].<ref name="Durchholz-2001" />

In between live dates, Turner took the band to [[Cincinnati]] to record for [[Federal Records]] in 1956. The single, "I'm Tore Up" / "If I Never Had Known You" featuring [[Billy Gayles]], was released in April 1956.<ref>{{Cite magazine |date=April 28, 1956 |title=Reviews of New R&B Records |url=https://worldradiohistory.com/Archive-All-Music/Billboard/50s/1956/Billboard%201956-04-28.pdf |magazine=Billboard |pages=60}}</ref> It became a regional hit and Turner's booking fee doubled after its release.<ref>{{Cite news |last=Finney |first=Chick |date=December 28, 1956 |title="Chick" Finney's Blue Notes |pages=22 |work=The St. Louis Argus}}</ref> Like Brenston years prior, Gayles left Turner's band to pursue a solo career.{{Sfn|Turner|1986|p=57}} In 1958, Turner took the band to Chicago to record for [[Cobra Records|Cobra/Artistic]], as well as fulfilling his contract as a session musician back at Sun. While in Chicago, Turner backed [[Otis Rush]], playing the signature vibrato guitar parts on "[[Double Trouble (Otis Rush song)|Double Trouble]]".<ref name="Obrecht-2000">{{Cite book|last=Obrecht|first=Jas|url=https://archive.org/details/rollintumblinpos00obre|title=Rollin' and Tumblin': The Postwar Blues Guitarists|publisher=Miller Freeman|year=2000|isbn=0-87930-613-0|pages=9, 349|oclc=472553017|url-access=registration}}</ref> He also helped [[Buddy Guy]] record his second record,<ref>{{Cite web|url=https://www.chicagotribune.com/news/ct-xpm-1993-08-27-9308270347-story.html|title=Ike Turner Upbeat On His Future|last=Dahl|first=Bill|date=August 27, 1993|website=Chicago Tribune}}</ref> resulting in the single "You Sure Can't Do" / "This Is The End", on which Turner played guitar and composed the latter.<ref name="45cat-BGuy">{{Cite web|url=http://www.45cat.com/record/1503us|title=Buddy Guy And His Band – You Sure Can't Do/This Is The End|website=45cat}}</ref>

Turner befriended St. Louis R&B fan Bill Stevens, who set up the short-lived [[Stevens Records]] in 1959.<ref>{{Cite news|url=https://www.thetelegraph.com/features/article/Lucky-break-Rhythm-runs-through-renowned-Ike-12599377.php|title=Lucky break: Rhythm runs through renowned Ike & Tina guitarist's veins|last=Moon|first=Jill|date=August 24, 2016|newspaper=Alton Telegraph|access-date=November 5, 2019|archive-date=November 5, 2019|archive-url=https://web.archive.org/web/20191105014906/https://www.thetelegraph.com/features/article/Lucky-break-Rhythm-runs-through-renowned-Ike-12599377.php|url-status=dead}}</ref> Turner released two singles on the Stevens label, "Jack Rabbit" / "In Your Eyes Baby" and "Ho–Ho" / "Hey–Hey."<ref>{{Cite magazine |date=September 7, 1959 |title=Reviews of New Pop Records |url=https://worldradiohistory.com/Archive-All-Music/Billboard/50s/1959/Billboard%201959-09-07.pdf |magazine=Billboard |pages=45}}</ref> He used the [[anagram]] "Icky Renrut" because he was still under contract with Sun for several more months, and he didn't want to cause friction with Phillips.<ref name="Palmer-1992" /> In addition, Turner recorded numerous sessions for Stevens with various vocalists and musician lineups of the Kings of Rhythm.{{Sfn|Collis|2003|p=154}}

=== 1960–1976: The Ike and Tina Turner Revue ===
{{Main|Ike & Tina Turner}}
[[File:Ike and Tina Turner, 1966.png|alt=The duo seated and singing|thumb|right|Ike & Tina Turner by [[Dennis Hopper]] for the album [[River Deep – Mountain High (album)|''River Deep – Mountain High'']] (1966)]]
In 1956, Ann Bullock<!-- This is not a typo. She went by Ann not Anna Mae once she was a teenager. --> accompanied her sister [[Alline Bullock]] to watch Turner and the Kings of Rhythm at the Club Manhattan in East St. Louis.{{Sfn|Turner|1986|p=60}}<ref>{{Cite news |last=Gleason |first=Ralph J. |date=November 16, 1969 |title=Tina Turner - A Triumph of Instant Ecstasy |pages=37 |work=San Francisco Sunday Examiner & Chronicle |url=https://www.newspapers.com/article/the-san-francisco-examiner-tina-turner/129434829/}}</ref> Alline was a [[Bartender|barmaid]] at the club and was dating Turner's drummer Eugene Washington.<ref name="Olson-2016">{{Cite book|title=That St. Louis Thing, Vol. 2: An American Story of Roots, Rhythm and Race|last=Olson|first=Bruce R.|publisher=Lulu Publishing Services|year=2016|isbn=978-1-4834-5799-4}}</ref> Through her sister and Washington, Ann Bullock asked Turner to sing with his band.{{Sfn|Turner|1986|p=61}}{{Sfn|Turner|1999|p=71}} Turner said he'd call her onstage, but he never did.{{Sfn|Turner|1999|p=71}} One night during an [[intermission]], she got hold of the microphone from Washington and sang "You Know I Love You" by B.B. King.{{Sfn|Turner|1986|p=62}} Impressed by her voice, Turner invited her to sing with the band. She made her recording debut on Turner's song "[[Boxtop (Ike Turner song)|Boxtop]]", released on Tune Town Records in 1958.{{Sfn|Turner|1986|p=71-72}}

In March 1960, Turner allowed her to record a demo of his self-penned song "[[A Fool in Love]]". He intended to use the demo as guide track for [[Art Lassiter]], who did not attend the scheduled recording session at [[Technisonic Studios]].<ref name="Durchholz-2001" /> A local DJ suggested he send the record to [[Sue Records]] in New York, where label owner [[Juggy Murray]] insisted on releasing the track with Bullock's vocal. Murray offered a $20,000 advance for the song and suggested Turner "make her the star" of his show.<ref name=Collis-2003>{{harvnb|Collis|2003|pp=70–76}}</ref> Turner then renamed her "Tina" because it rhymed with Sheena; however, family and friends still called her Ann.<!-- This is not a typo. She went by Ann not Anna Mae once she was a teenager. --><ref name="Greensmith-2015" /> He was inspired by [[Sheena, Queen of the Jungle]] and [[Nyoka the Jungle Girl]] to create her stage persona.<ref>{{Harvnb|Turner|1999|p=35}}</ref> He had the name "Tina Turner" trademarked, so that in case she left, another singer could perform under the same name.<ref>{{Harvnb|Turner|1999|pp=74–75}}</ref>

The single "A Fool In Love" was released in July 1960, and it became a national hit, selling a million copies. It peaked at No. 2 on the [[Hot R&B/Hip-Hop Songs|''Billboard'' R&B]] chart and No. 27 on the [[Billboard Hot 100|Hot 100]].<ref name="Music VF" /> Turner added a backing [[girl group]] he renamed [[the Ikettes]], and along with the Kings of Rhythm they began performing as the Ike & Tina Turner Revue. The success of the single was followed by a string of hits including "[[I Idolize You]]", "[[Poor Fool (Ike & Tina Turner song)|Poor Fool]]", and "[[It's Gonna Work Out Fine]]" which gave them their second million-seller and their first Grammy nomination.<ref name=":0">{{Cite web |date=November 23, 2020 |title=Ike & Tina Turner |url=https://www.grammy.com/artists/ike-tina-turner/13017 |website=Recording Academy Grammy Awards}}</ref>

In 1961, Turner played piano on [[Albert King]]'s first hit record, "[[Don't Throw Your Love on Me So Strong]]". The single, released on King Records, peaked at No. 14 on the ''Billboard'' R&B chart.<ref name="Obrecht-2000" /> He also wrote and produced the Ikettes hit "[[I'm Blue (The Gong-Gong Song)]]".<ref>{{Cite magazine|date=July 10, 2017|title=100 Greatest Girl Group Songs of All Time: Critics' Picks|url=https://www.billboard.com/articles/columns/pop/7857816/100-greatest-girl-group-songs|access-date=March 2, 2021|magazine=Billboard|language=en}}</ref>

The Revue performed rigorously on the [[Chitlin' Circuit]] and built a reputation as "one of the hottest, most durable, and potentially most explosive of all R&B ensembles."<ref>{{Cite web|url=https://www.history-of-rock.com/ike_and_tina_turner.htm|title=Ike and Tina Turner|last=Peneny|first=Douglas|website=The History of Rock 'n' Roll: The Golden Decade 1954–1963|access-date=July 26, 2019}}</ref> To assure he always had a record out while on tour, Turner formed multiple labels such as Sputnik, [[Teena Records|Teena]], [[Prann Records|Prann]], [[Innis Records|Innis]], [[Sony Records|Sony]] and [[Sonja Records|Sonja]].<ref name="Billboard-1963">{{Cite magazine|date=November 9, 1963|title=Ike Turner Forms Label|url=https://www.americanradiohistory.com/Archive-Billboard/60s/1963/Billboard%201963-11-09.pdf|magazine=Billboard|pages=4}}</ref> He produced singles by the Ikettes, [[Jimmy Thomas]], [[Fontella Bass]], [[George Jackson (songwriter)|George Jackson]], and other artists on his labels.<ref name="Greensmith-2015">{{Cite book|url=https://books.google.com/books?id=FPCVCgAAQBAJ&q=ann&pg=PA260|title=Blues Unlimited: Essential Interviews from the Original Blues Magazine|last=Greensmith|first=Bill|publisher=University of Illinois Press|others=Russell, Tony, Camarigg, Mark, Rowe, Mike|year=2015|isbn=978-0-252-09750-8|location=Urbana, Chicago, and Springfield|pages=247–248|oclc=922018263}}</ref> The duo switched to Turner's Sonja label in 1963.<ref name="Billboard-1963" /> For the next six years, they recorded on [[Warner Records|Warner Bros.]]/[[Loma Records|Loma]], Modern/[[Kent Records|Kent]], Cenco, [[Philles Records|Philles]], [[Tangerine Records (1963)|Tangerine]], [[Pompeii Records|Pompeii]], [[Blue Thumb Records|Blue Thumb]], [[Minit Records|Minit]], and [[A&M Records|A&M]].<ref name="Callahan-31-10-2011">{{cite web|last=Callahan|first=Michael|title=The Sue Records Story|url=http://www.bsnpubs.com/nyc/sue/suestory.html|work=Both Sides Now|publisher=Mike Callahan|access-date=October 31, 2011|archive-url=https://web.archive.org/web/20111229092251/http://www.bsnpubs.com/nyc/sue/suestory.html|archive-date=December 29, 2011|url-status=dead}}</ref> Between 1964 and 1965, they scored fourteen top 40 R&B hits with "[[You Can't Miss Nothing That You Never Had]]", "[[Tell Him I'm Not Home|Tell Her I'm Not Home]]", "[[Good Bye, So Long]]", and "[[Two Is a Couple]]".<ref>{{Cite magazine|date=November 20, 1965|title=Top 50 In R&B Locations|url=https://www.americanradiohistory.com/Archive-All-Music/Cash-Box/60s/1965/CB-1965-11-20.pdf|magazine=Cash Box|pages=36}}</ref><ref name="Music VF" /> Around this time, [[Jimi Hendrix]] briefly played backing guitar in the band.<ref>{{Cite book |last=Roby |first=Steven |url=https://books.google.com/books?id=JFJ5tE1vP1QC&q=ike+and+tina+turner |title=Hendrix on Hendrix: Interviews and Encounters with Jimi Hendrix |date=October 1, 2012 |publisher=Chicago Review Press |isbn=978-1-61374-324-9 |pages=20 |language=en}}</ref>

In 1965, [[Phil Spector]] saw them perform at a club on the [[Sunset Strip]] and invited them to film ''[[The Big T.N.T. Show]]''.<ref>{{Cite web|last=Loder|first=Kurt|date=March 1, 1985|title=Tina Turner Stages Rock-Solid Comeback|url=https://www.chicagotribune.com/news/ct-xpm-1985-03-01-8501120240-story.html|access-date=March 2, 2021|website=Chicago Tribune|language=en-US}}</ref> Impressed by their performance, Spector negotiated a deal with their manager [[Bob Krasnow]], head of Loma Records, offering $20,000 to produce Tina and have them released from their Loma contract.<ref>{{Cite magazine|date=April 23, 1966|title=Philips Signs Ike & Tina Turner|url=https://www.americanradiohistory.com/Archive-All-Music/Cash-Box/60s/1966/CB-1966-04-23.pdf|magazine=Cash Box|pages=45}}</ref><ref name="Fong-Torres-1971">{{Cite magazine|url=https://www.rollingstone.com/music/music-news/tales-of-ike-and-tina-turner-237489/|title=Tales of Ike and Tina Turner|last=Fong-Torres|first=Ben|date=October 14, 1971|magazine=Rolling Stone}}{{subscription required}}</ref> After Tina and Spector recorded "[[River Deep – Mountain High]]", the duo signed to Spector's Philles label in 1966.<ref>{{Cite magazine|date=April 30, 1966|title=Ike & Tina to Philles|url=https://www.americanradiohistory.com/Archive-All-Music/Cash-Box/60s/1966/CB-1966-04-30.pdf|magazine=Cash Box|pages=56}}</ref> The failure of the single in America triggered Spector's retreat from the music industry. However, it was a hit in Europe, reaching No. 3 on the [[UK Singles Chart]] and No. 1 on [[Los 40]] Principales in Spain.<ref>{{Cite web|url=https://los40.com/lista40/cuando_naciste/19661217|title=Cuando nací era número 1 de los 40: (1966-12-17) Ike & Tina Turner–River deep – Mountain high|last=LOS40|website=LOS40|language=es|url-status=dead|archive-url=https://web.archive.org/web/20200322142547/https://los40.com/lista40/cuando_naciste/19661217|archive-date=March 22, 2020}}</ref><ref name="Michael Billig, 2001">{{cite book |last=Billig |first=Michael |url=https://books.google.com/books?id=yQHJC4F6zeUC&pg=PA109 |title=Rock 'n' roll Jews |page=110 |publisher=Syracuse University Press |isbn=978-0-8156-0705-2 |date=June 1, 2001 }}</ref> Following the song's success in the UK, [[Mick Jagger]] invited them to open for [[the Rolling Stones]] on their [[The Rolling Stones British Tour 1966|1966 British Tour.]]<ref name="Walker-05-16-1993">{{cite news|last=Walker|first=Michael|title=Tina Turner's Story Through a Disney Prism|url=https://www.latimes.com/archives/la-xpm-1993-05-16-ca-35747-story.html|access-date=December 23, 2011|newspaper=Los Angeles Times|date=May 16, 1993}}{{subscription required}}</ref><ref name="Weingarten-06-12-2017">{{cite news|last=Weingarten|first=Christopher|title=The 50 Greatest Concerts of the Last 50 Years|url=https://www.rollingstone.com/music/lists/the-50-greatest-concerts-of-the-last-50-years-w478854/ike-and-tina-turner-american-tour-w478862|access-date=November 5, 2017|newspaper=Rolling Stone|date=June 12, 2017|archive-date=November 7, 2017|archive-url=https://web.archive.org/web/20171107025229/http://www.rollingstone.com/music/lists/the-50-greatest-concerts-of-the-last-50-years-w478854/ike-and-tina-turner-american-tour-w478862|url-status=dead}}</ref> This exposure introduced them to a wider audience outside of R&B. Soon they were booking bigger venues, and by 1969 they were headlining in Las Vegas.<ref>{{Cite magazine|date=October 4, 1969|title=Ike & Tina Strive to Soulfulize Vegas Hearts|url=https://worldradiohistory.com/Archive-Billboard/60s/1969/BB-1969-10-04.pdf|magazine=Billboard|pages=SC-7}}</ref>[[File:Ike & Tina Turner (1971).jpg|left|thumb|Ike & Tina Turner arriving at [[Amsterdam Airport Schiphol]] in 1971]]

In April 1969, Turner and the Kings of Rhythm released an album, ''[[A Black Man's Soul]]'', on Pompeii Records.<ref>{{Cite magazine|date=April 26, 1969|title=16 Spring Albums From Atlantic|url=https://worldradiohistory.com/Archive-All-Music/Cash-Box/60s/1969/CB-1969-04-26.pdf|magazine=Cash Box|pages=32}}</ref> The album earned Turner his first solo Grammy nomination for [[Grammy Award for Best R&B Instrumental Performance|Best R&B Instrumental Performance]] at the [[12th Annual Grammy Awards]].<ref name="Grammy-2020">{{Cite web |date=November 23, 2020 |title=Ike Turner |url=https://www.grammy.com/artists/ike-turner/10375 |website=Recording Academy Grammy Awards |language=en}}</ref> Later that year, the duo released the blues-oriented albums [[Outta Season (album)|''Outta Season'']] and [[The Hunter (Ike & Tina Turner album)|''The Hunter'']] on Blue Thumb Records. Turner and Bob Krasnow, founder of Blue Thumb, co-produced [[Earl Hooker]]'s 1969 album [[Sweet Black Angel (Earl Hooker album)|''Sweet Black Angel'']].<ref>{{Cite book|last1=Bogdanov|first1=Vladimir|url=https://books.google.com/books?id=qYtz7kEHegEC&q=earl+hooker+Sweet+Black+Angel+turner&pg=PA244|title=All Music Guide to the Blues: The Definitive Guide to the Blues|last2=Woodstra|first2=Chris|last3=Erlewine|first3=Stephen Thomas|date=2003|publisher=Hal Leonard Corporation|isbn=978-0-87930-736-3|pages=244|language=en}}</ref> In November, the Ike & Tina Turner Revue opened for the Rolling Stones on their [[The Rolling Stones American Tour 1969|1969 American Tour]].<ref name="Fong-Torres-1971" />

In January 1970, they performed on ''[[The Ed Sullivan Show]]'' and released their rendition of "[[Come Together]]", which reached No. 21 on the R&B chart. Their cover of "[[I Want to Take You Higher]]" by [[Sly and the Family Stone]] was also successful on the charts in 1970. Turner, who was a friend of [[Sly Stone]], played guitar on Sly and the Family Stone's album ''[[There's a Riot Goin' On]]'' (1971).<ref>{{Cite web|url=https://www.clashmusic.com/features/classic-album-sly-and-the-family-stone-theres-a-riot-goin-on|title=Classic Album: Sly and the Family Stone – There's A Riot Goin' On|date=December 11, 2009|website=Clash Magazine|language=en|url-status=dead|archive-url=https://web.archive.org/web/20200510195423/https://www.clashmusic.com/features/classic-album-sly-and-the-family-stone-theres-a-riot-goin-on|archive-date=May 10, 2020}}</ref> The release of "[[Proud Mary]]" in 1971 became Ike & Tina Turner's biggest hit, reaching No. 4 on the ''Billboard'' Hot 100 and No. 5 on the R&B chart.<ref name="Music VF">{{Cite web|title=Ike & Tina Turner Top Songs / Chart Singles Discography|url=https://www.musicvf.com/songs.php?page=artist&artist=Ike+%26+Tina+Turner&tab=songchartstab&sort=songdown&filter=all|access-date=May 27, 2020|website=Music VF}}</ref> It sold more than a million copies, and won the duo a [[Grammy Award]] for [[Grammy Award for Best R&B Performance by a Duo or Group with Vocals|Best R&B Vocal Performance by a Group]] at the [[14th Annual Grammy Awards]].<ref name="Grammy-2020" />

Their mainstream success provided Turner with the finances to open his own recording studio, [[Bolic Sound]] in [[Inglewood, California|Inglewood]], in 1972.<ref>{{Cite magazine|date=March 4, 1972|title=Ike & Tina Turner's Bolic Sound Studio|url=https://books.google.com/books?id=wCgEAAAAMBAJ&q=Bolic+Sound+recording+studio&pg=PA58|magazine=Billboard|pages=58}}</ref> Turner had two [[Multitrack recording|sixteen track]] studios built, a large one to rent out and a smaller one for his personal recordings. He fitted them out with [[state-of-the-art]] equipment.<ref>{{Cite magazine|last=Sutherland|first=Sam|date=March 18, 1972|title=Studio Track|url=https://worldradiohistory.com/Archive-All-Music/Billboard/70s/1972/BB-1972-03-18.pdf|magazine=Billboard|pages=8}}</ref> Artists who recorded there included [[Paul McCartney]], [[George Harrison]], [[Duane Allman]], [[Little Richard]], [[Gayle McCormick]], and [[Frank Zappa]].<ref name="Kiersh-08-1985" />

Turner released two solo albums for [[United Artists Records]], ''[[Blues Roots]]'' (1972) and ''[[Bad Dreams (Ike Turner album)|Bad Dreams]]'' (1973). In 1973, the duo released "[[Nutbush City Limits]]" penned by Tina. The single peaked at No. 22 on the ''Billboard'' Hot 100, No. 11 on the R&B chart and it was a bigger hit in Europe.<ref name="Music VF" /> The Turners received the Golden European Record Award, the first ever given, for selling more than one million records of "Nutbush City Limits" in Europe.<ref>{{Cite magazine|date=December 28, 1974|title=Golden First For The Turner's|url=https://www.americanradiohistory.com/Archive-Cash-Box/70s/1974/CB-1974-12-28.pdf|magazine=Cash Box|pages=116}}</ref>

During this period, Turner produced singer [[Judy Cheeks]]' debut album ''Judy Cheeks'' (1973),<ref>{{Cite web|url=https://www.discogs.com/Judy-Cheeks-Judy-Cheeks/release/2717332|title=Judy Cheeks – Judy Cheeks|website=Discogs|year=1973 }}</ref> and the last album by the Ikettes, ''[[(G)Old & New]]'' (1974). In 1974, Ike and Tina released the album ''[[The Gospel According to Ike & Tina|The Gospel According to Ike & Tina Turner]].''<ref>{{Cite magazine |date=April 27, 1974 |title=Top Album Picks - Religious |url=https://worldradiohistory.com/Archive-All-Music/Billboard/70s/1974/Billboard%201974-04-27.pdf |magazine=Billboard |pages=54}}</ref> The album was nominated for [[Grammy Award for Best Soul Gospel Performance, Male|Best Soul Gospel ''Performance'']].<ref name=":0" /> Turner also earned a solo nomination for his single "[[Farther Along (song)|Father Alone]]".<ref name="Grammy-2020" /> Between 1974 and 1975, the duo released the  singles "[[Sweet Rhode Island Red (song)|Sweet Rhode Island Red]]", "[[Sexy Ida]]", and "[[Baby, Get It On]]".<ref name="Music VF" />[[File:Ike & Tina Turner 231172 Dia14.jpg|thumb|Ike & Tina Turner performing at [[Laeiszhalle|Musikhalle Hamburg]] in Hamburg, 1972|alt=]]The Ike & Tina Turner Revue ended abruptly in 1976.<ref name="Collis-2003" /> That year, they headlined at the [[Waldorf Astoria New York]] and signed a television deal with [[CBS]]-TV.<ref>{{Cite magazine|date=April 15, 1976|title=Trouble Trails Tina Turner|url=https://books.google.com/books?id=dcADAAAAMBAJ&q=astoria|magazine=Jet|pages=58–61}}</ref> Turner had plans to leave United Artists Records for a five-year $150,000 per year deal with [[Cream Records]], which was to be signed on July 6.<ref name="Turner 1999 180">{{Harvnb|Turner|1999|p=180}}</ref> On July 1, the Turners got into a violent altercation en route to their gig at the [[Dallas Statler Hilton]].<ref>{{Harvnb|Turner|1999|p=182}}</ref> Turner later claimed that Tina initiated the conflict by purposely irritating him so that she would have a reason to break up with him before they signed the new contract.<ref name="Turner 1999 180" /> Tina fled from the hotel shortly after they arrived, and filed for divorce on July 27, 1976. She would later describe a relationship in which Turner was frequently violent and abusive, sometimes beating her with wooden objects like a shoe-stretcher or hanger. The night she left, his beating left her face bruised, swollen, and bleeding.<ref name="EW-19960802">{{Cite magazine|url=http://ew.com/article/1996/08/02/tina-turner-left-ike-20-years-ago/|title=Tina Turner left Ike 20 years ago|last=Tyehimba|first=Cheo|date=August 2, 1996|magazine=[[Entertainment Weekly]]|access-date=January 11, 2019}}</ref><ref>{{Cite magazine|url=https://www.oprah.com/omagazine/oprahs-interview-with-tina-turner/all/|title=Oprah Talks to Tina Turner|last=Winfrey|first=Opray|date=May 2005|magazine=[[O Magazine]]|access-date=May 26, 2023|archive-date=May 26, 2023|archive-url=https://web.archive.org/web/20230526012351/https://www.oprah.com/omagazine/oprahs-interview-with-tina-turner/all|url-status=dead}}</ref>

United Artists responded to the Turners' separation by releasing albums of compiled recordings from their last sessions together, ''[[Delilah's Power]]'' (1977) and ''[[Airwaves (Ike & Tina Turner album)|Airwaves]]'' (1978). Two years after their divorce was finalized, Turner released the single "Party Vibes" / "[[Shame, Shame, Shame (Shirley & Company song)|Shame, Shame, Shame]]" from the album ''[[The Edge (Ike Turner album)|The Edge]]'' (1980) which peaked at No. 27 on the [[Dance Club Songs|''Billboard'' Disco Top 100]] chart.<ref>{{Cite magazine|date=November 1, 1980|title=Billboard Disco Top 100|url=https://www.americanradiohistory.com/Archive-Billboard/80s/1980/BB-1980-11-01.pdf|magazine=Billboard|pages=39}}</ref>

=== 1977–2007: Later career ===
After his breakup with Tina, singer [[Holle Thee Maxwell|Holly Maxwell]] sang with Turner on occasion from 1977 to 1985 and again for eight months in 1992. She reported a positive working relationship with Turner, and later released the memoir ''Freebase Ain't Free'' about their close friendship.<ref>{{Cite web|last=Krakow|first=Steve|date=July 2, 2020|title=From soul sweetheart to blues bombshell|url=https://www.chicagoreader.com/chicago/holle-thee-maxwell-holly-blues-soul-black-blonde-bombshell/Content?oid=81023600|access-date=March 2, 2021|website=Chicago Reader|language=en}}</ref> In 1979, Turner spent time in the studio with [[Chaka Khan]] following her separation from her manager-husband. She told ''[[Jet (magazine)|Jet]]'': "He's been real inspiration and a catalyst emotionally and in other ways as well. We plan to record together."<ref>{{Cite magazine|date=August 30, 1979|title=Chaka, Hubby Split; Not Talking Divorce|url=https://books.google.com/books?id=wEIDAAAAMBAJ&q=chaka+khan+ike+1979&pg=PA53|magazine=Jet|pages=53}}</ref> Turner struggled to find success due to his cocaine addiction and run-ins with the law.<ref name="Strauss-08-22-1996">{{cite news|last=Strauss|first=Neil|date=August 22, 1996|title=The Pop Life: Ike Turner Return|newspaper=The New York Times|url=https://www.nytimes.com/1996/08/22/arts/the-pop-life-953288.html|access-date=October 3, 2011}}{{subscription required}}</ref> In 1988, Turner attempted an ill-fated return to the stage with [[Lyrica Garrett|Marcy Thomas]], Bonnie Johnson, and [[Jeanette Bazzell Turner|Jeanette Bazzell]] as his Ikettes.<ref>{{Cite web|url=https://www.latimes.com/archives/la-xpm-1988-10-10-ca-2727-story.html|title=Ike Turner Doesn't Quite Get It Turned Around|last=Willman|first=Chris|date=October 10, 1988|website=Los Angeles Times|language=en-US}}{{subscription required}}</ref>

While Turner was in prison following a drug conviction, Ike & Tina Turner were inducted to the [[Rock & Roll Hall of Fame]] in 1991.<ref name="Rock & Roll Hall of Fame">{{Cite web|url=https://www.rockhall.com/inductees/ike-and-tina-turner|title=Ike and Tina Turner|website=Rock & Roll Hall of Fame}}</ref> Tina did not attend because she took the year off from making public appearances, so Phil Spector delivered a speech at the ceremony on their behalf.<ref>{{Cite news|last=Watrous|first=Peter|date=January 17, 1991|title=Rock-and-Roll Hall of Fame Inducts Its 6th Crop of Legends|language=en-US|work=The New York Times|url=https://www.nytimes.com/1991/01/17/arts/rock-and-roll-hall-of-fame-inducts-its-6th-crop-of-legends.html|access-date=November 11, 2020|issn=0362-4331}}</ref><ref>{{Cite web|url=https://variety.com/1991/more/news/war-casts-shadow-on-hall-ceremony-99124707/|title=War Casts Shadow On Hall Ceremony|date=January 20, 1991|website=Variety}}</ref> After his release from prison, Turner told the press that he was nervous about returning to performing live, but had plans to return to the studio.<ref name="Philips-05-09-1991" /> He sold 20 unreleased Ike & Tina Turner masters to the independent label Esquire Records.<ref>{{Cite news|url=https://www.chicagotribune.com/news/ct-xpm-1991-09-19-9103110161-story.html|title=Ike Turner To Release Old Masters|date=September 19, 1991|work=Chicago Tribune}}</ref> In 1992, Turner performed as a special guest at [[Oliver Sain]]'s Soul Reunion concert at [[Mississippi Nights]] in St. Louis.<ref>{{Cite news |last=Harris |first=Paul A. |date=June 21, 1992 |title=St. Louis Summit: Ike Turner's Return Recalls R&B Heyday |pages=3C |work=St. Louis Post-Dispatch |url=https://www.newspapers.com/article/st-louis-post-dispatch-st-louis-summit/133028675/}}</ref>

Hip-hop group [[Salt-N-Pepa]] sampled Turner's composition "[[I'm Blue (The Gong-Gong Song)|I'm Blue (The Gong Gong Song)]]", released by the Ikettes in 1961, for their 1993 single "[[Shoop (song)|Shoop]]". The song reached No. 4 in the ''Billboard'' Hot 100 and Turner earned around half a million dollars in royalties.<ref name="Strauss-08-22-1996" /> He re-recorded "I'm Blue" as a duet with singer Billy Rogers in 1995. Produced by Rogers, the remake received favorable reviews.<ref>{{Cite magazine|date=January 14, 1995|title=Singles Reviews|url=https://books.google.com/books?id=tQsEAAAAMBAJ&q=ike+turner|magazine=Billboard|pages=45}}</ref> Turner later appeared on the song "Love Gravy" with [[Rick James]] for the soundtrack album ''[[Chef Aid: The South Park Album]]''.<ref>{{Cite news|url=https://www.baltimoresun.com/news/bs-xpm-1998-11-24-1998328047-story.html|title=Not for the faint of heart Review: You'll be happy to know star-studded 'Chef Aid' lives down to the tastelessness of 'South Park.'|last=Considine|first=J.D.|date=November 24, 1998|work=The Baltimore Sun|access-date=December 2, 2019|archive-date=December 4, 2019|archive-url=https://web.archive.org/web/20191204154839/https://www.baltimoresun.com/news/bs-xpm-1998-11-24-1998328047-story.html|url-status=dead}}</ref>

Turner reformed the Ikettes in the mid-1990s, which included his then-wife Jeanette Bazzell Turner, Nina Hill, and Michelle Love (Randi Love). [[Vera Hamilton|Vera Clyburn]], who was an Ikette in the 1970s, was the lead singer.<ref>{{Cite news|url=https://www.nytimes.com/1996/08/26/arts/turner-revue-is-back-minus-tina.html|title=Turner Revue Is Back (Minus Tina)|last=Pareles|first=Jon|date=August 26, 1996|work=The New York Times|access-date=December 4, 2019|language=en-US|issn=0362-4331}}{{subscription required}}</ref> They performed to positive reviews as the Ike Turner Revue.<ref>{{Cite web|url=https://www.latimes.com/archives/la-xpm-1994-07-11-ca-14430-story.html|title=Pop: Ike Turner Relies on Hits of the Past|last=Appleford|first=Steve|date=July 11, 1994|website=Los Angeles Times|language=en-US}}{{subscription required}}</ref><ref name="Fowler-1998" /> In August 1997, Turner returned to his hometown Clarksdale to headline the 10th Annual [[Sunflower River Blues & Gospel Festival]].<ref name="Delta Blues Museum">{{Cite web|url=https://www.deltabluesmuseum.org/sunflower-chronology.aspx|title=Sunflower River Blues & Gospel Festival Chronology|website=Delta Blues Museum}}</ref>  Turner credited [[Joe Louis Walker]] with encouraging him to return to his roots in blues music. Turner played guitar and assisted in the production on Walker's 1997 album ''[[Great Guitars (Joe Louis Walker album)|Great Guitars]]''; Walker paid him $5,000 a night for six songs.<ref name="Collis-2003-p133">{{harvnb|Collis|2003|p=133}}</ref>  Walker invited Turner to perform with him at the [[San Francisco Blues Festival#1997|San Francisco Blues Festival]] and to tour in Europe.<ref name="Selvin-1997" /><ref name="Drozdowski-05-24-2001" /> The positive response to the tour encouraged Turner to reform the Kings of Rhythm. They toured the US in 2001, and headlined a showcase at [[South by Southwest]], where they were hailed as one of the highlights of the conference.<ref name="Drozdowski-05-24-2001">{{cite news|last=Drozdowski |first=Ted |title=Living legend Ike Turner returns to rock and roll |url=http://www.bostonphoenix.com/boston/music/other_stories/documents/01647283.htm |access-date=November 5, 2011 |date=May 24–31, 2001 |url-status=dead |archive-url=https://web.archive.org/web/20121122192559/http://www.bostonphoenix.com/boston/music/other_stories/documents/01647283.htm |archive-date=November 22, 2012}}</ref> Turner's work on the tour led to the recording and release of his Grammy-nominated album ''[[Here and Now (Ike Turner album)|Here & Now]]'' (2001).<ref name="Grammy-2020" /> In 2002, Turner's performance at the [[Montreux Jazz Festival]] was released as a live album and DVD.<ref name="Pareles 12-13-2007" />

In 2002, Turner filmed [[Martin Scorsese]]'s [[PBS]] documentary series ''[[The Blues (film series)|The Blues]]'', which aired in September 2003.<ref name="Mitchell-2003">{{Cite news|url=https://www.nytimes.com/2003/09/26/movies/television-review-the-blues-a-history-a-homage.html|title=Television Review: The Blues: A History, A Homage|last=Mitchell|first=Elvis|date=September 26, 2003|work=The New York Times}}{{subscription required}}</ref> He is featured in the documentaries ''[[The Road to Memphis]]'' and [[The Blues: Godfathers and Sons|''Godfathers and Sons'']], as part of the series.<ref name="PBS-09-2003">{{cite web|title=About the Film Series|url=https://www.pbs.org/theblues/aboutfilms/aboutfilms.html|work=PBS: The Blues|publisher=Vulcan Productions, Inc.|access-date=October 4, 2011}}</ref> Turner appeared on the [[Gorillaz]]'s album ''[[Demon Days]]'' (2005), playing piano on "[[Every Planet We Reach Is Dead]]".<ref>{{Cite web|url=https://www.esquire.com/blogs/culture/damon-albarn-best-songs|title=The 20 Essential Damon Albarn Songs|last1=Ayers|first1=Mike|last2=Schrodt|first2=Paul|date=May 1, 2014|website=Esquire|language=en-US}}</ref><ref>{{Cite web|url=https://recordcollectormag.com/articles/ike-can-see-clearly-now|title=Ike can see clearly now|last=Hughes|first=Rob|website=Record Collector Magazine}}</ref> He performed the song with Gorillaz at the [[Manchester Opera House]] in November 2005.<ref>{{Cite magazine|last=McLean|first=Craig|date=January 2006|title=Gorillaz|url=https://books.google.com/books?id=84sBCxdU9RAC&q=every+planet+we+reach+is+dead+ike+turner+piano&pg=PA40|magazine=Spin|pages=40}}</ref><ref name="NME-2005">{{Cite web|url=https://www.nme.com/news/music/gorillaz-125-1366460|title=Gorillaz kick off unique Manchester residency|date=November 2, 2005|website=NME|language=en-GB}}</ref> His performance is featured in the live concert DVD [[Demon Days Live (film)|''Demon Days: Live at the Manchester Opera House''.]]<ref>{{Cite web|url=https://www.nme.com/news/music/gorillaz-134-1353123|title=Gorillaz to release DVD|date=February 24, 2006|website=NME|language=en-GB}}</ref>

In 2006, Turner released his last album, ''[[Risin' with the Blues|Risin' With the Blues]]'', on the [[independent label]] [[Zoho Music|Zoho Roots]]. The album received positive critical reception, and was nominated for best Blues Album at the 7th Annual Independent Music Awards.<ref name="D'souza-10-5-2006">{{cite web|last=D'Souza|first=Jerry|title=Ike Turner- Risin' With the Blues|url=http://www.allaboutjazz.com/php/article.php?id=23252|work=All About Jazz.com 5 October 2006|date=October 5, 2006 |publisher=allaboutjazz.com|access-date=October 3, 2011}}</ref><ref>{{Cite web|url=https://top40-charts.com/news.php?nid=36497&string=Shebang|title=7th Annual Independent Music Awards Finalists Announced|date=November 3, 2007|website=Top40-Charts.com}}</ref> Turner won his first solo [[Grammy Award for Best Traditional Blues Album]] at the [[49th Annual Grammy Awards]] in 2007.<ref name="Grammy-2020" />

Turner began working on a collaboration album with Gorillaz's producer [[Danger Mouse (music producer)|Danger Mouse]] and [[the Black Keys]] in early 2007.<ref name="Relic-2008">{{Cite magazine|last=Relic|first=Peter|date=March 6, 2008|title=In the Studio: The Black Keys' 'Attack & Release'|url=https://www.rollingstone.com/music/music-news/in-the-studio-the-black-keys-attack-release-244306/|access-date=November 18, 2020|magazine=Rolling Stone|language=en-US}}{{subscription required}}</ref> The Black Keys sent demos to Turner, but the project was temporarily shelved.<ref name="Relic-2008" /><ref>{{cite magazine|url=https://www.rollingstone.com/music/lists/100-best-albums-of-the-2000s-20110718/the-black-keys-attack-release-19691231|title=100 Best ALbums of the 00's|magazine=Rolling Stone|date=July 18, 2011|access-date=November 13, 2011}}</ref> After Turner's death, the songs were used for their 2008 album ''[[Attack & Release]]''.<ref name="Relic-2008" /> Although Turner does not appear on the album, ''[[Pitchfork (website)|Pitchfork]]'' noted his influence in the production.<ref name="Strew-1-4-2008">{{cite web|url=http://pitchfork.com/reviews/albums/11358-attack-release/|title=The Black Keys Attack & Release|last=Strew|first=Roque|work=Pitchfork Media, April 1, 2008|publisher=Pitchfork Media, Inc.|access-date=November 13, 2011}}</ref>