They reported George Tecci, as was his custom, notified the patrons just before 1 a. 2-3:Ī State Police office and a State Policewoman were on the premises when the Glass Hut was raided in 1960. 72:Ī voice would call out, “You don’t have to go home, but you can’t stay here.”ġ1 August 1964, Record American (Boston, MA), “After-Hours Sale of Liquor Charge Made,” pg. , Boston (MA) Globe, Padlocking of Glass Hat Leaves After-Hour Drinkers No Place to Go But Home” by Arthur Siegel, pg. “You don’t have to go home-but you can’t stay here. In the old days, the cry in the joints, when they were ready to close, was “you don’t have to go home, but you can’t stay here.”ġ January 1948, Morning Advocate (Baton Rouge, LA), “A Correspondent’s Notebook” by Hal Boyle, pg. “Last call for alcohol” is another bar saying.ĥ March 1944, Boston (MA) Herald, “Stranded Tourists Discover Miami’s Palms Have Fingers,” pg. “You don’t have to go home (but you can’t stay here)” was the title of at least two songs in the 1990s. “In the old days, the cry in the joints, when they were ready to close, was ‘you don’t have to go home, but you can’t stay here’” was cited in print in 1944. Framed by classy production from Nellee Hooper (of Björk, Soul II Soul and Massive Attack fame) Turner brought the femme fatale lyric to life in the studio and on screen."You don’t have to go home, but you can’t stay here” is what a bar manager might say to his last remaining customers at closing time. "I didn’t even know what key to practice it in! …And then I sung it how I would sing it, and even Bono was impressed."Įveryone was. " Bono sent me the worst demo", she told Graham Norton in 2018. But she needed a song.Įnter U2's Bono and The Edge, who wrote and presented the track to Turner, but much like ‘What’s Love Got Do With It’, she was initially reluctant to record it. Initially, Depeche Mode and Ace of Base were in the mix to soundtrack 1995’s Pierce Brosnan-starring GoldenEye, effectively a 007 reboot for a new generation, before producers tapped Turner - already a film icon thanks to 1985’s Mad Max Beyond Thunderdome and the Oscar-winning success of her 1993 biopic. It’s the closest any 007 singer would come to Shirley Bassey’s powerhouse classics ‘ Goldfinger’ and ‘ Diamonds Are Forever’ and became a Top 10 hit across Europe. Tina Turner’s smouldering entry into the James Bond franchise proves she’s the perfect spy movie fit. In the hands of a lesser artist, this smoky pop ballad might not have worked so well, let alone become its singer’s biggest hit and alter their career forever. Turner was 44 when the song hit #1, becoming the oldest female solo artist to top the US charts. It strapped a superstar rocket to her 1984 comeback album Private Dancer, won three Grammys and became the title of her 1993 biopic starring Angela Bassett. ‘What’s Love Got To Do With It’ made Tina Turner more famous than she’d ever been. ‘ Who needs a heart when a heart can be broken?’ Indeed. Turner’s presence and intense vocal performance doesn’t just elevate those synthetic whistles and Casio-keyboard reggae bumps, she makes it soar.Ĭonsidering what she survived – years of domestic abuse at the hands of her violent, vindictive husband Ike – Turner brings an emotional gravitas that gives the lyrics a subliminal sting. Despite hating it, she was convinced by her Australian-born manager, Roger Davies, it could be a hit. It’s chintzy, thin, and emblematic of flawed 1980s production, and Turner knew it was beneath her. Sonically, 'What’s Love Got To Do With It' is pretty weak.
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