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"What's Love Got to Do with It" is a song written by Graham Lyle and Terry Britten, and recorded by Tina Turner for her fifth studio album, Private Dancer (1984). Capitol Records released it as a single from Private Dancer in May 1984 and it eventually became Turner's biggest-selling single.
What's Love Got to Do with It is the first soundtrack by American singer Tina Turner, released on June 15, 1993, by Parlophone. It served as the soundtrack album for the 1993 Tina Turner biographical film of the same name , which was released by Touchstone Pictures that same year.
The song additionally includes a lyric ("I'm not a hater, I just crush a lot") that references the 1998 song "Still Not a Player" by Big Pun. Fat Joe, Ja Rule, and the song's two producers are credited as the writers of "What's Luv", as are Big Pun and the lyricist of "What's Love Got to Do with It", Terry Britten .
"A Groovy Kind of Love" is a song written by Toni Wine and Carole Bayer Sager based on a melody by the classical composer Muzio Clementi. The original rendition was recorded by American singing duo Diane & Annita [ 1 ] and released as "Groovey Kind of Love" on the French EP One by One , in 1965.
DeVaughn wrote "A Cadillac Don't Come Easy", eventually re-written to become "Be Thankful for What You Got" in 1972, and spent $900 toward it under a development agreement, under which an artist will record a few initial demos or tracks where, if successfully approved, the company may reserve the right to extend the arrangement to Omega Sound, a Philadelphia production house, and release the song.
"What's Love Got to Do with It" (song), a 1984 song by Tina Turner; covered by Warren G, 1996; What's Love Got to Do with It, a 1993 biographical film about Turner; What's Love Got to Do with It, the soundtrack album from the film
The song is told from the perspective of Laura's husband, and depicts a confrontation the two are having regarding an apparently crumbling marriage. In the first verse, the husband has Laura touch, hold and caress various parts of his body, such as his lips, ears, hair and hands.
Pitchfork writer Arielle Gordon felt the song "strips the haunting guitar riff from "Adam's Song" for parts, just different enough that you might miss it at first." [8] Slant Magazine's Fred Barrett agreed, calling the "trite and repetitive" song a "flavorless approximation of the sticky hook that the band has been churning out since the late ...