Tina Turner: What's Love Got to Do With It (EMI). THE great thing about Tina Turner is her uncanny ability to infuse raw, passionate energy into virtually any song. So while the soundtrack to the film of her life, What's Love Got to Do With It, does include some dubious material, it still manages to come up smelling of roses. Basically, anyone who can turn Disco Inferno into a killer must be doing something right. And there are a lot of legitimately excellent songs on the album, beginning with chestnuts from the tumultuous Ike and Tina Turner era. Outstanding is Tina's self-penned Nutbush City Limits, B. B. King's (Darlin') You Know I Love You and a rave-up of John Fogerty's Proud Mary. Of particular poignancy is Ike's A Fool in Love, with a lyric that strikes a little too close to home. Ike's alleged physical abuse of Tina is well documented, and this song tells the story of a ''good'' man who treats his woman bad. The newer material, in general, is also good - with the best being Rupert Hine's I Might Have Been Queen. This tune is a fusion of funk, blues and gospel and is the most contemporary Turner has ever sounded. And What's Love Got to Do With It, Turner's biggest hit, though nothing special as a song, still holds up quite well. It is also one of only two songs on the album - the other being I Might Have Been Queen - that was not specifically redone for the film. But the album's newest song is a bit of a stinker - Bryan Adams and Mutt Lange's Why Must We Wait Until Tonight. Without Turner this ditty would be strictly middle-of-the-road pap.