Express Yourself! Features
TEENA MARIE
By Sara Stromseth
From the beginning of her career, Teena Marie's musical identity, has always been somewhat
shrouded in mystery. In an attempt to define this great artist, a multitude of monikers have
been attached to her persona. In addition to falling under the rather generic description "blue-
eyed soul" - which covers just about any white soul singer - Teena Marie has exclusive
names, personalized and recognized by industry insiders and fans alike. They include:
"Lady Tee," "Vanilla Child," "Motown's Soulful Secret," "Little Bit," "Casper," and "The Ivory
Queen of Soul." Even the name 'Teena Marie' is a reversal of her given name, Mary Christine.
All of these identifying tags are used interchangeably to categorize an artist who is
uncategorizable, an artist who is always surprising listeners with her forays into a variety of
musical styles.
Even with all the critical acclaim she’s received, Teena Marie's career, though successful
with her core audience of soul fans, remains largely unknown to mass audiences. Teena's
voice is a "quiet storm" in a catalogue of r&b divas that also possess powerful, soulful
voices, but, unlike Teena, conform to commercialization favored by the industry. Such a
reality is something of an oxymoron for a woman whose huge voice belies her small (4'11")
frame, whose operatic swoops and intense vocal drama demand to be heard, but so often,
aren't. Given Teena's relative obscurity beyond the soul music market, new listeners may
wonder, 'Who is Teena Marie?'
Teena Marie was born into a musical family, and absorbed numerous musical influences that
would eventually help define her own work. While her parents listened to standards and jazz,
her siblings tastes ranged from hard rock to pop to Motown. From the Latino neighborhood,
Teena developed a love of Latin music. Teena's musical upbringing was as diverse as her
multi-cultural home in Venice Beach, California.
Teena's musical talents were discovered early. At the age of eight, Teena was performing at a
restaurant backed by an orchestra, singing Cole Porter songs. At the age of 10, she sang at
Jerry Lee Lewis' son's wedding. By the age of 13, Teena formed her own band. Teena was
discovered by Motown founder Berry Gordy after she auditioned for a television show that
was never produced. Teena was signed to Motown in 1975, but languished for over three
years while the company attempted to find a producer to channel her talents.
The man who became that producer was label-mate Rick James, the outrageous funk singer
who shared Teena's artistic vision. The rapport between the two helped create Teena's debut
album for Motown, 1979's "Wild and Peaceful," and reached its peak in numerous duet
collaborations, evoking comparisons to other legendary duet partners, such as Marvin Gaye
and Tammi Terrell.
Teena's debut album, produced by Rick James and Art Stewart, was a success. Curiously,
the album cover did not feature a picture of Teena, but instead featured a seascape. The
reason for this was deliberate: industry insiders worried that if Motown's mostly-black
audience saw that Teena was white, they wouldn't buy her album (this was a reversal of a
common practice in the 1960s where white models posed for black artists in an attempt to
ensure mainstream appeal for the musicians). It wasn't until the release of Teena's second
album, 1980's "Lady T," that listeners saw that Teena Marie was white. While many were
shocked at this revelation, it didn't lessen Teena's appeal. If anything, this seeming
contradiction - a white woman who could sing so soulfully - intrigued listeners.
After recording four successful albums for Motown, Teena left the label after a contractual
dispute (despite this, she remains proud of her association with the label, as she remains its
most successful white artist). Teena joined Epic Records, where she arguably reached her
artistic maturity, continuing to create her trademark funky dance songs and majestic, lyrical
ballads. Teena's biggest pop music success came with the hit "Lovergirl" from her 1984
album "Starchild." The song reached the Top 10 on both the pop and r&b charts. While the
success of the song introduced many pop music listeners to the fiery performer, it did not
change the fact that, first and foremost, Teena was considered a soul music singer. With her
last three Epic albums, this distinction was evident, as she had a No. 1 R&B hit with "Ooo La
La La" and continued to have hits with her last Epic album, 1990's "Ivory."
Though no longer signed to a major label, Teena continues to perform and make music.
Teena's hard-to-find 1994 album "Passion Play" was released on her own Sarai Records
label. In the last few years, Teena has concentrated on live performances, as well as singing
on other artists’ albums. In 1999, Teena appeared on VH1's "Where Are They Now?" series.
In 2000, Teena performed on UPN's hit show "The Parkers," and she also performed at
"Motown Live!".
With the recent launch of her Official web site at www.teenamarie.com Teena is very much a
presence in the ever-changing music scene. In addition to providing fans with periodic
messages, Teena is selling her "Passion Play" album on the site, and is touring extensively
in the summer of 2000. Teena has also stated in interviews that her long-awaited follow-up to
"Passion Play," an album entitled "Black Rain," will be distributed on the site when it
becomes available.
Teena’s legacy in the annals of r&b music continues with each musical metamorphosis she
undergoes. Given her refusal to play the marketing game, Teena's numerous monikers will
doubtless continue as she keeps surprising listeners with her creations. Ultimately, the
genuine, unbridled soulfulness of Teena Marie's music will speak for itself, something more
and more listeners are discovering for themselves, as they look
beyond the descriptions and see the soul that shines through.
Album Discography
"Wild and Peaceful" 1979. Gordy Records. Produced by Rick James and Art Stewart.
Teena Marie's debut for Motown was the only album she did not produce herself. The album
featured her hit duet with Rick James, "I'm a Sucker For Your Love," as well as the full-length
version of what has become a live-performance favorite, "Deja Vu (I've Been Here Before)."
"Lady T" 1980. Gordy Records. Produced by Richard Rudolph, and Co-Produced by Teena
Marie.
Featuring production work by Teena and by Richard Rudolph, the husband of late soul
songbird Minnie Riperton, one of Teena's many musical influences. In addition to showing
the world through its cover art that Teena Marie was indeed white, the album included the hit
"Behind The Groove."
"Irons In The Fire" Gordy Records.
In addition to being one of the very few female producers in the early 1980s, Teena's third
album for Motown earned a gold disc. The album was dedicated to the memory of her father,
and features the introspective title track, as well as the hit "I Need Your Lovin'". Other
noteworthy mentions: "You Make Love Like Springtime," "Tune In Tomorrow."
"It Must Be Magic" 1980. Gordy Records.
Teena's most commercially-successful recording for Motown Records, it was also her last
for the label. The album featured hits in the title track, as well as "Square Biz" and
"Portuguese Love." Other memorable cuts include the imploring "Where's California," and
the jazz ballad "Yes Indeed."
"Robbery" 1983. Epic Records.
"Robbery" was rumored to be an explanation on her romantic (though not professional)
break-up with Rick James. The album was also seen as a commentary on her disillusionment
with Motown Records, and a new beginning on Epic Records. It featured many of Teena's
most memorable "quiet storm" ballads, such as "Cassanova Brown," "Dear Lover,"
"Shadowboxing," and "Stop the World." Teena had a hit with the up-tempo track "Fix It."
"Starchild" 1984. Epic Records.
Her most succesful record for Epic, the album featured the biggest pop hit of her career,
"Lovergirl." Other highlights include the pleading ballad "Out On A Limb," the soulful tribute
to Marvin Gaye, "My Dear Mr. Gaye," and "We've Got To Stop (Meeting Like This)," a
passionate duet with Ronnie McNeir.
"Emerald City." 1986. Epic Records.
This record marked a departure from Teena's established "sound," and explored all of her
musical influences. The result was that the album was less commercially-successful, but the
most musically-ambitious of her career. The album contained a minor hit in "Lips 2 Find U."
That song is one in a long list of standout cuts, among them: the intense "Shangri-La," the
brooding "You So Heavy," the infectious "Batucada Suite," and the lyrical jazz piece, "Sunny
Skies." The album also has the distinction of being listed at No. 9 in music critic Chuck
Eddy's book profiling the top 500 heavy metal songs of all time. Rock on, Teena Marie!
"Naked to the World" 1988. Epic Records.
Teena returned to the slicker, more commercial sound that fans were accustomed to. Teena
had a No. 1 R&B hit with "Ooo La La La." The album also featured two duets with Rick
James, the ballad "The Once and Future Dream" and the up-tempo "Call Me (I Got Yo'
Number)".
"Ivory" 1990. Epic Records.
The title "Ivory," was an obvious play on Teena’s status as a white singer catering to a
primarily black audience. Teena had r&b hits with the songs "Here's Looking At You" and "If
I Were A Bell." Other stand-outs include the infectious dance song "Sugar Shack," and the
sparsely-arranged ballad "How Can You Resist It?"
"Passion Play" 1994. Sarai Records.
This was Teena's first release for her own label, Sarai Records. Due to marketing, the album
disappeared almost as quickly as it had come. Fortunately, Teena has since received the
royalities and is re-selling the album at her concerts and on her web site. The album,
decidedly more personal than previous work, featured a hit with "Warm As Momma's Oven."
Other highlights include a duet with Lenny Kravitz, "Main Squeeze," a remake of the Linda
Jones 1967 hit "Hypnotized," the jazzy "Slow Grind," and the rollicking dance song "Sweet
on You."
Greatest Hits Compilations
There are so many different "greatest hits" album out there, that it is hard for anyone to make
an informed decision about which album to get. My recommendation would be that first-time
fans pick up the Motown release "I Need Your Lovin': The Very Best of Teena Marie" (1994).
The album features all of her greatest hits with the label, and includes two previously-
unreleased tracks. For her Epic Records work, the best compilation is the Epic/Legacy disc
"Lovergirl: The Teena Marie Story." (1997). The album features a wonderful essay, lots of
photos, and concentrates on the "quiet storm" balladry that makes Teena's music stand out.
For fans who are curious to discover more of Teena's work, check out the "Greatest Hits"
album on Motown/Polygram. (1996). It is an import album, and contains some of Teena's
lesser-known Motown work, songs such as "I'm Gonna Have My Cake (And Eat It Too),"
"The Ballad of Cradle Rob & Me," "Aladdin's Lamp," and "Yes Indeed." For more of Teena's
Epic work, purchase the Epic/Legacy release "Love Songs" which features her trademark
duet with Rick James, "Fire and Desire," as well as an extended version of "Sunny Skies."
You can reach Sara by e-mail at: stroms98@yahoo.com
By Sara Stromseth
From the beginning of her career, Teena Marie's musical identity, has always been somewhat
shrouded in mystery. In an attempt to define this great artist, a multitude of monikers have
been attached to her persona. In addition to falling under the rather generic description "blue-
eyed soul" - which covers just about any white soul singer - Teena Marie has exclusive
names, personalized and recognized by industry insiders and fans alike. They include:
"Lady Tee," "Vanilla Child," "Motown's Soulful Secret," "Little Bit," "Casper," and "The Ivory
Queen of Soul." Even the name 'Teena Marie' is a reversal of her given name, Mary Christine.
All of these identifying tags are used interchangeably to categorize an artist who is
uncategorizable, an artist who is always surprising listeners with her forays into a variety of
musical styles.
Even with all the critical acclaim she’s received, Teena Marie's career, though successful
with her core audience of soul fans, remains largely unknown to mass audiences. Teena's
voice is a "quiet storm" in a catalogue of r&b divas that also possess powerful, soulful
voices, but, unlike Teena, conform to commercialization favored by the industry. Such a
reality is something of an oxymoron for a woman whose huge voice belies her small (4'11")
frame, whose operatic swoops and intense vocal drama demand to be heard, but so often,
aren't. Given Teena's relative obscurity beyond the soul music market, new listeners may
wonder, 'Who is Teena Marie?'
Teena Marie was born into a musical family, and absorbed numerous musical influences that
would eventually help define her own work. While her parents listened to standards and jazz,
her siblings tastes ranged from hard rock to pop to Motown. From the Latino neighborhood,
Teena developed a love of Latin music. Teena's musical upbringing was as diverse as her
multi-cultural home in Venice Beach, California.
Teena's musical talents were discovered early. At the age of eight, Teena was performing at a
restaurant backed by an orchestra, singing Cole Porter songs. At the age of 10, she sang at
Jerry Lee Lewis' son's wedding. By the age of 13, Teena formed her own band. Teena was
discovered by Motown founder Berry Gordy after she auditioned for a television show that
was never produced. Teena was signed to Motown in 1975, but languished for over three
years while the company attempted to find a producer to channel her talents.
The man who became that producer was label-mate Rick James, the outrageous funk singer
who shared Teena's artistic vision. The rapport between the two helped create Teena's debut
album for Motown, 1979's "Wild and Peaceful," and reached its peak in numerous duet
collaborations, evoking comparisons to other legendary duet partners, such as Marvin Gaye
and Tammi Terrell.
Teena's debut album, produced by Rick James and Art Stewart, was a success. Curiously,
the album cover did not feature a picture of Teena, but instead featured a seascape. The
reason for this was deliberate: industry insiders worried that if Motown's mostly-black
audience saw that Teena was white, they wouldn't buy her album (this was a reversal of a
common practice in the 1960s where white models posed for black artists in an attempt to
ensure mainstream appeal for the musicians). It wasn't until the release of Teena's second
album, 1980's "Lady T," that listeners saw that Teena Marie was white. While many were
shocked at this revelation, it didn't lessen Teena's appeal. If anything, this seeming
contradiction - a white woman who could sing so soulfully - intrigued listeners.
After recording four successful albums for Motown, Teena left the label after a contractual
dispute (despite this, she remains proud of her association with the label, as she remains its
most successful white artist). Teena joined Epic Records, where she arguably reached her
artistic maturity, continuing to create her trademark funky dance songs and majestic, lyrical
ballads. Teena's biggest pop music success came with the hit "Lovergirl" from her 1984
album "Starchild." The song reached the Top 10 on both the pop and r&b charts. While the
success of the song introduced many pop music listeners to the fiery performer, it did not
change the fact that, first and foremost, Teena was considered a soul music singer. With her
last three Epic albums, this distinction was evident, as she had a No. 1 R&B hit with "Ooo La
La La" and continued to have hits with her last Epic album, 1990's "Ivory."
Though no longer signed to a major label, Teena continues to perform and make music.
Teena's hard-to-find 1994 album "Passion Play" was released on her own Sarai Records
label. In the last few years, Teena has concentrated on live performances, as well as singing
on other artists’ albums. In 1999, Teena appeared on VH1's "Where Are They Now?" series.
In 2000, Teena performed on UPN's hit show "The Parkers," and she also performed at
"Motown Live!".
With the recent launch of her Official web site at www.teenamarie.com Teena is very much a
presence in the ever-changing music scene. In addition to providing fans with periodic
messages, Teena is selling her "Passion Play" album on the site, and is touring extensively
in the summer of 2000. Teena has also stated in interviews that her long-awaited follow-up to
"Passion Play," an album entitled "Black Rain," will be distributed on the site when it
becomes available.
Teena’s legacy in the annals of r&b music continues with each musical metamorphosis she
undergoes. Given her refusal to play the marketing game, Teena's numerous monikers will
doubtless continue as she keeps surprising listeners with her creations. Ultimately, the
genuine, unbridled soulfulness of Teena Marie's music will speak for itself, something more
and more listeners are discovering for themselves, as they look
beyond the descriptions and see the soul that shines through.
Album Discography
"Wild and Peaceful" 1979. Gordy Records. Produced by Rick James and Art Stewart.
Teena Marie's debut for Motown was the only album she did not produce herself. The album
featured her hit duet with Rick James, "I'm a Sucker For Your Love," as well as the full-length
version of what has become a live-performance favorite, "Deja Vu (I've Been Here Before)."
"Lady T" 1980. Gordy Records. Produced by Richard Rudolph, and Co-Produced by Teena
Marie.
Featuring production work by Teena and by Richard Rudolph, the husband of late soul
songbird Minnie Riperton, one of Teena's many musical influences. In addition to showing
the world through its cover art that Teena Marie was indeed white, the album included the hit
"Behind The Groove."
"Irons In The Fire" Gordy Records.
In addition to being one of the very few female producers in the early 1980s, Teena's third
album for Motown earned a gold disc. The album was dedicated to the memory of her father,
and features the introspective title track, as well as the hit "I Need Your Lovin'". Other
noteworthy mentions: "You Make Love Like Springtime," "Tune In Tomorrow."
"It Must Be Magic" 1980. Gordy Records.
Teena's most commercially-successful recording for Motown Records, it was also her last
for the label. The album featured hits in the title track, as well as "Square Biz" and
"Portuguese Love." Other memorable cuts include the imploring "Where's California," and
the jazz ballad "Yes Indeed."
"Robbery" 1983. Epic Records.
"Robbery" was rumored to be an explanation on her romantic (though not professional)
break-up with Rick James. The album was also seen as a commentary on her disillusionment
with Motown Records, and a new beginning on Epic Records. It featured many of Teena's
most memorable "quiet storm" ballads, such as "Cassanova Brown," "Dear Lover,"
"Shadowboxing," and "Stop the World." Teena had a hit with the up-tempo track "Fix It."
"Starchild" 1984. Epic Records.
Her most succesful record for Epic, the album featured the biggest pop hit of her career,
"Lovergirl." Other highlights include the pleading ballad "Out On A Limb," the soulful tribute
to Marvin Gaye, "My Dear Mr. Gaye," and "We've Got To Stop (Meeting Like This)," a
passionate duet with Ronnie McNeir.
"Emerald City." 1986. Epic Records.
This record marked a departure from Teena's established "sound," and explored all of her
musical influences. The result was that the album was less commercially-successful, but the
most musically-ambitious of her career. The album contained a minor hit in "Lips 2 Find U."
That song is one in a long list of standout cuts, among them: the intense "Shangri-La," the
brooding "You So Heavy," the infectious "Batucada Suite," and the lyrical jazz piece, "Sunny
Skies." The album also has the distinction of being listed at No. 9 in music critic Chuck
Eddy's book profiling the top 500 heavy metal songs of all time. Rock on, Teena Marie!
"Naked to the World" 1988. Epic Records.
Teena returned to the slicker, more commercial sound that fans were accustomed to. Teena
had a No. 1 R&B hit with "Ooo La La La." The album also featured two duets with Rick
James, the ballad "The Once and Future Dream" and the up-tempo "Call Me (I Got Yo'
Number)".
"Ivory" 1990. Epic Records.
The title "Ivory," was an obvious play on Teena’s status as a white singer catering to a
primarily black audience. Teena had r&b hits with the songs "Here's Looking At You" and "If
I Were A Bell." Other stand-outs include the infectious dance song "Sugar Shack," and the
sparsely-arranged ballad "How Can You Resist It?"
"Passion Play" 1994. Sarai Records.
This was Teena's first release for her own label, Sarai Records. Due to marketing, the album
disappeared almost as quickly as it had come. Fortunately, Teena has since received the
royalities and is re-selling the album at her concerts and on her web site. The album,
decidedly more personal than previous work, featured a hit with "Warm As Momma's Oven."
Other highlights include a duet with Lenny Kravitz, "Main Squeeze," a remake of the Linda
Jones 1967 hit "Hypnotized," the jazzy "Slow Grind," and the rollicking dance song "Sweet
on You."
Greatest Hits Compilations
There are so many different "greatest hits" album out there, that it is hard for anyone to make
an informed decision about which album to get. My recommendation would be that first-time
fans pick up the Motown release "I Need Your Lovin': The Very Best of Teena Marie" (1994).
The album features all of her greatest hits with the label, and includes two previously-
unreleased tracks. For her Epic Records work, the best compilation is the Epic/Legacy disc
"Lovergirl: The Teena Marie Story." (1997). The album features a wonderful essay, lots of
photos, and concentrates on the "quiet storm" balladry that makes Teena's music stand out.
For fans who are curious to discover more of Teena's work, check out the "Greatest Hits"
album on Motown/Polygram. (1996). It is an import album, and contains some of Teena's
lesser-known Motown work, songs such as "I'm Gonna Have My Cake (And Eat It Too),"
"The Ballad of Cradle Rob & Me," "Aladdin's Lamp," and "Yes Indeed." For more of Teena's
Epic work, purchase the Epic/Legacy release "Love Songs" which features her trademark
duet with Rick James, "Fire and Desire," as well as an extended version of "Sunny Skies."
You can reach Sara by e-mail at: stroms98@yahoo.com
The following albums were written, produced and arranged by Teena Marie
The following albums were written and produced by Teena Marie
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