Teena Marie

It is impossible to overstate Teena Marie’s influence and respect in R&B music. As among the most complete artists within the universe of music since her debut in 1979, she is an outstanding singer, songwriter, producer, arranger, multi-instrumentalist (primarily guitar and piano) and performer – all rolled into one explosive 5’ 1” package. From the bedrock funk of “Behind The Groove” and “I Need Your Lovin’” to the ivory tickling jazz of “Casanova Brown” to the heart-melting balladry of “Out On A Limb,” “Dear Lover,” “If I Were A Bell” and “My Dear Mr. Gaye,” she has thrown down her artistic gauntlet in every R&B arena.

Born Mary Christine Brockert in Santa Monica, California, and raised in the nearby cultural melting pot of Venice, Teena Marie gravitated to music and entertainment at an early age. As a child, she charmed her way into TV commercials and a memorable singing-dancing part on an episode of The Beverly Hillbillies. Later while studying English Literature at Santa Monica City College, she landed the TV pilot Orphanage Children, a Motown production. Though the pilot never made it to television, Motown signed Teena Marie in 1975. After four years and working with several in-house producers, she was taken under the wing of superstar Rick James who produced her 1979 debut, Wild and Peaceful, and her very first Top 10 single “I’m A Sucker For Your Love.” Her second album Lady T (1980) included the fan favorite, “Behind The Groove.” By her third album Irons In The Fire (1980), Teena Marie was producing, writing and arranging all of her own material. Her next album It Must Be Magic became a platinum seller thanks to the hit “Square Biz” and the quiet storm classic “Portuguese Love,” but it would be her last album on Motown proper.

In 1982, Motown sued Teena Marie for breech of contract after she informed the label that she no longer wanted to perform; in turn, Ms. Marie filed a countersuit against the legendary company and won. The countersuit resulted in the landmark artists’ rights initiative known as “The Brockert Initiative,” which is Ms. Marie’s last name put strict limitations on the length of artist/company contracts. This historical entertainment mandate states that no recording company can contractually bind an artist while refusing to release his/her product. After winning the lawsuit, Teena Marie signed to Epic Records (1983). She released five more albums including, the platinum-plus Starchild (1984), buoyed by the crossover smash “Lovergirl” and Naked To The World (1988) featuring her the hit “Ooo La La La.” In 1994, Teena Marie released her tenth album, Passion Play, on her own Sarai Records label.

Following an extended period of reflection and deeply personal milestones – Teena Marie returns to claim her throne with La Doña (pronounced la dohn ya), her first album of all-new material in ten years. To mark the occasion of her triumphant return, Teena Marie is the first artist to be signed to Cash Money Classics, a new subsidiary of brothers Ronald “Slim” Williams and Bryan “Baby” Williams’ southern rap empire Cash Money Records.

“As I was winding down the making of this album,” Ms. Marie recalls, “my tape fell into Slim’s hands. He was blown away by the song “My Body’s Hungry,” so he flew me down to New Orleans. I thought, ‘How are they going to fit me into their whole Southern rap thing?’ When we talked about the possibilities, I told them I could not do anything that resembled what they do. They were like, ‘No, mama, we want to sign you so you can continue to do what you do best!’”

Most of Ms. Marie’s album was complete by the time she signed the deal, but she still got to kick it at the famous Cash Money compound. It was there that she recorded her vocals for the first single from La Doña, “Still In Love,” which was co-produced by Cash Money’s in-house production guru, Mannie Fresh and Teena Marie. The single is a timely blend of old and new school elements constructed on a replay of a groove from Al Green’s “What A Wonderful Thing Love Is.” “Mannie sent me a bunch of tracks,” Teena explains, “and that was the first one to really hit me. They just put the track up and I sang. Then I took the basic track home to do the backgrounds and the mix.”

La Doña to Latin families is the equivalent of…The Godmother – she who has paved paths, laid foundations and lead by exalted example, pulling inspiration from the highest of culture to the most popular denominators. Up on all the history and down with all the trends, La Doña knows not only from where she came but also from where it all originated…and stays ahead of where it is all going.

Reflecting on how she chose La Doña as the title of this album, Ms. Marie says, “my manager calls me ‘Doña’ which is a term used in Latin families, to pay the utmost respect. When I was recording the single, Baby introduced me as La Doña. He said my record had this…‘gangsterish’ sound to it, even the ballads. ‘You’re just an old G,’ he told me! Over the years, I have reinvented myself. I went from Teena Marie to Rick James giving me the name ‘Lady Tee’ to ‘Ivory.’ Therefore, ‘La Doña’ is a continuation in that string of personalities. It’s a great time to be La Doña, too, because a lot of today’s singers and rappers have a certain respect for me.” That respect stems not only from Teena Marie’s timeless artistry but also from the very evident fact that she keeps up with everything that is happening today. “I have a lot of young people around me,” she laughs. “My daughter and goddaughter keep me in the loop. I listen to music that’s out now – from Alicia Keys and Lauryn Hill to Common and The Roots – as well as the stuff I’ve been listening to since I was 17.” This duality is brilliantly apparent on La Doña.

On La Doña, Teena Marie mixes old school with new school, with such tracks as “Off the Chain” featuring Cash Money’s Baby, the listener finds Ms. Marie weaving a modern catch phrase into high praise for a super lover. “The Mackin’ Game,” a song that has morphed through many changes over the last few years to arrive at its current state of excellence, features special guests MC Lyte and Medusa. “I learned a lot about being a mack from Rick,” Teena Marie laughs.” Much of La Doña revels in the realm of the sensual, including the Gerald Levert duet “A Rose By Any Other Name.” Yesterday, Teena Marie and Rick James recorded one of the most torrid love duets in history, “Fire and Desire” (from Rick’s classic 1981 album, Street Songs).

Today on La Doña, they collaborate on “I Got You,” offering fans revealing glimpses into their storied friends/lovers relationship. “I had the track and wrote some lyrics about him last year,” Teena shares. “Then I asked Rick to write a verse about me. It is the first time we have ever written anything together. We have started to do shows again and have been having a great time. He is still ‘Crazy Rick,’ but he has also mellowed out a lot. He knows I’m down for him.”

Fans that regularly visit Teena’s Website or attend her shows know that La Doña was originally going to be titled Black Rain. The song remains but the album title had to change. “Black Rain is actually a double entendre,” she explains. “On the surface, that song is reflections on a love affair that had me feeling like not only was it raining outside, but inside my house as well. But I also flip it to speak on how Black music has rained on my life and made me who I am…my thoughts on what Black music has given me and what I’ve given back. In one line I sing, ‘I’ve been ordained.’ Within the last year, the rain suddenly stopped….”

Ten Years later with this scintillating La Doña under her arm, Lady T is poised to send shockwaves anew through a music industry in dire need of mature artists with cross-cultural appeal, and positive, thought-provoking ideas to share. “Look around people are just doing music that transcend color and that wasn’t happening before I came along.”