 Sometimes, in all the media hoopla and hype that accompanies an artist's acceptance on a mass-level, there's the chance that the true nature of that artist's creative skill is completely overlooked. Case in point: Teena Marie.
For most black music buyers, Teena's the bonafide white, female R&B vocalist/songwriter whose music is usually funky and dance-orientated. Now, not detracting from the fact that she frequently does produce such material, but Teena has a lot more to offer and, for those who've taken the time to listen to her albums, that fact may already be apparent.
Even a cursory glance of the self-written liner notes that have accompanied Teena's last three Epic albums suggests that this ain't no ordinary lady, and it wouldn't hurt to check out the lyrics to her material more fully either! All of which is to say that Teena Marie has yet to be fully recognized for the potent artiste she is. Hopefully that will be corrected with her new album, due for March release, entitled Naked to the World.
"This album is definitely more street-oriented than the last one," the petite lady explains. "I did that last album -- Emerald City -- for me. I thought it was very good and definitely very different from my previous work."
Teena admits that the public didn't embrace the record with quite the excitement that accompanied it's predecessor, 1984's Starchild, which contained Teena's biggest pop hit, "Lovergirl." "It's true to say that the public doesn't really want artists to step out to far. So, this time, I've made a commercial record that doesn't cut off my artistry."
On first listen, that's an accurate assessment: Teena's combined the best of her unique funk material ("Trick Bag," "The Ball") with some music that stretches her creative horizons ("Work It," "Naked to the World"). "I'd say this is more of a 'band' album -- I used a lot of the musicians who worked with me on earlier records."
Indeed, this album reunites Teena with two major contributors from the past: Dick Rudolph, husband to the late Minnie Riperton, who produced Teena's second Motown LP, Lady T, who is executive producer on this one; and that famous funkster Rick James, who performs on two duets with Teena for the album.
"It was, as always, great working with Rick again" comments Teena. "We haven't been able to sing together for eight years because after I left Motown they wouldn't allow Rick to record with me."
The two artists have more than made up for the delay with two superb songs -- "Call Me," a groove tune that never lets up, and "Once and Future Dream," a strong love ballad.
And speaking of ballads, Teena is leading off her new album with "Ooh La La La." "It's one of those songs that remind you of the great Smokey Robinson tunes that everyone loves. I'd say it's great for people who are falling in love for the first time!" smiles Teena.
The release of a ballad as a first single from a new album is definitely a departure for Teena: "I had mixed emotions about that to start with but the response to the record has been so strong that I'm fine about it now," she explains. "We've never put out a ballad as a first single before because, a lot of times, those slow songs would help sell my albums after the uptempo tunes came out as singles. But we figured, let's do it this way round and we can sell even more albums."
Ask Teena about her own favorite from the album and she doesn't hesitate to cite the title track "Naked to the World."
"I did five vocal takes on that cut and that's real unusual for me -- I usually get it done in one or two. But that's a very emotional song for me: it's all about the vulnerability that comes from being an artist, when you put everything out there in your music. It's like not keeping anything for yourself -- putting your life on record."
Teena says that she's always felt that it was important to be real in whatever she's conveying musically. "I don't think people want anything less than 100% and I think they know when what you're doing isn't real."
As usual, Teena wrote and produced all the music on the album, as well as playing all the keyboards and doing most of the drum programming. Such production input with her own records is now creating a demand for Teena's services on other projects.
"Well, I'm already producing tracks on a male vocalist -- Bendrix -- for my own production company. And I plan to do some work with Bernadette Cooper (former member of the girl group Klymaxx) on her first solo album and on the next Madame X LP. Bernadette actually sang on my new album -- she did some vocal ad-libs on the track "Crocodile Tears" -- and she's great to work with," says Teena.
1988 looks like being a busy year for the Los Angeles-born lady who says that she feels her career is definitely now moving in the right direction.
"I think that it's important to be happy in life regardless of what's happening because it's a sure thaing that there are going to be ups and downs in your career as well as other areas of your life. After all, if you don't have the downs, how can you judge the ups?"
Teena isn't reluctant to admit that she had her own share of downs during her court battle to end her Motown contract.
"Honestly, there were days when I didn't want to leave and days when I couldn't wait. It wasn't an easy time and there were times when just getting up in the morning was a challenge."
The final outcome of Teena's fight was a pioneering piece of legislation for the protection of recording artists which actually became law in the US. "It's a bill that went through Congress that actually became known as the 'Teena Marie Bill.' It states that an artist must be paid a minimum of $6,000 per year to stay under contract with a label and that there are limitations on the length of any recording contract."
"I know that a friend of mine who was trying to leave their label was shocked when she found out from her lawyer that that bill actually allowed her to end her contract."
But then, no surprise that Teena Marie should have been artist who was responsible for that change in state for the industry: she's long been an adventurer into new territory, in particular as one of the very first white artists to be fully accepted for recording and performing authentic black music.
"Now everyone's doing it," laughs Teena. "But I think it's simple: people heard my voice, liked it, liked the realism, where I was coming from."
Teena's quick to point out that certain black music artists made a huge impact on her during her teenage years and her new album contains a tribute to two of them, Donny Hathaway and Minnie Riperton.
"There's a one-minute prayer entitled "Opus 3, 2nd Movement" which is my way of paying tribute to those two great artists who affected me so much. When you're a teenager, reaching otu for something, certain musical artists can provide that. Donny and Minnie were amongst those who did that for me."
The one striking aspect of Teena Marie's music, be it the fun filled funk of "I Need Your Lovin'" or the thought-provoking sensitivity of "Out on a Limb," is its authenticity.
"I write about my own experiences, the experiences of my friends I've had for the last ten years. I also listen to young people and what they're up to. That keeps me on track."
One listen to Naked to the World and you'll agree that Teena Marie is indeed on track and this may well be her most successful record to date.
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