Early Life
Marie was born in Santa Monica, California. She is of Belgian, Portuguese, Irish, Italian, and Native American ancestry. Marie grew up in Oakwood, a neighborhood in West Los Angeles. As a child, she had an acting role on The Beverly Hillbillies, credited as Tina Marie Brockert. She also sang at the wedding of actor Jerry Lewis's son when she was 10 years old.
Marie worked briefly at Pup 'n' Taco in the mid 1970s while attending Venice High School, where she joined the Summer Dance Production, and also had a role in the school's production of The Music Man.
1979–1981: Motown era
Marie signed with Motown Records in 1976, having gained an introduction to staff producer Hal Davis (best known for his work with The Jackson 5) and then auditioned, with her then band, for label boss Berry Gordy. She recorded unreleased material with a number of different producers, including Kerner and Wise, but was then spotted by Rick James, who effectively became her mentor. (Some of the earlier unreleased material has since been made available on compilation albums.) Her debut album release, Wild and Peaceful, was originally conceived as a project to be produced by James for Diana Ross, but James preferred to work with Marie. The album was at one point due to be credited to "Tina Tryson", but ultimately was put out under Marie's now-established stage name. It scored Marie her first top-ten R&B hit, "I'm Just a Sucker for Your Love" (#8 Black Singles Chart), which was a duet with James. Neither the album sleeve nor other packaging showed a picture of Marie, apparently on the theory that black audiences might be reluctant to buy an album by a white artist. In fact, many radio programmers wrongly assumed Marie was African American during the earliest months of her career. This myth was dispelled when, in 1980, her sophomore album, Lady T, sported a picture of her on the cover.
Marie's second album is noted for having production from Richard Rudolph (husband of R&B singer Minnie Riperton who passed a year earlier). Marie had asked Berry Gordy to contact Rudolph and secure his input as Rick James was unavailable and she did not feel quite ready yet to be sole producer of her own material. Rudolph intended for the song he penned, "Now That I Have You", to be sung by his wife, but was later given to Marie. Rudolph also co-composed the single "Behind The Groove", which reached number 21 on the black singles chart. The song was also included on the soundtrack of Grand Theft Auto: Vice City on the Fever 105 station. Another notable track, "Too Many Colors," featured Rudolph and Riperton's then 7-year-old daughter, Maya Rudolph, who became Teena Marie's god-daughter.
Also in 1980, Marie released her third LP, Irons in The Fire, in which she handled all writing and production herself, including the horn and rhythm arrangements of her band and all backing vocals. The single "I Need Your Lovin'" (#37 Pop, #9 Black Singles) brought Teena her first top 40 hit. That same year, Teena Marie appeared on James' hugely successful album Street Songs with the steamy duet "Fire and Desire." The two would perform the single at the 2004 BET Awards, which would be the two's last TV appearance with one another as Rick James passed later that year.
Marie continued her success with Motown in 1981 with the release of It Must Be Magic (#2 Black Albums Chart), her first gold record, which included her then biggest hit on R&B, "Square Biz" (#3 Black Singles). Other notable tracks include "Portuguese Love" (featuring a brief, uncredited cameo by James, #54 Black Singles), the title track "It Must be Magic" (#30 Black Singles), and album only track "Yes Indeed" which Marie cites as a personal favorite.
In 1982, Marie got into a heated legal battle with Motown records over her contract and disagreements on releasing her new material. The shuffle resulted in "The Brockert Initiative", which makes it illegal for a record company to keep an artist under contract without releasing new material for that artist. The artist would then be able to sign and release with another label instead of being held back by an unsupportive one. Teena Marie commented on the law in an LA Times article, saying, "It wasn't something I set out to do. I just wanted to get away from Motown and have a good life. But it helped a lot of people, like Luther Vandross and the Mary Jane Girls and a lot of different artists, to be able to get out of their contracts".
1983-1991: Epic Records
After leaving Motown in 1982, Marie signed with Epic Records in 1983 and released the concept album Robbery, which featured the hit "Fix It" (#21 R&B), as well as "track artist=Teena Marie]Shadow Boxing" and "Casanova Brown." The latter was one of a number of tracks Marie would write over the years about her real-life romance with one-time mentor Rick James. The relationship had ended by that point, but the two would continue a sometimes tempestuous friendship until James's death. In 1984, Marie released her biggest-selling album, Starchild. It yielded the singles "Lovergirl" and "Out on a Limb," the former of which became Marie's highest-peaking single to date on the US pop charts, peaking at #4, while peaking at #9 on the R&B charts. "Out on a Limb" was not as successful as "Lovergirl" on the R&B Charts, however, peaking only at #56. Also in 1985, "14k" (R&B #87) was featured on the soundtrack of the film Goonies.
In 1986, Marie released a rock-music-influenced concept album titled Emerald City. It was controversial with her established fan base and not as successful as its predecessors. She also recorded another rock-influenced track, "Lead Me On", co-produced by Georgio Moroder, for the soundtrack of the box office hit film Top Gun that year. In 1988, however, she returned to her R&B and funk roots releasing the critically-acclaimed album Naked to the World. That album contained the hit "Ooo La La La," which reached the top of Billboard's Hot R&B/Hip-Hop Singles & Tracks chart, and remains her only #1 single on that chart to date.
Marie released Ivory in the fall of 1990. Despite the success of the first two singles, "Here's Looking at You" (#11 R&B) and "If I Were a Bell" (#8 R&B), Epic Records was not totally pleased with sales of the album, so Marie and her label mutually agreed to go their separate ways.
Mid 90s Hiatus: Passion Play and Black Rain
During the 1990s, Marie's classic R&B, soul and funk records were either sampled by hip-hop artists or covered by R&B divas. Marie herself is regarded as something of a pioneer in helping to bring hip-hop to the mainstream by becoming one of the first and only artists of her time to rap one of her singles—the aforementioned "Square Biz." In the hip-hop portion of that song, she mentions some of her inspirations: Sarah Vaughn, Johann Sebastian Bach, Shakespeare, Maya Angelou, and Nikki Giovanni, "just to name a few," as she said. In 1996, The Fugees paid tribute to her by interpolating the chorus of her 1988 hit "Ooo, La, La, La" on their own "Fu-Gee-La," which was a huge hit.
In the fall of 1994, Marie released Passion Play on her own independent label, Sarai. Lacking the backing of a major label, this album sold less well than her earlier work, but was well received by fans.
Subsequently Marie devoted most of her time to raising her daughter Alia Rose (who has since adopted the name Rose Le Beau and is pursuing her own singing career). During the late 1990s, she made appearances (as herself) on the TV sitcoms The Steve Harvey Show and The Parkers. She also began work on a new album, entitled Black Rain. She was unable to secure a major label deal for this, and did not want to put it out on her own Sarai label in light of the modest sales of Passion Play. However, a version pressed for promotional purposes was widely bootlegged amongst fans. This contained the tracks: "The Mackin Game", "I'll Take the Pressure", "Baby I'm Your Fiend", "My Body's Hungry", "Ecstasy", "I'm On Fire", "Watcha Got 4 Me", "Black Rain", "1999", "Butterflies", "Spanish Harlem", "Blackberry Playa", "The Perfect Feeling" and "Rainbow Outro". Some of these tracks have resurfaced on the later albums La Doña, Sapphire and Congo Square, in some cases (e.g. "The Mackin Game") in significantly reworked versions. Although there have been rumours of other tracks recorded during the Black Rain sessions, including one called "Underneath the Covers" and another (allegedly a duet with Rick James) entitled "Pretty Tony", these would appear to be apocryphal.
2004-2006: La Doña and Sapphire
After a 14-year sabbatical from the national spotlight, Marie returned to her musical career by signing with the Classics sub-label of the successful hip-hop label Cash Money Records, and she released her comeback album, La Doña, in 2004, and follow up Sapphire, in 2006. La Doña became a gold-certified success (and the highest-charting album of her career, peaking at #6 on the Billboard 200 chart) on the basis of the Al Green-sampled "I'm Still In Love" (#23 R&B, #70 Pop) and a duet with the late Gerald Levert, "A Rose by Any Other Name." Marie was nominated for a 2005 Grammy Award for Best R&B Female Vocal Performance for "Still in Love." Marie quickly followed this success with the release of Sapphire in 2006. While sales were not as great this time around (the album peaked at #24 on the Pop Chart), the release did give Marie yet another R&B Top-40 hit, "Ooh Wee" (#32); it also reunited her (on "God Has Created" and "Cruise Control") with Smokey Robinson, the early Motown mentor whose style she had emulated on early hits such as "Young Love." Marie parted ways with Ca$h Money records after the release of Sapphire.
2009-present: Congo Square
On September 19, 2008, Teena performed in concert at BB King's restaurant in NYC. Marie took this time to play a couple of finished tracks from her upcoming album, Congo Square, and she received a positive response from the crowd. Congo Square was released on June 9, 2009 on the Stax Records/Concord Music label. She has described the album as "personal and spiritual" and indicated that it is more jazz-influenced than most of her previous work. "Can't Last a Day", a duet with Faith Evans, leaked to the internet in March 2009. Teena Marie says of Evans, "It was after I had recorded the song (Can't Last a Day) I got the idea to put Faith on it. I’ve always loved Faith and her vocal style. She reminds me of me. Her correlation with Biggie — having a career with him and without him — reminds me of me and Rick (Rick James). I feel like she’s a younger me. Of the younger ladies, she’s the one I love most.” The album proved another success, reaching the Top 20 on Billboard's Top 200, and giving Teena Marie yet another Top 10 R&B chart entry. In 2023 she posthumously received a Grammy award for a sample credit on Cuff It by Beyoncé, but for unknown reasons the credit was removed so her Grammy was revoked.
Romantica
Teena Marie Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'll always be so hopelessly romantic,
Just like the wind baby, the earth, the sky,
And you and I made magic...
What about me, baby?
Will I live my life alone?
No one to comfort me,
Was that a kiss I felt,
Soft on my cheek just then?
Did you awaken me?
And where did it all begin?
How can I time travel?
Must I encapsulate?
All that we ever were,
The sand, the sea, the shore and fate?
I'm riding in your rocket,
You crash me back to earth,
I cried when Steveland sang,
"And do you have angel wings? "
Romantica,
Just like Heaven works of wonders,
Two passing ships in the night,
Two restless lovers,
Romantica,
To the stars you must surrender,
So take your place as you return to forever,
Return to forever, my love... my love.
What about you? Are you,
Sleeping with the angels now?
And are you making music?
Did you take a sacred vow,
To be an altar boy?
And do you ring the bells?
I hear you're with your mother,
Yes and she too is well,
I have my memories,
As I lay here in my bed,
Oh how we danced those nights,
On those days when we were wed,
I'm happy for you now,
So happy that you're free,
Ours was an epic tale,
Sung through eternity.
Romantica,
Just like Heaven works of wonders,
Two passing ships in the night,
Two star-crossed lovers,
Romantica,
Now your soul you must surrender,
So take your place,
As you return to forever,
Return to forever my love... my love.
They say I'll see you again but I know,
That's intangible,
Why must I keep wanting things that I know,
Are not haveable?
Why is the earth so still?
Is it that surreal?
Has your cup been filled?
Will I grow old gracefully?
Romantica,
I'll always be so hopelessly romantic,
Just like the wind, the earth, the sky,
And you and I were magic...
Romantica,
I'll always be so hoplessly romantic,
Just like the wind, baby, the earth, the sky,
And you and I made magic
The lyrics to Teena Marie's song "Romantica" are all about romantic love and the everlasting nature of it. The first two lines set the stage for the rest of the song - the singer is hopelessly romantic and compares herself to elements of nature, like the wind and the earth. She then references the magic that she and her lover made together, implying that their love was something that was beyond words or description.
The rest of the song is filled with questions and wonderings about what happened to her lover, and whether they will be reunited someday. The lyrics are romantic and sometimes even a bit melancholy, but they ultimately convey a sense of hope and optimism. The singer seems to believe that even though her lover is gone, their love will live on forever.
Overall, "Romantica" is a beautiful love song that celebrates the power of romantic love and its ability to endure even when separated by time and distance. It's a testament to the timeless nature of true love, and it's a song that will resonate with anyone who has ever been deeply in love.
Line by Line Meaning
Romantica,
The singer introduces the concept of romance.
I'll always be so hopelessly romantic,
The singer admits that they are a hopeless romantic, and this quality is an intrinsic part of who they are.
Just like the wind baby, the earth, the sky,
The singer notes that elements of nature are also romantic, and they see themselves in this same vein.
And you and I made magic...
The artist alludes to a past romantic relationship between the two that involved a special kind of inexplicable magic.
What about me, baby?
The artist addresses the other person, inquiring about their own state of being.
Will I live my life alone?
The singer voices a fear of being alone for the rest of their life.
No one to comfort me,
The singer expresses the sadness that they will not have someone to comfort them when they need it.
Must I sing for everyone?
The artist questions whether they will have to resort to singing for other people in order to feel fulfilled, since they won't have a partner for romance.
Was that a kiss I felt,
The artist reminsices about a recent kiss they received, prompting the question of where things began.
Soft on my cheek just then?
The artist wonders if the kiss they experienced was real or just their imagination.
Did you awaken me?
The singer associates the kiss with being awakened, perhaps to the hope of romance.
And where did it all begin?
The artist is curious about where this romantic journey originated.
How can I time travel?
The singer comments on the futility of wishing they could travel back in time to relive the past.
Must I encapsulate?
The singer considers whether they should try to capture all the memories of their past romance and hold onto them.
All that we ever were,
The singer romanticizes their past relationship, noting that it encompassed everything they ever were.
The sand, the sea, the shore and fate?
The artist uses imagery of the natural world to describe their romance.
I'm riding in your rocket,
The artist compares their experience of romance to riding in a rocket ship, imbuing it with a sense of excitement and adventure.
You crash me back to earth,
The singer notes the inevitable downside of an intense romantic experience, where the crash can be just as jarring as the take-off.
I cried when Steveland sang,
The singer recalls a moment where a particular song (presumably by Stevie Wonder, whose real name is Steveland) moved them to tears.
"And do you have angel wings?"
The lyric from the song that moved the artist is quoted, perhaps implying its association with their past romance.
Just like Heaven works of wonders,
The artist continues to liken romance to a supernatural force.
Two passing ships in the night,
The artist uses the metaphor of two ships passing in the night to describe a missed romantic opportunity.
Two restless lovers,
The singer describes themselves and the other person as restless, in the sense of seeking a deeper connection.
To the stars you must surrender,
The artist invokes a sense of sacrifice that is necessary for a true romantic connection.
So take your place as you return to forever,
The singer relinquishes their control to the other person, implying that they are willing to let this romance run its course.
Return to forever, my love... my love.
The singer bids farewell to the other person, using the phrase "my love" to show that the emotion still lingers.
What about you? Are you,
The singer shifts the focus onto the other person again, wondering about their well-being.
Sleeping with the angels now?
The artist asks if the other person has passed away and is now among the angels.
And are you making music?
The artist continues to ask questions about the other person, wondering if they are still engaged in their passion of making music.
Did you take a sacred vow,
The singer imagines the other person as having taken a vow of some sort, perhaps religious in nature.
To be an altar boy?
The singer associates the vow with being an altar boy, further emphasizing the religious undertones.
And do you ring the bells?
Building on the religious motif, the artist asks whether the other person is a bell-ringer in a church.
I hear you're with your mother,
The artist has heard that the other person is now with their mother, presumably in the afterlife.
Yes and she too is well,
The artist notes that the other person's mother is also doing well, implying that they are both at peace.
I have my memories,
The singer acknowledges that memories of the past relationship are all they have left of it.
As I lay here in my bed,
The artist describes their current state, reinforcing their feeling of being alone.
Oh how we danced those nights,
The singer reminisces about nights spent dancing with the other person, recalling a happy memory.
On those days when we were wed,
The singer references their wedding day, suggesting that it was a significant moment in their past.
I'm happy for you now,
The singer expresses happiness for the other person, implying that they have moved on from the relationship.
So happy that you're free,
The artist elaborates on their satisfaction that the other person is now free to live their life as they choose.
Ours was an epic tale,
The artist describes their past relationship as having been significant and remarkable in some way.
Sung through eternity.
The singer imagines their romance as being sung about throughout time.
They say I'll see you again but I know,
The singer comments on the common platitude that people say to console those who have lost someone, but also acknowledges that they realistically may not see the other person again.
That's intangible,
The artist dismisses the idea of seeing the other person again as an unattainable concept.
Why must I keep wanting things that I know,
The artist wonders why they continue to desire things that they know they cannot have.
Are not haveable?
The artist concludes that some things in life are simply not attainable, such as the romantic connection they once had.
Why is the earth so still?
The singer marvels at the stillness of the earth, perhaps reflecting on how the world keeps moving even when their own life feels stagnant.
Is it that surreal?
The artist wonders if their own experience of life is surreal, or if others feel this way too.
Has your cup been filled?
The singer asks a rhetorical question, wondering if the other person has found fulfillment in their life.
Will I grow old gracefully?
The singer comments on the inevitability of growing old, and wonders how they will handle it.
Romantica,
In the final repetition of the chorus, the singer once again invokes the concept of romance.
I'll always be so hopelessly romantic,
Reiterating the statement from earlier, the artist declares that they will always be a romantic at heart.
Just like the wind, the earth, the sky,
Drawing on the same imagery from before, the artist repeats the idea that nature is also romantic.
And you and I made magic
Finally, the singer recalls the special magic that existed between them and the other person, perhaps recognizing that it will always be a cherished memory.
Contributed by Ruby J. Suggest a correction in the comments below.
Sara
on I'm a Sucker for Your Love
Beautiful ❤️ just for you and me.