Irons in the Fire

Performer: Teena Marie
Engineer: Bobby Brooks...
Producer: Michelle Horie; Teena Marie...
Distributor: Universal Distribution

Notes: Personnel includes: Teena Marie (vocals, arranger, various instruments). Recorded in 1980. Personnel: David Taylor , Greg Hargrove, Wali Ali (electric guitar); William Carroll White Jr. (alto saxophone); Ray C. Woodard (tenor saxophone); Thomas Bumpass (trumpet, flugelhorn); James S. Stewart Jr. (piano, Fender Rhodes piano); Michael Boddicker (synthesizer); Paul Hines (drums); Paulinho Da Costa (congas, percussion). Audio Mixer: Obie O'Brien. Liner Note Author: Brian Chin . Recording information: Hitsville Recording Studios, Hollywood, CA (07/30/1981-07/31/1981); Long Beach Arena, Long Beach, CA (07/30/1981-07/31/1981); Motown (07/30/1981-07/31/1981). Photographer: Ron Slenzak. Arranger: Teena Marie. With her third album, Irons in the Fire, Teena Marie did something that was rare for a female R&B artist -- she handled all of the producing and writing herself. Marie took on a lot of responsibility, and she knew she had done the right thing when the album became both a commercial and artistic triumph. By now, it was common knowledge that Marie was white, something that didn't seem to matter much to the many black R&B fans who bought this recording. Like so much of her work, the irresistible single "I Need Your Lovin'" became a major R&B hit, but didn't do much on pop radio. Interestingly, Marie was having the same problem as Maze & Frankie Beverly in that she could have a gold album without any help from pop audiences. But then, she obviously realized that she didn't need their support in order to be legit. From the seductive "You Make Love Like Springtime" and the sweaty "First Class Love" to the moving title song, everything on this album is a gem. ~ Alex Henderson

California-born R&B singer Teena Marie started out on Motown Records in the '70s, where she was matched up with labelmate Rick James on her debut album. Her blend of pop, funk, and R&B caught on quickly, and here move into disco/dance wasn't far off. Her greatest success, though, came in the '80s after a much-publicized legal battle with Motown and a subsequent move to Epic, for whom she recorded her huge R&B/Dance hit "Lovergirl."

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