It Must Be Magic [Bonus Tracks] [Remaster]

Performer: Teena Marie
Artist: The Temptations; Rick James; Patrice Rushen; Bill Wolfer; Gerald Albright
Engineer: Bobby Brooks; Tom Flye
Producer: Harry Weinger
Distributor: Universal Distribution

Notes: Originally released May 22, 1981. All songs written by Teena Marie except "Square Biz" (T. Marie/A. McGrier) and "The Ballad Of Cradle Rob And Me" (T. Marie/J.D. Jones). Personnel: Teena Marie (vocals, arranger, Oberheim synthesizer); Josef Andre Parson, Tom McDermott (guitar); Gerald Albright (flute, saxophone); John C. Ervin (flute, trombone); Danielle LeMelle (saxophone); Eric Butler, Roy L. Poper, Kenneth Scott, Cliff J. Ervin (trumpet); James S. Stewart, Jr., Patrice Rushen, Scott Markus De Turk (keyboards); Allen McGrier (synthesizer, bass); Bill Wolfer (synthesizer); Oscar Alston, Charles A. Glenn, Jr. (bass); Paul Hines, Christopher Anthony Boehme (drums); Rick James, The Temptations, Mickey Boyce-Hearn, Arnell Carmichael, Maxine Waters-Willard, Julia Waters-Tillman, Pattie Brooks, Dwayne Wedlan, Jill D. Jones, Jackie Ruffin, Ray Townsend, Grayland Taylor, Ginny Pallante, Diedra Joseph (background vocals). Principally recorded at Motown, Hollywood, California and Wonderland Studios, Los Angeles, California. Originally released on Gordy (G8-1004M1). Includes liner notes by A. Scott Galloway. All tracks have been digitally remastered. This is part of Motown Records "Classic Albums" mseries. Personnel: Teena Marie (synthesizer, background vocals); Tom McDermott (guitar); Lloyd Lindroth (harp); John Ervin (flute, trombone); Gerald Albright, Daniel LaMelle (saxophone); Kenneth Scott, Eric Butler (trumpet); Clifford J. Ervin, Roy Poper (piccolo trumpet); Patrice Rushen (keyboards); Allen McGrier, Bill Wolfer (synthesizer); Paul Hines (drums); Jackie Ruffin, Arnell Carmichael, Dierdre Joseph, Darren Carmichael, Jill Jones, Pattie Brooks, Phillip Ingram, Rick James , The Temptations (background vocals). Liner Note Author: A. Scott Galloway. Recording information: Hitsville U.S.A. Recording Studio, Hollywood, CA (07/30/1981); Long Beach (07/30/1981); Motown (07/30/1981). Photographer: Ron Slenzak. Unknown Contributor Roles: Melvin Franklin; Otis Williams . Former prot�g� of Superfreak funk maestro Rick James, Mary Christine Brockert, the R&B powerhouse better known as Teena Marie, blossomed into her element on early albums for the Gordy/Motown label. The singer's fourth and final album for Motown, IT MUST BE MAGIC--her second fully self-written, self-produced effort--oversaw Marie's true creative emancipation. In an inspired set taking in smoldering ballads, introspective singer-songwriter-style material, and vibrant dance floor numbers, her versatility is evident throughout. From the jubilant horns and proto-rap-style delivery of "Square Biz" to the thoughtful and poignant tribute to gunned-down Beatle John Lennon ("Revolution"), the entirety of the album is infused with the singer's forceful, robust vocals and imaginative arrangements. Among the highlights in the career of one of R&B's most independent-minded and original talents, IT MUST BE MAGIC was the breakout work that proved Teena Marie could hold her own in the pantheon of soul music's greats. The last of Teena Marie's four albums for Motown, It Must Be Magic found the songstress continuing to do all of her own writing, producing, and arranging, with magnificent results. Irons in the Fire proved that she didn't need the input of a big-name producer in order to deliver first-class albums, and Marie provided additional evidence of that fact on an album that offered such gems as the playful "Square Biz" (one of her biggest hits, and an early example of an R&B artist incorporating rap), the thought-provoking "Revolution" (inspired by the assassination of John Lennon and filled with references to the Beatles), and the gritty title song. Marie has periodically shown a strong love of jazz, which is exactly what happens on the ballad "Yes Indeed" and the sexy "Portuguese Love." It Must Be Magic was Marie's highest-charting album in the pop market, and thanks to a largely black following, the gold-seller just missed topping the R&B charts. The 2002 reissue employs the 12" single version of "Square Biz" (its fade-out is 17 seconds longer), adds the instrumental version that originally appeared on the B-side of that single, and concludes with a 14-minute excerpt from Marie's July 30, 1981, concert in Long Beach, CA, on a tour promoting the album, during which she performed a brief rendition of Donny Hathaway's "Someday We'll All Be Free" and an extended rendition of her own "D�j� Vu (I've Been Here Before)." Listeners may well be reminded of another R&B-influenced Caucasian female, Laura Nyro. A. Scott Galloway's liner notes, including comments from Marie, add historical perspective. ~ Alex Henderson & William Ruhlmann

Uncut (9/03, p.123) - 5 stars out of 5 - "...On this absolute jewel of a record, Teena Marie redefined the boundaries of female pop..." Uncut (9/03, p.123) - 5 stars out of 5 - "...On this absolute jewel of a record, Teena Marie redefined the boundaries of female pop..."

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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