Personnel: Teena Marie (guitar, keyboards, synthesizer, snare drum, percussion, programming); Shirley Mattison, Jackie Ruffin, Glenn Carl, Mickey Hearn, Jill D., Adrienne Williams, Julia Tillman Waters, Jean King, Carroll Williams White, Dierdre Joseph, Lisa Srana, Dwayne Wedlaw, Maxine Willard Waters, Melvin Franklin, Otis Williams , Bill Thedford, Brenda Lee Eager, Carmen Twillie (vocals); Corrado Rustici, Dann Huff, Andre Josef Parson, Preston Bucklin, David Taylor , Greg Poree, Bob Bowles, T. David Walker, Greg Hargrove, Nikki Slick, Wali Ali, Paul Jackson, Jr. , Tim May, Tom McDermott, Nick Brown (guitar); Lloyd Lindroth (harp); J. Cliff Ervin, Kenneth Scott, Gary Grant, Eric Butler, Thomas Bumpass, Jerry Hey, Oscar Brashear, Charles Loper (flute, trombone); Roy Poper (flute); Daniel LeMelle, Gerald Albright (soprano saxophone); Ray Woodward (alto saxophone, tenor saxophone); Pamela Williams (trumpet, flugelhorn); Dick Hyde, Garnett Brown, John Ervin (horns); John "J.R." Robinson , Matthew Forcucci, Paul Hines, Lanise Hughs, Shondu Akiem, James Gadson, Michael White , Narada Michael Walden (snare drum, percussion).

Photographers: Geary Chansley; Ron Slenzak.

Arrangers: Peter Cardinali; Rick James ; Teena Marie.

One of R&B's enduring talents, Teena Marie emerged in the early '80s as one of the most original and innovative vocalists of the post-disco era. A vocal powerhouse, her soulful style proved so authentic that many listeners initially assumed she was African-American. Having broken through R&B's acknowledged color barrier, she continued to innovate as an independent female artist--going as far as setting a landmark artists' rights initiative that indicated that labels cannot keep artists under contract if they refuse to release their work. Culling material from her Gordy/Motown and Epic albums, ULTIMATE COLLECTION presents highlights from her early albums (as a protege of Rick James) to her later self-written/self-produced efforts.

Opening with the jubilant horns of "Square Biz" (featuring Marie's playful proto-rap style delivery) and "Behind The Groove," a strong jazz and Latin influence can be felt throughout. Vibrant dance rhythms dominate on tracks like "It Must Be Magic," though the forceful vocal delivery and imaginative arrangements save it from becoming mere dance floor fodder. On slower ballads such as "Young Love," she reveals the influence of soul greats like Minnie Riperton and Chaka Khan, her mighty voice overflowing with emotion as she sings of enduring the pangs from a lover's scorn.