The Ways a Woman Can Be liner notes, 1977, Olivia Records. Sophia Smith Collection, Women’s Music Archives records and collected music.
Raised working-class in North Carolina, Teresa Trull’s music was a reflection of the pop, blues, and country influences of her Southern roots. After some of Trull’s friends sent in a tape of her music to Olivia, Olivia responded and invited her to record an album. Trull ultimately moved to L.A. and not only created an album with Olivia, but joined the collective of Olivia women who lived together.
The material of her songs grew from her own experiences as a woman and a lesbian. Her music reflected “the strength of women’s love and support for each other while working together to effect change.” 1 Trull understood lesbianism as more than a sexual preference; it also incorporated “political and emotional support for all women in their struggle for liberation.” 2
Teresa Trull and Meg Christian, c. 1977. Sophia Smith Collection, Joan E. Biren papers
There was a diverse group of musicians involved with this album, including Black Bay Area singer Linda Tillery again as producer and Black keyboardist Mary Watkins on piano. Sandy Stone returned to work on this album as engineer.
In their records catalogue, the Olivia team wrote of The Ways a Woman Can Be: “Teresa sings the music that creeps around inside of us waiting to escape–the music of love, optimism, personal fears and doubts, sensuality. Her voice gives life and breadth to the to the lyrics and to the feelings which they represent.” 3
Teresa Trull and Meg Christian, c. 1977. Sophia Smith Collection, Joan E. Biren papers.