Cheryl Lynn was something of a rarity of her day. Her career came through a performance of the Joe Cocker hit “You Are So Beautiful” on a 1976 episode of The Gong Show-in a manner similar to how an American Idol or The Voice contestant would today. A juggler actually won that episode of The Gong Show she was on. But record companies began courting her to sign up. She ended up on Columbia by 1978. And that same year scored her first hit,and signature song in the disco era classic “Got To Be Real”. With her strong,rangy and loud gospel/soul vocal pipes Lynn was very much creatively suited to uptempo dance/funk as well as melodically complex ballads.
One of the big male producer of female soul/funk singers in the early 1980’s was Luther Vandross. With his sensitive approach and brilliant way with a ballad,his understanding of musical femininity applied in equal measure to uptempo songs. That had a lot to do with the fact that his keyboardist Nat Adderley Jr and of course bassist/composer Marcus Miller are just about two of the funkiest instrumentalists around. In 1982,Lynn worked with Vandross as a producer and his band backing her up for what would turn out to be her fourth album release entitled Instant Love. The title song of this particular album was a real standout groove from her on this album,and the one I’ll be breaking down today.
Marcus’s thumping slap bass begins the song,which moves into the drum playing in somewhat odd time. It’s assisted by a deep piano along with higher pitched synthesizer orchestration. Than the percussion kicks in along with a more brittle bass synthesizer and the higher ones playing horn like accents. Throughout the refrains and the choruses,a JB’s style funk rhythm guitar keeps the groove going strong-both as a higher pitched sound and a deeper one. On those choruses,Vandross himself is audible singing the songs title along with Lynn and his classic team of backup singers. After a bridge featuring her vocally gliding over the stripped down intro,the song fades out on it’s chorus.
Instrumentally this is heavy,thumping boogie funk at it’s finest. Marcus Miller has just about every musical aspect of this song playing in or around the bass line he lays out. One thing about he and Luther’s uptempo numbers is how they always seemed to equate hard funk jams with big voiced singers. And Cheryl Lynn fit the bill for that. Another thing that Miller and Adderley bring out is the influence of Prince’s Minneapolis sound. The high pitched synth lines are overdubbed to play horn lines throughout the song. So it finds Cheryl Lynn on the forefront of at least two different and exciting movements during the electro funk era.