Cheryl Lynn -

Cheryl Lynn is an American soul-funk singer who released six albums on Columbia between 1978 and 1985, scoring big with the post-disco/boogie evergreen “Got to Be Real.”

Background

She was born Lynda Cheryl Smith on March 11, 1957, in Los Angeles. As a child, she sang in her church choir. In early 1976, she performed Joe Cocker‘s “You Are So Beautiful” for a taping of The Gong Show, on which she scored a perfect 30. Soon after, she got her first professional singing gig in the musical drama The Wiz, where she played the role of Evillene, the Wicked Witch of the West.

That fall, her Gong Show segment aired on NBC, arousing interest from executives with Atlantic and Columbia. Atlantic’s attempts to contact her were unsuccessful but Columbia secured her for an intended one-off single. The resulting “Got to Be Real,” recorded in April 1978, was co-written between Lynn, producer David Foster, and Toto musician David Paich. With its descending bass figure (reminiscent of “Best of My Love” by The Emotions) and distinct, blaring chorus line, the song shot up the Billboard charts (No. 12 Pop, No. 1 R&B), prompting a full album.

Cheryl Lynn

Cheryl Lynn released her self-titled debut album on October 13, 1978, on Columbia.

The album introduced Lynn’s dynamic voice against a polished mix of disco, R&B, and funk rhythms. It balances full-bodied dance tracks with smoother ballads, anchored by her breakout single. Raydio guitarist Ray Parker Jr. plays on the first three tracks and “You Saved My Day.” Drummer Bernard Purdie anchors the final three cuts.

Lynn wrote or co-wrote five of the nine tracks, with outside contributors including David Foster and David Paich on “Got to Be Real,” Melissa Manchester and Carole Bayer Sager on “Come In From the Rain,” and Randy Bishop and Steve Proffer on “Daybreak (Storybook Children).”

The album divides into energetic dance cuts and tender ballads. “Got to Be Real” propels with a descending bassline and strident chorus, while “Star Love” layers harmonized instrumentation over expansive vocal turns. Mid-tempo tracks like “You Saved My Day” and “Nothing You Say” highlight her control and phrasing, and “Come In From the Rain” offers a contemplative, softly orchestrated counterpoint to the more urgent material.

A1. “Got to Be Real” (5:10)
A2. “All My Lovin'” (4:50)
A3. “Star Love” (7:23)
A4. “Come In From the Rain” (3:32) originated on Better Days and Happy Endings, the 1976 fourth album by Melissa Manchester; covered since by Captain & Tennille, Diana Ross, and co-writer Carole Bayer Sager.

B1. “You Saved My Day” (4:25)
B2. “Give My Love to You” (3:34)
B3. “Nothing You Say” (3:58)
B4. “You’re the One” (4:09)
B5. “Daybreak (Storybook Children)” (3:43) originated as a 1977 Randy Bishop single, covered months later by Bette Midler under its subtitle.

Sessions occurred at Studio 55, Sunset Sound, Hollywood Sound, Western Recorders in Los Angeles, and CBS Recording Studios in New York, with Marty Paich and David Paich producing and arranging horns, rhythm, and strings. Lorrie Paich assisted production, and Tom Knox engineered.

The album features artwork photographed by Todd Gray and comes with a printed inner sleeve.

“Star Love” reached No. 16 on the R&B chart, while “Got to Be Real” became a major multi-chart success, peaking at No. 12 Pop and No. 1 R&B.

In Love

Cheryl Lynn released her second album, In Love, on December 21, 1979, on Columbia.

The album extends Lynn’s blend of dance-oriented R&B and funk-infused soul, pairing energetic uptempo tracks with spacious, string-laden ballads. It maintains her signature vocal intensity while exploring sharper, more complex arrangements across both disco-inflected and mid-tempo numbers.

Barry Blue produced the album and co-wrote several songs, with Lynn contributing to four tracks. Outside writers include Bobby Caldwell on “I’ve Got Faith in You,” Lynsey De Paul “Love Bomb,” and D. Cohen and L. Ruchala on the title track.

Tracks split into high-energy dance songs, reflective mid-tempo cuts, and lush ballads. Opening with Caldwell’s “I’ve Got Faith in You,” the album establishes throbbing basslines and animated horns. “Feel It” heightens dance-floor tension with sharp rhythmic accents, while “Keep It Hot” and “I’ve Got Just What You Need” combine brisk pace with vocal escalations. Slower tracks like “In Love” and “Chances” showcase extended vocal runs over layered strings and horn charts, and “Love Bomb” pairs funk-driven instrumentation with understated social commentary.

A1. “I’ve Got Faith in You” (4:39)
A2. “Hide It Away” (4:33)
A3. “Feel It” (5:04)
A4. “In Love” (5:56)

B1. “Keep It Hot” (5:24)
B2. “I’ve Got Just What You Need” (3:52)
B3. “Love Bomb” (4:08) originated on the namesake 1975 album by English singer Lynsey De Paul, co-written with partner Barry Blue.
B4. “Chances” (4:10)
B5. “Don’t Let It Fade Away” (5:12)

Sessions occurred at Criteria Studios in Miami, with additional recording at Record Plant, Sunset Sound, and Cherokee Studios in Los Angeles, as well as CTS Studios and Nova Suite in London. Barry Blue produced, arranged rhythm tracks with Cheryl Lynn, and coordinated string and woodwind arrangements with Jerry Hey and John Cameron. Engineering was handled by Brad Davis, Humberto Gatica, Jerry Masters, Mike Linett, Richard Goldblatt, and Steve Allen, with assistant engineers Mike Guerra and Sam Taylor. The album was mixed at Marcus Music, London.

In Love features photography by Richard Avedon and design by Gene Greif.

“I’ve Got Faith in You” and “Keep It Hot” both reached No. 12 on the Billboard Dance chart.

In the Night

Cheryl Lynn released her third album, In the Night, on June 19, 1981, on Columbia.

The album pairs Lynn with Ray Parker Jr., who reshapes her sound into R&B that balances rhythmic drive with intimate, expressive passages. Uptempo tracks coexist with smoother, romantic numbers, highlighting Lynn’s ability to move between spirited performance and vocal vulnerability.

Ray Parker Jr. wrote and arranged the title track, “I’m on Fire,” and “If You’ll Be True to Me,” while Cheryl Lynn contributed as songwriter on several tracks, including collaborations with John Barnes, Greg Jackson, George Dream, and Parker. Outside writers include Michael and Brenda Sutton on “Shake It Up Tonight” and Kamau Peterson with Parker on “With Love on Our Side.”

The album moves between dance-oriented songs and reflective mid-tempo numbers. “Shake It Up Tonight” opens with bright, propulsive rhythms and soaring strings. Parker’s tracks like “In the Night” and “I’m on Fire” blend synth bass, layered keyboards, and tight percussion, providing a spacious platform for Lynn’s voice. Slower songs such as “Hurry Home,” “What’s on Your Mind,” and “Baby” emphasize string arrangements and chordal richness, with Lynn’s vocals alternating warmth and intensity across sharp melodic turns.

A1. “Shake It Up Tonight” (5:41)
A2. “Show You How” (4:06)
A3. “In the Night” (4:27)
A4. “Hurry Home” (4:29)

B1. “I’m on Fire” (4:22)
B2. “With Love on Our Side” (4:22)
B3. “If You’ll Be True to Me” (4:06)
B4. “What’s on Your Mind” (4:06)
B5. “Baby” (4:21)

Sessions occurred at Ameraycan Studios with Ray Parker Jr. producing, recording, and mixing. Steve Halquist assisted engineering, and Reggie Dozier engineered the string sections. Bernie Grundman mastered the album.

In the Night features photography by Edie Baskin and design by John Berg.

“Shake It Up Tonight” reached No. 5 on the Billboard R&B chart and No. 70 on the Hot 100. The album peaked at No. 14 on the Top Soul LPs chart.

Instant Love

Cheryl Lynn released her fourth album, Instant Love, on June 11, 1982, on Columbia.

The album features Luther Vandross as producer and collaborator, steering Lynn into polished, urbane R&B. Vandross emphasizes layered vocal harmonies, lush string and horn arrangements, and precise, subtle rhythms, creating a smooth yet expressive backdrop for Lynn’s voice.

Vandross and bassist/synth player Marcus Miller wrote and arranged the title track and “Sleep Walkin’.” Cheryl Lynn contributed as songwriter on “I Just Wanna Be Your Fantasy,” while Tawatha Agee co-wrote “Day After Day” and “Say You’ll Be Mine.” Other outside writers include David Batteau and Michael Sembello on “Look Before You Leap” and Nickolas Ashford and Valerie Simpson on “Believe in Me.” The duet “If This World Were Mine” originates from Marvin Gaye‘s Sixties songbook.

The album alternates between understated uptempo tracks and romantic ballads. “Instant Love” and “Sleep Walkin'” feature Marcus Miller’s synth bass and Vandross’ vocal layering, providing a controlled drive beneath Lynn’s assertive lead. Mid-tempo songs like “Day After Day,” “Look Before You Leap,” and “Say You’ll Be Mine” rely on acoustic textures, percussion flourishes, and soft horn punctuations. The duet with Vandross on “If This World Were Mine” emphasizes vocal interplay and emotional subtlety, standing out as the most dramatic performance on the album.

A1. “Instant Love” (5:12)
A2. “Sleep Walkin'” (6:27)
A3. “Day After Day” (4:36)
A4. “Look Before You Leap” (4:04) originated on I Believe In Love, the 1981 third album by Rockie Robbins.

B1. “Say You’ll Be Mine” (5:07)
B2. “I Just Wanna Be Your Fantasy” (4:04)
B3. “Believe in Me” (3:24) originated on Come as You Are, the 1976 third album by Ashford & Simpson.
B4. “If This World Were Mine” (5:27) originated as a 1967 duet by Marvin Gaye and Tammi Terrelle; covered since by Ambrose Slade, Bar-Kays, General Cook, Love Unlimited, and Zulema.

Sessions occurred at Media Sound Studios, New York, and Village Recorders, Los Angeles, with Luther Vandross producing and Michael H. Brauer engineering and mixing. Greg Calbi mastered the album.

Instant Love features photography by Welden Andersen.

The duet “If This World Were Mine” reached No. 4 on the R&B chart, while the title track peaked at No. 16 R&B. The album reached No. 7 on the US Top R&B Albums chart.

Preppie

Cheryl Lynn released her fifth album, Preppie, on November 4, 1983, on Columbia.

The album blends contemporary R&B with post-disco rhythmic precision, highlighting Lynn’s vocal command across upbeat tracks and smoother mid-tempo numbers. Several songs feature layered backing vocals and tightly arranged instrumentation, giving the album a crisp, modern sound.

Primary songwriters include Cheryl Lynn, Michael McGloiry, John Barnes, and Terry Lewis & James Harris III, with additional contributions from Andrew Gouche, Vince DiCola, T. Johnson, K. Guillaume, D. Cohen, A. Devasia, L. Bates, P. Peyton, and Chyase.

Lynn opens with the energetic title of the A-side, “Encore,” arranged and co-produced by Jimmy Jam and Terry Lewis. Up-tempo tracks like “Preppie” and “Love Rush” emphasize precise rhythmic patterns with bass and keyboard interplay, while songs such as “No One Else Will Do,” “Free,” and “Life’s Too Short” rely on layered synth textures and guitar flourishes to support her vocal phrasing. Mid-tempo numbers including “Fix It,” “Fool a Fool,” and “This Time” balance melodic movement with controlled percussion and backing vocals, maintaining a steady, polished pace throughout the album.

A1. “Encore” (5:20)
A2. “Fix It” (4:02)
A3. “Fool a Fool” (3:50)
A4. “This Time” (4:26)
A5. “Change the Channel” (3:15)

B1. “Preppie” (4:08)
B2. “Love Rush” (4:16)
B3. “No One Else Will Do” (4:46)
B4. “Free” (4:40)
B5. “Life’s Too Short” (5:07)

Sessions occurred at Fiddler’s Studio with additional recording at Larrabbee, Record Plant, and Studio Masters. Cheryl Lynn produced and arranged vocals, Mark Howlett recorded and mixed tracks A2 to B5, and Jeff Sanders mastered the album.

Preppie features photography by Raul Vega and design by Lane/Donald/Stark.

The single “Encore” reached No. 1 on the R&B chart and No. 6 on the Dance chart. The album reached No. 8 on the US Top R&B Albums chart.

It’s Gonna Be Right

Cheryl Lynn released her sixth album, It’s Gonna Be Right, in July 1985 on Columbia.

The album combines contemporary R&B with mid-80s synth-driven arrangements, featuring tight drum programming, layered keyboards, and prominent bass lines. Lynn’s expressive vocals navigate playful, upbeat numbers and smoother, introspective tracks, highlighting her ability to shape phrases with both clarity and nuance.

Primary songwriters include Jimmy Jam & Terry Lewis, Cheryl Lynn, Todd Cochran, Monte Moir, and Hubert Eaves III, with additional contributions from Thurlene Johnson, Cherry George Smith III, and James Williams.

Tracks like the opening “Fidelity” and the title cut employ angular keyboard lines and programmed percussion, emphasizing rhythmic precision. Up-tempo cuts such as “Let Me Love You” and “Find Somebody New” layer multiple synth textures with punchy bass, while mid-tempo songs “Fade to Black,” “Loafin’,” “Slipped Me a Mickey,” and “Tug O’ War” balance percussive variety with vocal interplay. “Love’s Been Here Before” offers string arrangements and harp, providing a more contemplative, textural contrast to the album’s energetic material.

A1. “Fidelity” (4:50)
A2. “Fade to Black” (6:32)
A3. “Love’s Been Here Before” (3:18)
A4. “It’s Gonna Be Right” (4:02)

B1. “Let Me Love You” (5:50)
B2. “Find Somebody New” (4:06)
B3. “Loafin'” (5:15)
B4. “Slipped Me a Mickey” (4:18)
B5. “Tug O’ War” (4:57)

Sessions occurred at Creation Audio, Mad Hatter, Ocean Way, Soundcastle, and Sound Lab Studios, with lead vocals recorded at Celestial Sound Studios. Jimmy Jam & Terry Lewis, Cheryl Lynn, Todd Cochran, Monte Moir, and Hubert Eaves III produced the album, with Steve Hodge, Bobby Brooks, Dennis Mackay, and others handling engineering and mixing. Bernie Grundman mastered the release.

It’s Gonna Be Right features photography by Matthew Rolston, with art direction by Lane/Donald and design by Cindi Z. Stark.

Discography: