Customer Reviews

It`S Gonna Be Right

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Finally! CD format! Unfortunately, not domestically, but as an import, which results in a rather steep price for a CD that didn't fare too well with the American music-buying public.

This album was Lynn's Columbia/CBS swansong (her 6th) which featured a second go-'round with Jimmy Jam & Terry Lewis contributing two tracks (the first single, "Fidelity" and the title track) as well as a big, lush ballad written and produced by Monte Moir (also of Flyte Tyme) entitled, "Love's Been Here Before" on which Lynn lets her vocal lioness loose and literally KILLS the ending with skill and expertise. Additionally, there are two tracks from Herbert Eaves of D-Train fame: the smoldering and funky, "Let Me Love You" and the rockin' "Find Somebody New." On the latter, Lynn snarls through clenched teeth, "I am sick and TIRED of YOU and I'm gonna find ME somebody NEW!" It's clear that she means BIZ-nezz when she demands props from her man who fails to take her seriously.

Some say that "Fidelity" is an "Encore" clone. Although it IS similar in production, I wouldn't go so far as to call it a clone. It DOES HAVE it's OWN melody and personality, as does "Encore." Plus, she sings the FRIG out of BOTH of 'em while that 808 perks and squiggles alongside her big and crazy vocals which hit some all-time highs (as in octaves.) They are, in MY opinion, two COMPLETELY DIFFERENT songs and it's hard to say which one I prefer MORE; They're BOTH great jams! I only wish that "Fidelity" would have repeated the incredible success of its predecessor ("Encore.") Alas, it did NOT.

Truthfully, I don't think very many people knew what "fidelity" meant (back then) and HAD they known, it could have been a HUGE single and anthem for the THEN proposed "Safe Sex Movement" in 1985 after the onset of the A.I.D.S. epidemic which had set in to claim the lives of too many. Jam & Lewis had the right idea and what more perfect a vehicle than Lynn's powerful, no-nonsense voice to carry the message/warnings out.

Another amazing way of employing "fidelity" in the musical sense is how the vocals bounce back and forth between the left and right channels. She really NAILED it on this one, but it was for the most part, an underappreciated effort and resulted in a subsequent drop from the label a year after its release. Of all of her Columbia albums, "It's Gonna Be Right" was her most cohesive set next to "In the Night" and "Instant Love" from 1981 and 1982 with production from none other than Ray Parker, Jr. (on "In the Night") and Luther Vandross (on "Instant Love".)