The Intruders’ Biography
Solid” is a song recorded by husband-and-wife songwriting duo Ashford & Simpson. It was featured on their album Solid (1984), and released as a single in November of that year
It was written by the two and follows a similar template of most of their hits for other artists, except with a slight 1980s inflection to the music. In the lyrics, the narrators of the song celebrate the fact that, through all the difficulties and problems their relationship has faced, they made their love stronger by learning how to forgive and trust each other, and their love for one another remains “solid as a rock”.
“Sitting in the Park” is a 1965 song written and performed by Billy Stewart. The single was Stewart’s fourth and most successful entry on the soul chart in the United States. “Sitting in the Park” peaked at number four on the soul chart and number twenty-four on the Billboard Hot 100. The song was featured on his 1965 album, I Do Love You.
Betcha by Golly, Wow” is a song written by Thom Bell and Linda Creed that was originally recorded by Connie Stevens as “Keep Growing Strong” on the Bell Records label in 1970. The composition later scored a hit when it was released by the Philadelphia soul group The Stylistics in 1972.
The Stylistics are a Philadelphia soul group that achieved its greatest chart success in the 1970s. They formed in 1968, consisting of singersRussell Thompkins Jr., Herb …
“On the Radio” is a song by American singer and songwriter Donna Summer, released in late-1979 on the Casablanca record label. It was written for the soundtrack to the film Foxes and included on Summer’s first international compilation album On the Radio: Greatest Hits Volumes I & II. It was released as a single and became, in January 1980, her tenth top-ten hit in the U.S. as well as her eighth and final consecutive top 5 single. “On the Radio” peaked at number five on the Billboard Hot 100 and number nine on the soul chart. The song was also Summer’s fourteenth entry on the Billboard Disco chart, where it peaked at number eight. In Canada, it peaked at number two.
The song was released in three formats: the radio 45rpm single; the 5+ minute version included on Summer’s Greatest Hits double album package, and a DJ Promo 7+ minute version released on 12″ single (and included on the Foxes film soundtrack album). This last version was later released on the Bad Girls CD digipack double CD release. The Foxes soundtrack also includes an instrumental version of the song in a ballad tempo and crediting Moroder as a solo artist. In the film, the ballad tempo is heard with Donna Summer’s vocals. The disco version is never heard. Donna Summer performed “On the Radio” on many television shows such as American Bandstand. The instrumental parts of this song were occasionally heard on the US version of The Price Is Right in the early 80s when they displayed jukeboxes and stereos as prizes. While the first two versions included all written lyrics, the DJ Promo omitted the final verse, opting instead to repeat the third. Only the first “short” version ended with the famous “on the radio – adio – adio” echo vocal effect.
Louis Allen “Lou” Rawls (December 1, 1933 – January 6, 2006) was an American recording artist, voice actor, songwriter, and record producer. He is best known for his singing ability: Frank Sinatra once said that Rawls had “the classiest singing and silkiest chops in the singing game”. Rawls released more than 60 albums, sold more than 40 million records, and had numerous charting singles, most notably his song “You’ll Never Find Another Love Like Mine”. He worked as a television, motion picture, and voice actor. He was also a three-time Grammy-winner, all for Best Male R&B Vocal Performance.
Rawls was born in Chicago on December 1, 1933, and raised by his grandmother in the Ida B. Wells projects on the city’s South Side. He began singing in the Greater Mount Olive Baptist Church choir at the age of seven and later sang with local groups through which he met future music stars Sam Cooke, who was nearly three years older than Rawls, and Curtis Mayfield.
After graduating from Chicago’s Dunbar Vocational High School, he sang briefly with Cooke in the Teenage Kings of Harmony, a local gospel group, and then with the Holy Wonders. In 1951, Rawls replaced Cooke in the Highway QC’s after Cooke departed to join The Soul Stirrers in Los Angeles. Rawls was soon recruited by the Chosen Gospel Singers and moved to Los Angeles, where he subsequently joined the Pilgrim Travelers.
In 1955, Rawls enlisted in the United States Army as a paratrooper in the 82nd Airborne Division. He left the “All-Americans” three years later as a sergeant and rejoined the Pilgrim Travelers (then known as the Travelers). In 1958, while touring the South with the Travelers and Sam Cooke, Rawls was in a serious car crash. Rawls was pronounced dead before arriving at the hospital, where he stayed in a coma for five and a half days. It took him months to regain his memory, and a year to fully recuperate. Rawls considered the event to be life-changing.
Alongside Dick Clark as master of ceremonies, Rawls was recovered enough by 1959 to be able to perform at the Hollywood Bowl. He was signed to Capitol Records in 1962, the same year he sang the soulful background vocals on the Sam Cooke recording of “Bring It On Home to Me” and “That’s Where It’s At,” both written by Cooke. Rawls himself charted with a cover of “Bring It On Home to Me” in 1970 (with the title shortened to “Bring It On Home”).
Rawls’ first Capitol solo release was Stormy Monday (a.k.a. I’d Rather Drink Muddy Water), a jazz album with Les McCann in 1962. The next two Capitol releases did well and used Onzy Matthews as the musical director along with a 17-piece big band; both these albums (Black and Blue, Tobacco Road) charted with Billboard and helped to propel him into the national spotlight as a recording artist.
Though his 1966 album Live! went gold, Rawls would not have a star-making hit until he made a proper soul album, appropriately named Soulin’, later that same year. The album contained his first R&B #1 single, “Love Is a Hurtin’ Thing”. In 1967 Rawls won his first Grammy Award for Best R&B Vocal Performance, for the single “Dead End Street.” In 1967, Rawls also performed at the first evening of the Monterey International Pop Music Festival.
The Los Angeles-based group originally comprised Henry Garner (drums), Terral “Terry” Santiel (congas), Lequeint “Duke” Jobe (bass), Michael Moore (saxophone), Kenny Copeland (trumpet, lead vocals), Kenji Brown (guitar, lead vocals), Freddie Dunn (trumpet), and Victor Nix (keyboards). The group began in the early 1970s, when members of several backup bands from the Watts and Inglewood areas of Los Angeles united under the name Total Concept Unlimited. In 1973, this collective toured
England and Japan behind Motown soul star Edwin Starr. Starr introduced them to Norman Whitfield, Motown’s ‘psychedelic shaman’ who was responsible for bringing a progressive funk-rock slant to the company, via such productions as Starr’s “War”, The Undisputed Truth’s “Smiling Faces Sometimes” and The Temptations’ “Papa Was A Rolling Stone”.
Whitfield, after a decade at Motown, wanted to start a company of his own. He took the T.C.U. octet under his wing and signed them to his label. The group, now called Magic Wand, began working with Yvonne Fair and became the studio and concert band for The Undisputed Truth. During a tour stop in Miami, Undisputed Truth leader Joe Harris stumbled upon a singer named Gwen Dickey, then a member of a local group called The Jewels. Harris informed Whitfield of his discovery and Dickey was flown to Los Angeles to audition. In Dickey, Whitfield found the ingredient he felt was missing in Magic Wand: a charismatic female singer. He gave her the stage name Rose Norwalt. The original band lineup, now complete, prepared their debut album.
During this time Whitfield was contacted by film director Michael Schultz, fresh from the success of his first feature, Cooley High. Schultz offered Whitfield the opportunity to score his next picture, Car Wash. Whitfield would utilize the film to launch his new group, and began composing music based on script outlines. He and the band visited the film set, soaking up the atmosphere. This was one of the rare instances in Hollywood in which the music was composed concurrently with the picture instead of after the fact. In the spirit of the soundtrack, the band’s name was changed one final time to ‘Rose Royce’. The name not only referenced the movie’s automotive theme, but it also placed Gwen “Rose” Dickey front and center. Further, it hinted at a touch of class the band strove to bring to 1970s soul-funk.