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"Solid" is a song recorded by American husband-and-wife songwriting duo Ashford & Simpson, released in September 1984 as the first single from their eleventh studio album, Solid (1984). It peaked at number one on the US Billboard soul chart and number 12 on the Billboard Hot 100 chart, as well as the top five in several countries including ...
Her playing was focused but not beholden to the material’s recorded incarnations, as she wove in subtle melodic variations, inverted chords, and tempo shifts. The Solid Colors portion closed ...
Solid is the eleventh studio album recorded by American vocal duo Ashford & Simpson, released in 1984 on the Capitol label. The album features the song " Solid ", which became the songwriting duo's biggest hit as performers.
Dire Straits were called "the biggest British rock band of the 80s" by Classic Rock magazine; [12] their 1985–1986 world tour, which included a performance at Live Aid in July 1985, set a record in Australasia. [13] Their final world tour from 1991 to 1992 sold 7.1 million tickets.
According to Norman, the purpose of Solid Rock was "to help other artists who didn't want to be consumed by the business of making vinyl pancakes but who wanted to make something 'non-commercial' to the world". [7] Solid Rock "was a community of shared ideas and discussion. Artists worked on each other's projects and even toured together.
[4] The Funk Brothers, Motown's in-house studio band, backed "Superstar" with a funk instrumental track highlighted by Earl Van Dyke's piano chords. "Superstar (Remember How You Got Where You Are)" was a Top 10 hit on the Billboard R&B singles chart, and peaked at #18 on the Billboard Hot 100. [5]
The tune "Solid Rock" to which Mote's words are most commonly set was composed by William B. Bradbury in 1863. Many times, both "My Hope Is Built on Nothing Less" and "Solid Rock" hymns are sung together as a medley. "Solid Rock" has also been sung as a medley with "In Christ Alone" written by Keith Getty and Stuart Townend.
Like a lot of people, I first saw Billy Preston in “Let It Be,” where his luscious electric-keyboard noodlings provided the sweet center to songs like “Don’t Let Me Down” and “Get Back.”