going solo, signing a deal with Warner Bros. Records. The decision strained relations between Khan and the other Rufus members. Khan released her self-titled debut later in 1978. The album sold more than Street Player, going Platinum, thanks to the international Ashford & Simpson-composed single, "I'm Every Woman". Khan continued to promote the album in 1979. In April 1978, Calhoun was replaced by John "JR" Robinson as the group's drummer. Decline and final years Following Calhoun's replacement, another change came when ABC Records was absorbed by MCA, bringing the group to MCA. While Khan promoted Chaka, Rufus put out a less favorably received Khan-less album, Numbers. Khan returned to record with the band for the Quincy Jones-produced Masterjam. By now, Rufus and Khan were split in two, both acts being treated separately. Khan's stardom helped Masterjam go Gold thanks to the funk-laden disco recording, "Do You Love What You Feel". Though Khan would later say that she was ready to leave Rufus at the time she released Chaka in 1978, she discovered that she had two more albums left in her ABC/MCA contract with the band and agreed to fulfill her obligations. Following Masterjam, one of the contractual albums, and another Khan-less album, Party 'Til You're Broke, which did not sell well, the factions of Rufus and Khan reunited for their last MCA album, Camouflage in 1981. Tension was felt during the album sessions. Khan avoided the band, recording her vocals alone to a click track. The album failed to garner attention, mainly due to Khan's solo obligations, which now included two more Gold-certified studio albums, Naughty and What Cha' Gonna Do for Me. With the release of Camouflage, Khan was free to leave the group, and following her exit in early 1982, the remaining members of Rufus released what became their final studio album, Seal in Red in 1983 which, like their previous albums, went unnoticed. Rufus band members agreed to split after one last live album. The band asked Khan to contribute to their final concert performance which would be filmed by Warner Bros., and she obliged, reuniting with the group for what was to be later released as a documentary film titled Stompin' At the Savoy. Warner Bros. declined to release the film at that time and released only the live album. The filmed concert has since been released to home-video. The album included four Khan-led studio