Contact (Fantastic Plastic Machine album)
Contact is a remix album by Fantastic Plastic Machine, released roughly six months after beautiful.. Tanaka enlisted the assistance of several musicians for the project, including Rip Slyme, Kahimi Karie and King Britt. Tanaka also remixed several tracks on the album himself as well as contributing one new song, "City Lights".
The scheduled release date of September 12, 2001, was postponed because of the September 11, 2001 attacks. It was released on October 16, 2001.
Track listing
Contact (1992 film)
Contact is a 1992 short film directed by Jonathan Darby. It was nominated for an Academy Award for Best Live Action Short Film in 1993.
Cast
References
External links
Contact (Freda Payne album)
Contact was Freda Payne's fourth American released album and her second for Invictus Records. The majority of the material on this album contains sad themes, with the exception of "You Brought the Joy." The album begins with a dramatic 11-minute medley of "I'm Not Getting Any Better" and "Suddenly It's Yesterday," both of which were written by Brian Holland and Lamont Dozier. Some people thought that Holland and Dozier were trying to compete with Diana Ross's hit "Ain't No Mountain High Enough" as both songs contain spoken segments and dramatic musical arrangements. The only cover song is "He's in My Life", which was an album track by The Glass House featuring Freda's sister Scherrie Payne. It was written by Brian Holland, Lamont Dozier and Eddie Holland (under their common pseudonym "Edythe Wayne" to avoid copyright claims by their former employer Motown), jointly with Ron Dunbar.
Three singles were lifted from this album: "Cherish What Is Dear to You (While It's Near to You)," "You Brought the Joy," and "The Road We Didn't Take." The anti-war protest song of "Bring the Boys Home" was released before the latter two to high demand and was not included in the first 50,000 copies of this album. After it became a hit (giving Payne her second gold record), it replaced "He's in My Life" as the album's fourth track.
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