Download [2021] Song Eye Contact

The single was #1 on the disco chart for one week, early in 1979.[1] It also crossed over to the Billboard Hot 100, becoming his highest charting pop single in seven years, peaking at #65. "Contact" also made the Top 20 on the R&B Charts, peaking at #13.[2] The song found more success in the UK, where it was a Top Ten hit, peaking at #6, in early 1979 (it would also earn Edwin a silver disc for sales in excess of 250,000 copies, along with the very first silver 12" award in recognition of sales over 100,000 copies). It proved to be his second best performance on the UK Charts, beaten only by his #3 smash "War" in 1970. His follow-up single, "H.A.P.P.Y. Radio", was also a UK hit, making it to #9 in mid-1979.

"Contact" is a song by French electronic music duo Daft Punk. It is the thirteenth and final track from the duo's fourth studio album Random Access Memories, released on 17 May 2013. The track was written and produced by the duo, with additional writing and co-production by DJ Falcon. Daryl Braithwaite, Tony Mitchell, and Garth Porter are also credited as writers due to the song containing a sample of "We Ride Tonight" by Australian rock band The Sherbs. The song includes audio from the Apollo 17 mission, courtesy of NASA and Captain Eugene Cernan. Due to digital downloads of Random Access Memories, the song charted at number 46 on the French Singles Chart and at number 24 on the Billboard Dance/Electronic Songs chart.

Download Song Eye Contact

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"Contact" was produced with DJ Falcon, who had previously worked with Thomas Bangalter as a duo called Together. Falcon is also a Roul labelmate with Bangalter, the founder of Roul. "Contact" begins with a sample of "We Ride Tonight" by The Sherbs.[1] The sample was previously used by Bangalter and Falcon as part of a DJ set by Together in 2002. The set also featured Cassius.[2] Daryl Braithwaite of The Sherbs had been informed of the sampling in "Contact" before the Daft Punk song was released. He also specified that he, Tony Mitchell and Garth Porter of The Sherbs would be credited as co-writers of "Contact" because of the sample, and thus would receive royalties.[3] In addition to the sampling, "Contact" is said by Q Magazine to be composed of orchestral and synthesizer riffs,[4] progressive layers and concludes with what Louis Lepron of Konbini called a "sharp guitar chord".[5] The modular synthesizer on the track was performed by Daft Punk and Falcon, while bass and drums were performed by James Genus and Omar Hakim, respectively.[1]

Falcon noted that when he worked on "Contact" with Daft Punk in Paris, they felt that it needed something akin to a countdown. NASA was eventually contacted, and they gladly gave the duo access to all of their mission recordings to sample. Daft Punk and Falcon settled on an excerpt where someone was called "Bob", as that was Falcon's skating nickname when he was first introduced to Bangalter and Guy-Manuel de Homem-Christo.[6][7] The NASA sample features a recording of Eugene Cernan from the Apollo 17 mission, in which he observes a flashing object from a window of his capsule.[8][4] It was later surmised that the particle was a discarded rocket stage.[9] Bangalter emphasized the choice of Cernan, the last man to leave the surface of the Moon on the final Apollo mission, being used to end the album.[10]

This is the thirteenth track from Daft Punk's fourth album ''Random Access Memories'' What are your thoughts regarding this song? How do you think it compares to the rest of the discography? How would you rate it out of 10? (decimals allowed)

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Earlier this year, Pierce the Veil returned with a new song called "Pass the Nirvana" that sounded completely different than anything they'd ever released. Raw, jagged, and grungey, the track was the beginning of a new era for the post-hardcore scene titans, and now they're welcoming the next stage of their career by announcing their long-awaited new album, the Jaws of Life.

"I wrote this song in Seattle at Mike Herrera from MXPX's home studio," said singer-guitarist Vic Fuentes. "He let me live there for a couple of months while working on the record. I love writing in Seattle because it gives me all of the Nineties grunge-rock vibes. Plus, it rains all the time, and I love the rain."

Males have two song types. The simpler is a variable series of 4 to 8 short, soft phrases. This is sung early in the nesting season and, once nesting has begun, shortly after sunrise and in territorial disputes. It may occasionally be sung on wintering grounds. More complex songs are sung from early morning to midday. These continuous jumbles of sharp chips, high-pitched whistles, and mewing notes are 10 seconds or more long and often include mimicked bits from the repertoires of jays, tanagers, towhees, vireos, warblers, sandpipers, and other species. Songs may be sung from elevated perches, while feeding, or while in motion.

Both sexes use high-pitched, nasal calls. A sharp, mewing zeee, or chay contact call is uttered in bursts of 2 to 6 notes about a second apart. A two note bee-beee version of this, with the first note slurred downward, seems to indicate mild agitation. Greater agitation provokes high pitched trills. They use a faster, louder, sharper version of the contact call in aggressive encounters. Mobbing calls are similar to these aggressive calls, but more urgent-sounding. Other calls include high-pitched whistles, a two-note hiccup used by the female during nest site selection, and isolated mimicry of other species.

Species that flock often call back and forth while in flight; this is a good way to detect clouds of blackbirds, waxwings, siskins, or bluebirds passing overhead. Flocks of shorebirds also may be vocal in the air. But many less-social species also have distinctive flight calls that are quite different from their usual calls. During spring and fall, most songbirds migrate at night; if you listen closely, you can hear their various chirps drifting down from the dark sky. e24fc04721