Hearts". In a follow-up episode, "A Star Is Torn", she performed "We Connect". Cast regular George Clooney made his farewell appearance when his character decides to join Cinnamon as a roadie. 1988–1992: Hard Machine and Nights Like This Swain released Hard Machine, the second Stacey Q album, in 1988. She changed her hair color from blond to red, and adopted a punk rock-influenced appearance. The album had other producers besides St. James, resulting in a different musical direction. The single "Don't Make a Fool of Yourself" peaked at number 66 on the US Hot 100, with a remix by Shep Pettibone making the top five on the Hot Dance Chart. The single was featured in the Full House episode "D.J. Tanner's Day Off", where she briefly appeared as Stacey Q. The songs "The River" and "Another Chance" were featured in the cult action film One Man Force, where she also had an appearance. Nights Like This was her third and final album with Atlantic. Released in 1989, it also marked SSQ's last participation. Its first single was "Give You All My Love," and "Heartbeat", its second single, featured backing vocals by Timothy B. Schmit of the Eagles. Its title track featured backing vocals by The Weather Girls. The musical style involved more experimenting with instruments such as Kawai keyboards. She promoted the album with another national tour at various clubs. On television, she appeared in an episode of Mama's Family in which she was a member of an all-female band called The Bonecrushers. 1993–1997: Stacey Q's Greatest Hits and Boomerang In 1993, Swain released the single "Too Hot for Love" under the independent label Thump Records. The single was structured toward an early-1990s dance sound and featured sexually suggestive lyrics, representing another change in direction for the artist. Thump also gathered material from her first Atlantic Records album as well as tracks from Q and SSQ that never had been released on CD into a 1995 compilation album, Stacey Q's Greatest Hits. Most of the tracks were either remixed or re-edited entirely from their original versions in an attempt to modernize them. In the mid-1990s, Swain traveled to Tibet, where she was introduced to the monastic dance and song of the Far East. She also lived in Nepal where she studied at monasteries with Buddhist lamas and was trained in the ancient art of cham dance. In 1997, Swain released