Gettin High on Your Own Supply

Apollo 440

Product Details

• CD-R (January 25, 2000)
• Original Release Date: January 25, 2000
• Number of Discs: 1
• Label: Sony
• ASIN: B00004BYYV
• Also Available in: Audio Cassette  |  Vinyl  |  MP3 Download
• Average Customer Review: 3.8 out of 5 stars  See all reviews (21 customer reviews)
• Amazon.com Sales Rank: #167,938 in Music (See Bestsellers in Music)

Track Listings

1. "Are We a Rock Band or What...?"

2. Stop the Rock

3. Crazee Horse

4. Cold Rock the Mic

5. Lost in Space (Theme)

6. For Forty Days

7. Heart Go Boom

8. Machine in the Ghost

9. Blackbeat

10. Stadium Parking Lot

11. Yo! Future

12. High on Your Own Supply

13. Perfect Crime

Editorial Reviews

Amazon.com

Apollo Four Forty have nothing if not a preponderance of raw, frenzied energy going for them. Whether they're channeling Van Halen on "Ain't Talkin' 'Bout Dub" (off 1997's Electro Glide in Blue) or indulging in goofy Fatboy Slimesque big beat on songs like "Stop the Rock" off of this disc, there's no denying their good-natured, infectious enthusiasm. While the empty-headedness that such manic tendencies often breed can be exasperating, their willingness to experiment keeps everything so fresh that you barely have time to notice. Rock-god guitar riffs mixed with scratch samples and pumped-up bass lines ("Cold Rock the Mic") give way to light drum & bass-influenced noodlings with trance atmospherics ("For Forty Days") without skipping a beat. Even when the whole thing starts to get a bit hokey, the band's creative drive makes it audibly palatable. Apollo Four Forty end up walking a techno-rock tightrope with a safety net made of cheese. --Matthew Cooke

Product Description

Gettin' High On Your Own Supply

This title is manufactured "on demand" when ordered from Amazon.com, using recordable media as authorized by the rights holder. Powered by CreateSpace, this on-demand program makes thousands of titles available that were previously unavailable. For reissued products, packaging may differ from original artwork. Amazon.com’s standard return policy will apply.

Customer Reviews

Most Helpful Customer Reviews

7 of 7 people found the following review helpful:

5.0 out of 5 stars How to mix together everything to some positive result, March 1, 2004

By	Ilya Malafeyev (Russia) - See all my reviews (REAL NAME)

Apollo 440 have established themselves as a prominent force in danceable trance music with their previous two offerings. But in this album they went over the top in everything, mixing a dozen of styles together to some very credible result! I can understand people who dismiss this album, because it's so very different from what @440 were doing before, but it doesn't make it less worthy of your attention.

It starts out with an instrumental "Are We A Rock Band Or What...?", that, just like its name implies, is an ambient relaxed synth-dominated short intro. But it's quick to burst out in a hard-rocker on a break-beat base, "Stop the Rock". Somehow it reminds me of The Prodigy, or Chemical Brothers' "Block Rocking Beats", only that this one is more straightforward.
Guitar riffing continues on through "Crazee Horse", to "Cold Rock the Mic", and on to "Lost in Space". They all got mostly samey feel to them, the first 3 perhaps are closer to The Prodigy, while "Lost in Space" is a harder number, almost aggro-metallic at its core. Tasteful use of samples and sampled voices provides classy touch.
"For Forty Days" throws some drum-n-bass upon the listener, and it has a strong melody, too.
"Heart Go Boom" is a funny number, that starts out with a cartoonish theme, but later explodes in a techno-rock madness with underlined drums.
"The Machine in the Ghost" is a downtempo ambient piece, which is quite long and demonstrates good development.
"Blackbeat" is a techno-rocker with a touch of hip-hop influence.
"Stadium Parking Lot" is another highlight. With its mighty shouted chorus and pounding drum, this is the song that Beastie Boys would be proud of.
"Yo! Future" again mixes trance with rock.
"High on Your Own Supply" is another bizarre eclectic track. With vocals from a B-class horror movie and spooky melodic lines, it's a great electronica number with plenty of atmosphere. A gem!
The album ends out with "The Perfect Crime", which is a mellower number with latino-touched melodies, that reminded me of any Tarantino movie soundtrack.

All in all, I like this album! Listening to it, you are treated with a dozen of musical styles, most of which are executed and mixed together perfectly. This might be the best eclectic album out there. For those open minded and liking bizarre music, very recommended.

7 of 8 people found the following review helpful:

2.0 out of 5 stars Highness is Relative, January 15, 2001

By A Customer

I first heard (saw) "Stop the Rock" on MTV's "120 Minutes" (back when the show existed), and I liked it. Rarely do rock and techno mix in such an engaging combination. Based on this track alone, I purchased "Getting High" soon after. Since it has been a while since then, why not try to recap on some of the highlights?

Well, as it sometimes happens, there aren't many highlights to speak of....

Let's look at the songs:

Ignoring "Are We a Rock Band..." (not a song in reality), we move on to the second track. As already mentioned, "Stop the Rock" is a very good song. The driving guitar and drums are riveting. The vocals, unlike the rest of the album, are integral and are surprisingly well executed. The electric organ also enlivens and completes a very worthy song.

And then the album falters from here. "Crazee Horse" is ridiculous and obnoxious. "Hey man!" followed by a cheesy, flirtatious whistling isn't exactly Grammy material. A vocal monstrosity.

"Cold Rock...:" is overdone and instantly forgettable. The rapping vocals in the middle of the track are horrid. "Park it in the pool / Yeah!"? Please...

"Lost in Space:" Again overdone. Who thinks of having a driving electric guitar with trumpets? Honestly....

"For Forty Days:" Obviously the group attempts some kind of seductive and calm piece and--of course--fails horribly. The ending saves the song--kind of.

"Heart Go Boom:" Ridiculous. A screeching turntable combined with a harmonica, an electric guitar, and reggae? Something tells me the guys never took music theory in college.

"The Machine in the Ghost:" Surprisingly, an excellent track in the middle of a wasteland. A driving bass and a sprinkling of piano enlivens this treasure.. An actual attempt at making music!

"Blackbeat:" Just when the album begins to save itself, the listener is treated with more unfathomable refuse.

I think you get the point. More tracks do follow, but why keep talking? What jumps out most on this album is the overuse and misuse of vocal samples from movies and pop culture. You will probably like the album initially, but you'll find you won't be pulling it out of your CD shelf for a while.

3 of 3 people found the following review helpful:

5.0 out of 5 stars Near-perfect album, December 2, 2004

By	Sir Grand Citizen (Earth) - See all my reviews

There really isn't anything to NOT-LIKE on this album (aside from, perhaps, how much "Stop The Rock" was over-played at the time, certainly not the fault of the band).
As with their subsequent release "DUDE DESCENDING A STAIRCASE", "G.H.O.Y.O.S." features a wide variety of sounds and elements, all used to perfect measure. The end-result is an album which never allows the listener to become bored or disinterested. Wildly veering from lush ambient backdrops, to riffing guitar-driven techo blasts, to hazy head-nodding throb-rock slow-burners, this album is solid front-to-back.
Highly recommended (as is their follow-up album "DUDE DESCENDING A STAIRCASE").