Although it lacks a standout single like "Birdhouse in Your Soul," Apollo 18 is a more consistent album than Flood, overflowing with ideas and pop hooks. The most noteworthy idea may have been "Fingertips," a "suite" of 21 song fragments designed to make each random play a new experience, but the meat of the album lies in pop songs like "I Palindrome I," "My Evil Twin," "She's Actual Size," and "Which Describes How You're Feeling." The album has a slightly darker feeling than its predecessors, but that just gives the album a resonance that was missing on Flood. ~ Stephen Thomas Erlewine, All Music Guide
Jim Thomas (Drums), Laura Cantrell (Vocals (Background)), NASA (Photography), Elma Mayer (Vocals (Background)), Paul Angelli (Engineer), Amy Allison (Vocals (Background)), John Flansburgh (Producer), Brian Pollack (Mixing), John Linnell (Producer), Joshua Fried (Technical Support), Randy Meisner (Guitar (Bass)), Alan Winstanley (Mixing), Rolf Conant (Design), Peter Stampfel (Vocals (Background)), Bo Orloff (Art Assistant), Chris Cush (Technical Support), Jim Thomas (Technical Support), Brian Dewan (Vocals), Nicholas Hill (Vocals), Nicholas Hill (Vocals (Background)), Frank London (Trumpet), John Linnell (Vocals), Garo Yellin (Cello), John Flansburgh (Vocals), Peter Stampfel (Vocals), John Flansburgh (Keyboards), Bruce Calder (Mixing), They Might Be Giants (Producer), Laura Cantrell (Vocals), Paul Angelli (Mixing), UE Nastasi (Mixing), Brian Dewan (Vocals (Background)), Peter Stampfel (Banjo), Amy Allison (Vocals), John Linnell (Keyboards), Patrick Dillett (Mixing), John Flansburgh (Guitar), John Linnell (Accordion), Randy Meisner (Vocals), John Linnell (Horn), Mark Feldman (Violin), Kurt Hoffman (Art Assistant), Julie Cohen (Vocals), Elma Mayer (Vocals)
President John F. Kennedy's stated goal for the United States of "...landing a man on the moon and returning him safely to Earth" was realized in 1969 with the historical voyage of Apollo 11. Throughout the 1960s and 1970s, numerous Apollo missions rocketed teams of brave explorers into outer space, on and around the moon. Now you can share in their collective experiences from countdown to splashdown with Apollo 18: Mission to the Moon for the Commodore 64.
To successfully accomplish a complete mission in Apollo 18, you must first blast off, perform docking and correction maneuvers, land on the moon, and perform "Extra Vehicular Activity" (EVA) on the surface. Following those tasks, you then lift off from the moon, re-dock with the Command Module (CM), perform a space walk, practice satellite capture, re-enter Earth's atmosphere, and splashdown. At the end of each of these sub-missions, you are shown a mission status/score screen. Speed and efficiency with each task are of the utmost importance.
A number of gauges and indicators are used to help you perform in the sub-missions. For example, an altitude indicator helps you execute a lunar landing at minimum velocity, and to achieve a perfect blast off you must press the fire button when a red bar reaches the mid-line. Multiple graphs and views are used as well, such as the three landing site approach windows in the lunar landing sequence, and the NASA flight director's control panel in the Mission Control Room.
~ Brett Alan Weiss, All Game Guide
Roots & Influences
This game was obviously influenced by Activision's Space Shuttle -- A Journey Into Space (1983) for the Atari 2600.
~ Brett Alan Weiss, All Game Guide
Production Credits
Design: Rick Banks, Paul Butler; Technical: J. Stuart Easterbrook; Programming: Phillip Armstrong, Lise Mendoza; Graphics: Grant Campbell; Sound: Paul Butler; Producer: Jon Corell
The album marked the first conscious effort by John Linnell and John Flansburgh to branch out of their early sound, opting for more traditional rock rhythms and fuller arrangements. The duo adopted a backing band with live drums during the supporting tour.
Despite its lack of a chart-topping single and somewhat mixed reception from critics, Apollo 18 remains a fan favorite. The group even performed the album in its entirety at a few special shows in 2003.
"Fingertips" is a series of twenty-one short tracks ranging in duration from four to sixty-one seconds (although most of them are under fifteen), totaling four minutes and thirty-five seconds. The liner notes, in an apparent reference to these tracks, have the message "The indexing of this disc is designed to complement the Shuffle Mode of modern CD players". Due to a mastering error, the UK and Australian issues of this CD have "Fingertips" as one track, while the U.S. edition has it as twenty-one tracks. The song became somewhat of a TMBG staple, appearing not only on the "Dial-A-Song" greatest hits compilation, but also as a must-play in their live setlists. A possible inspiration for "Fingertips" is The Residents' Commercial Album, an album-long series of very short songs, one of which (the 36th track) is even named "Fingertips."
"The Guitar (The Lion Sleeps Tonight)," spawned from a jam session of The Tokens song "The Lion Sleeps Tonight" and was originally intended to simply be called "The Guitar." Due to the legal ramifications of this, the record label required the band to add the title of the original song to the track.
"Which Describes How You're Feeling" originally appeared on They Might Be Giant's 1985 demo tape[1]. This version was later included in Then: The Earlier Years.
The story for their inclusion as "Musical Ambassadors to International Space Year," as mentioned on the back cover of the album, is as follows: While Linnell and Flansburgh were searching the NASA Archive Center for photographs and visual materials appropriate for the album's cover, staff members at the NASA facility took notice of John and John and inquired about their business in their research. Linnell responded that they "were in this band, we're making this record, and we're going to start touring next year...They were particularly interested in that, because they said that 1992 was International Space Year. It was the first time we ever heard of that, but they said because we were a band going to be touring around the world in 1992 they wondered if we wanted to be spokesband for the International Space Year. So we said why not?”[2]