Everything was moving full speed ahead from analog to digital in the late 90s. Guitars and other traditional instruments dominated the first half of the decade as everyone burned out on the synthesizer saturation of the 80s, but it didn’t take long for the tech wizards to launch a comeback. Producers brought along electronica, folktronica, electroclash, electro rock — it was all about the programming, and what computers could do for you.

Brothers Howard and Trevor met Norman and James when they were all at school together as kids in Liverpool. Inspired by the acid house (dance) and Madchester (dance + rock) scenes in the UK in the late 80s, they formed Apollo 440 and began releasing singles on their own DIY label.

Despite creating their own work, Apollo 440 initially gained fame for their remixes of other people’s songs, but soon made it all on their own when they began writing big hits in the mid-90s. James had left by this time, but by 1999, the remaining trio were well-established both on the charts and in the clubs. Their third album, Gettin’ High on Your Own Supply, released in September of that year, would prove to be their biggest yet, partially thanks to UK boogie-rockers Status Quo.

Apollo 440 took the simple opening guitar riff from Quo’s 1973 hit “Caroline” and amped it up to 11. They borrowed the lead singer of Gaye Bikers On Acid and then added their own twists and grooves and turned the resulting song into a modern day “Rock ‘n’ Roll Is Here To Stay” called “Stop The Rock” (as in, you can’t). The single crashed into the Top 10 in the UK and was one of their few songs to make an impression on the US charts.

So shape the rock like Henry Moore… with Apollo 440.