If you listen to Heart of Glass, you can hear a Roland Compu-rhythm box at the beginning which runs through the entire song underneath Clem’s drums.
Disco brought in a need for more robotic drumming. This is at a point where producers began experimenting with things like using tape loops for drums (Giorgio Moroder had a two-bar snippet of Keith Forsey playing kick, snare, kick, snare that he used a lot).
Then the machines came. You had the Roland Compu-rhythm (Phil Collins’ favourite), then the 808, and then the Linn machines, which were the first to use digital drum samples and fooled a hell of a lot of people when they first came out. The first Linn drum machine came out around 1980-81; this is the one with the fat snare drum that you hear on a million Prince songs, among other things (Human League, parts of Thriller, etc).
At the same time, Roger Nichols built his own computer that could shift drum hits around and move them to a grid; Steely Dan’s “Hey Nineteen” used this contraption and had Steve Gadd play fills over it.
Pretty soon you had the DMX, the Roland 909, the Drumulator, then Roger Linn went to Akai and built all their MPC samplers.
And drummers were, well, kinda redundant for awhile. ![]()
