The definitive list of drum machine tracks (give or take)

My book BEAT GEMS references many great tracks that were notable for the use of drum machines, and I thought it would be a good idea to gather them up into a Spotify playlist with an accompanying blog post to discuss them.

Of course, there have been many thousands of records made with drum machines since the 1960s so it cannot possibly cover the entire range, but I think this is a good representative selection: usually the earliest songs to use a particuarly significant drum machine or to use them in particularly interesting ways.

It’s organised in chronological order of song release, making for an interesting development in music genre and style. I also think it has to be said that most of these tracks are absolutely brilliant and makes for an extremely joyful listening experience, regardless of drum machine use!

Happy to hear of examples not included in the comments for possible inclusion!

And here are the accompanying reading notes, just like the old days when we’d read an LP’s liner notes while listening to our new prized record. Preferably in a comfy chair with jam on toast and coffee. I encourage you to do the same!

SONG LIST with notes

The United States of America, Garden of Earthly Delights (1968). [Customised drums and effects]
Psychedelic experimentation, with electronic percussion homemade by drummer Craig Woodson - piezo-triggered sounds from an acoustic drum kit. An example of how experimental bands and musicians were dabbling in artificial percussion at this time.
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Dick Hyman, The Minotaur (8 min version) (1969). [Maestro Rhythm Master]
An eight-minute Moog-fuelled electronic odyssey, with wild, swooping synthesizer solos, octave-spanning glissandos in the psychedelic vein. A drum machine provides the unusual, loping rhythm, reportedly combining waltz and bossa nova patterns. An early and influential combination of electronic percussion and synth improvisation.
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Robin Gibb, Saved By The Bell (1969). [Ace Tone FR-1]
One of the earliest hits to feature a drum machine (the Ace Tone FR-1), reaching No.2 in the UK charts in 1969. Robin Gibb was on sabbatical from the Bee Gees at the time.
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Little Sister, Somebody's Watching You (1970). [Maestro Rhythm King]
Sly Stone's record label, Stone Flower, released tracks such as this one by Little Sister, which featured his younger sister, Vet Stone.
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Can, Peking-O (1971). [Ace Tone Rhythm Ace (tbc)]
Drum machine starts around 2:35. A theme of Beat Gems is represented here - the 'misuse' of the drum machine by not limiting its use to 'simple rhythm accompaniment'. For example, setting it maximum tempo (around 5:00), and stop/starting it for musical effects.
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Jimi Hendrix, Sweet Angel (Angel) (1971). [Unknown]
This rare demo from the 'South Saturn Delta' sessions sees Hendrix use a drum machine for a temporary rhythm track. These early preset machines were often used as a more interesting metronome in recording sessions or for demos, but they didn't usually make it to the final release.
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Moody Blues, Procession (1971). [Home-made drum kit]
An early electronic drum system using rubber pads. This set was custom-built by drummer Graeme Edge with Sussex University electronics professor Brian Groves. Featuring touch-sensitive rubber pads that triggered electronically generated sounds, the transistor-based system included five snares, ten tom-toms, a pedal-operated octave of bass drums and multiple sequencers. An ambitious, if somewhat temperamental, precursor to the modern electronic drum kit.
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JJ Cale, Crazy Mama (1972). [Ace Tone Rhythm Ace (unit unknown)]
An early and tasteful use of a drum machine in rock music. Cale used an Ace Tone Rhythm Ace for the rhythm on 'Crazy Mama' and 'Call Me the Breeze', largely out of financial necessity. Leon Russell was involved with JJ Cale's early career and when he worked with Roger Linn later, brought his interest in drum machines with him...possibly inspiring Mr Linn and his subsequent revolutions in drum machine development!
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Kingdom Come, Spirit of Joy (1972). [Bentley Rhythm Ace]
An early rock band to dispense with a drummer and to use a rhythm machine instead, in the studio and on tour.
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Sly & Family Stone, Family Affair (1972). [Maestro Rhythm King MRK-2]
Sly called his Maestro Rhythm King his 'Funk Box', and this may be one of the earliest global hits to be built around a drum machine. Sly exploits the rigidity of the drum machine to weave his fluid bass playing around - man / machine!
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Timmy Thomas, Why Can't We Live Together (1972). [Lowrey Organ with AR-4 Automatic Rhythm]
Thomas used the built-in rhythm accompaniment on his Lowrey Organ for this influential, leftfield soul classic.
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ELP, Toccata (Brain Salad Surgery) (1973). [Home-made drum kit]
Carl Palmer has claimed this as the first electronically generated drum solo on a commercial recording, using pick-ups in his acoustic kit drums triggering synths; the wild electronic tones from around 5:00 have been mistaken for Emerson's synths - but they're drum triggered!
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Bob Marley and the Wailers, So Jah S'eh (1974). [Maestro Rhythm King?]
This is arguably one of the earliest reggae tracks to use a drum machine - along with other recordings at this time, notably No Woman No Cry.
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Bob Marley and the Wailers, No Woman No Cry (1974). [Maestro Rhythm King?]
How did I never notice this was a drum machine before?
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Brian Eno, The Great Pretender (1974). [Bentley Rhythm Ace (prob.)]
Prominent preset machine; and nice prepared piano too!
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Cluster, Caramel (1974). [Elka Drummer One]
Cluster were a prominent krautrock group of the mid-70s - the 'most important rock band in the world' according to Brian Eno at the time, and used an Elka Drummer One heavily processed with effects to create more textured rhythms.
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George Macrae, Rock Your Baby (1974). [Roland TR-77]
A soul classic that uses a Roland TR-77 - the first product that the newly founded Roland released.
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Harmonia, Dino (1974). [Ace Tone (tbc)]
The krautrock 'supergroup' of Cluster (Hans-Joachim Roedelius and Dieter Moebius) with Michael Rother of Neu! making great use of a drum machine.
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Kraftwerk, Autobahn (1974). [Farfisa Rhythm 10]
Wolfgang Flür rigged up his Farfisa Rhythm 10 so that the individual drum sounds could be triggered by his famous homemade electronic drum pad system.
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Parliament, The Goose (1974). [Maestro?]
Another great funk group to make prominent use of a drum machine, overlaid with acoustic drums and percussion.
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Jean-Michel Jarre, Oxygene IV (1976). [Keio Mini Pops 7]
The Keio MP-7 brings its unique percussion sounds - quijada anyone? - to the emerging genre of popular electronic music, lending Jarre's classic its distinctive rhythmic sound world.
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Carly Simon, Nobody Does It Better (1977). [Pollard SynDrum]
Arguably the first recording to feature the Pollard Syndrum (for the tom fills); played by legendary drummer Jeff Porcaro.
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Iggy Pop, Night Clubbing (1977). [Roland CR-78]
Co-written by David Bowie, the Roland CR-78 is processed through effects to give a darker character. Its mechanical pulse, combined with the sparse bass and guitar, is fundamental to the track's distinctive, minimalist atmosphere. Bowie wanted to re-record it with real drums - but Iggy disagreed...
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The Congos, Congoman (1977). [Roland CR-78]
Produced by Lee 'Scratch' Perry, another great reggae track to use a drum machine (the Roland CR-78). The better known classic 'Fisherman' is on this album.
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Ultravox, Hiroshima Mon Amour (1977). [Roland TR-77]
The Roland TR-77 was Roland's first product, and built on the experience that founder Ikutaro Kakehashi had built up at Ace Tone over the previous decade. Ultravox's Warren Cann manipulated the unit's controls in realtime to overcome the limitations of the preset nature of the built-in rhythms.
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Blondie, Heart of Glass (1978). [Roland CR-78]
The opening famously used the CR-78 with the beguine & mambo buttons pressed down to combine the rhythms, and Jimmy Destri's Roland SH-5 sync'd to it for the bassline.
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Echo and the Bunnymen, Pictures on the Wall (1979). [Korg Minipops]
The original three-piece line-up used a drum machine they nicknamed 'Echo', which also gave the band its name. Its mechanical pulse provides the rhythmic foundation for this atmospheric debut single, recorded before Pete de Freitas joined as drummer. The machine was reportedly painted fluorescent green, but was later stolen from the band's Liverpool rehearsal space.
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Roxy Music, Dance Away (1979). [Roland CR-78*]
Bryan Ferry originally developed this song around a rhythm box, having unsuccessfully attempted to record it for two earlier solo albums. The simple, mechanical pulse provided the foundation for the eventual Roxy Music hit, with the other instrumentation added around it. The precise model attribution remains to be confirmed as Dan LeRoy’s well research book says CR-78, but this blog says TR-66. I’m going with the researched book, not the unattributed blog claim!
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Sparks, No. 1 in Heaven (1979). [Drum synth unknown]
Sparks illustrating the popularity of the disco 'pew-pew' tom sound of the disco era in the introduction of this great track.
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Blondie, Atomic (1980). [Roland CR-78]
Prominent use of the CR-78, especially in the middle-8. Note the 'metal beat' sound - arguably the first synthetic drum sound on a drum machine - ie, not trying to imitate an acoustic drum in the real world.
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Genesis, Duchess (1980). [Roland CR-78]
The first prominent use of a drum machine on a Genesis recording, and is combined with Phil Collins drumming on an acoustic kit.
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Paul McCartney, Secret Friend (1980). [Unknown]
McCartney in experimental mode: an extended electronic excursion from the McCartney II sessions, built up by McCartney alone using synthesizers, drum machines, effects and tape.
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Peter Gabriel, Biko (1980). [PAiA Programmable Drum Set]
Probably the first widely heard song to use a programmable drum machine - the PAiA Programmable Drum Set. A basic DIY machine, it nevertheless provides the distinctive high bongo sound throughout the song.
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Steely Dan, Hey Nineteen (1980). [Wendel - COMPAL-80 mini-computer]
An early example of sampled drum sounds, generated by a COMPAL-80 computer running custom software. Dubbed the Wendel, the system was built by Roger Nichols, the legendary recording engineer and hardware designer. Steely Dan were notorious perfectionists and the Wendel enabled them to place drums with ultimate precision - taking two years in the process to make this album.
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Steve Winwood, Spanish Dancer (1980). [Linn LM-1]
An early song to feature the Linn LM-1 - the first commercial drum machine to feature samples instead of analogue sounds. Steve Winwood combines the LM-1's sounds with acoustic drums and sequenced synthesiser rhythms to create this gently disco-inflected groove.
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Trio, Da Da Da (1980). [Casio VL-1]
A track that shows that cheap kit (a Casio VL-1), a good tune, and a sense of humour can take you a long way!
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Ultravox, Astrodyne (1980). [Star Instruments Synare & CR-78]
Opens with the CR-78's distinctive Metal Beat sound; though the machine is overlaid with acoustic drums subsequently. Illustrates how synthpop/new wave bands embraced the newly programmable options offered by the CR-78 - the first widely available, good sounding, programmable drum machine. See also John Foxx's Metamatic album.
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Davy DMX, One For The Treble (1981). [Oberheim DMX]
An early hip-hop/electro showcase for the Oberheim DMX, the drum machine from which Davy Reeves took his adopted name.
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Depeche Mode, Dreaming of Me (1981). [Korg KR-55]
Check out the Korg KR-55's beautiful (analogue) snare drum on this synthpop classic. (The kick is an ARP 2600 synthesizer as producer Daniel Miller did not rate the machine's own bass drum).
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Elton John, Nobody Wins (1981). [Linn LM-1]
Roger Linn has been quoted as saying that this is how his new machine should be used - to sound like a real drummer is playing. No surprise in this case, then, that it's legendary drummer Jeff Porcaro who programmed the Linn LM-1.
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George Benson, Turn Your Love Around (1981). [Linn LM-1]
Another early Linn LM-1 hit. Programmed by Jeff Porcaro (again!), they tried replacing the LM-1 temp track, but it simply wasn't as good. This represents the start of the era that drum machines were considered good enough to carry a whole song without a drummer and acoustic drum kit.
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Hall & Oates, I Can't Go For That (No Can Do) (1981). [Roland CR-78]
Built around the Roland CR-78's Rock 1 preset which provided the starting point for Daryl Hall's bassline and the song's distinctive groove. They tried replacing with acoustic drums, but it sounded too 'heavy'. Michael Jackson cited this song as an inspiration for the Billie Jean groove.
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Kraftwerk, Pocket Calculator (1981). [Mattel Bee Gees]
Not strictly a drum sound, this one: the Mattel Bee Gees toy keyboard provided the lead line, with Florian Schneider performing on it live and even inviting audience participation. The machine's three basic rhythms, however, weren't used at all.
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Phil Collins, In The Air Tonight (1981). [Roland CR-78]
A classic song that brought the CR-78 to a wide audience - before its delicate ticking is comprehensively demolished by a completely unnecessary drum fill. (Thanks Phil!)
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Soft Cell, Tainted Love (1981). [Roland CR-68]
The CR-68 provides the basic groove. Engineer Paul Hardiman managed to separate kick and snare for independent processing, while an EHX Crash Pad and Star Instruments Synare provide the triplet zaps and other effects.
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Spandau Ballet, Chant No. 1 (1981). [Simmons SDSV]
One of the earliest hits to feature the distinctive hexagonal drum pads of the Simmons SDSV - and its equally distinctive electro tom sound.
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The Human League, Don't You Want Me (1981). [Linn LM-1]
A huge synthpop classic that used the LM-1, but note the lack of crash and ride cymbals; digital memory was too expensive for the machine to include these long sounds.
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Afrika Bambaataa, Planet Rock (1982). [Roland TR-808]
The first genre the Roland TR-808 was centered around was electro, and this was the track that kicked it all off. A blend of Kraftwerk-inspired beats and riffs with vocoded vocals and the orchestral stabs that set the framework for the style.
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Marvin Gaye, Sexual Healing (1982). [Roland TR-808]
Recorded in Belgium while Marvin Gaye was on a sabbatical, this is a definitive TR-808 song, setting the tone for the 808's soulful side. Gaye's credited in the sleeve notes as playing the conga, bells, and cymbals - the drum sounds on the machine.
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Patrice Rushen, Forget Me Nots (1982). [Clap Unit (unknown)]
The hand-clap unit was a common stand-alone piece of hardware in the late 70s and early 80s - reflecting its popularity in disco tracks. This track by Patrice Rushen was sampled by Will Smith for 'The Men in Black' in 1997.
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Prince, 1999 (1982). [Linn LM-1]
Prince is synonymous with the Linn LM-1, at least in this 1980s phase, and was used across multiple tracks. Roger Linn once referred to him as his 'marketing department', such was Prince's public admiration for the machine.
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Billy Idol, Eyes Without a Face (1983). [LinnDrum]
Keith Forsey programmed the LinnDrum, and overlaid live drums. The LinnDrum became a central sound to Rebel Yell, and a good example of drum machines crossing over into mainstream rock.
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Genesis, Mama (1983). [Linn LM-1]
Programmed by Mike Rutherford a great example of drum machines crossing over into mainstream rock and being used creatively.
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Herbie Hancock, Rockit (1983). [Oberheim DMX]
A classic electro track by jazz-funk maestro Herbie Hancock, using an Oberheim DMX.
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New Order, Blue Monday (1983). [Oberheim DMX]
One of the most famous drum machine patterns of all time - that kick drum roll was actually inspired by the chorus in Donna Summer's 'Our Love'.
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S.O.S. Band, Just Be Good To Me (1983). [Roland TR-808]
The 808 comes to R&B, courtesy of producers Jam & Lewis.
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The Eurythmics, Sweet Dreams (1983). [Movement Percussion Computer]
Using the esoteric Movement Percussion Computer, the machine wouldn't put the 'boom' (low tom) on beat two where Dave Stewart wanted it. So it's on beat one, where it sounds great. The machine contributing to the art though accident!
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ZZ Top, Sharp Dressed Man (1983). [TBC]
Other styles beyond dance and pop started to rely on the drum machine - here is ZZ Top's take, an archetypal rock band.
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Don Henley, The Boys of Summer (1984). [LinnDrum]
The LinnDrum establishes itself in rock music, and is one of the defining LinnDrum songs of the decade.
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Egyptian Lover, Egypt, Egypt (1984). [TR-808]
The 808's cowbell was a cornerstone sound of 80s electro, later to become something of a comical cliché ('needs more cowbell').
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Freur, Doot Doot (1984). [Unknown]
Freur included band members Rick Smith and Karl Hyde before they formed Underworld.
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Run DMC, Sucker MCs (1984). [Oberheim DMX]
Classic use of the Oberheim DMX in 80s hip-hop, where it was highly prized. 'It's Like That' was the B-side - a hip-hop classic.
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Skinny Puppy, Smothered Hope (1984). [Roland TR-909]
One of the earliest Roland TR-909 records; even before it became 'the techno drum machine' - but like techno, Skinny Puppy found that distorting and processing the kick was a rewarding practice.
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Strike, U Sure Do (1984). [Roland CR-78]
A techno-house track extolling the virtues of the drum machine and the CR-78.
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A-Ha, Take On Me (1985). [LinnDrum]
A-ha's Paul Waaktaar-Savoy programmed the LinnDrum for this global hit. An earlier version of the song was written on a Fairlight - but it wasn't liked by the band, which led to this definitive version and defining 80s pop record.
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MCA & Burzootie, Drum Machine (1985).
Strong drum machine action from Def Jam - run through big flange action. 'Bed Breaker' also name-checks drum machines.
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Tom Petty and the Heartbreakers, Don't Come Around Here No More (1985). [TBC]
This song was written by Dave Stewart (The Eurythmics) around a distinctive Oberheim DMX pattern, bass synth and electric sitar. Originally intended for Stevie Nicks, it eventually landed with Tom Petty.
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Mantronix, Bassline (1986). [Roland TR-909]
Predating DJ Pierre's breakthrough 'Acid Tracks', this track makes effective use of the TR-909's shuffle function alongside the unmistakable squelch of the TB-303.
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Steve 'Silk' Hurley, Jack Your Body (1987). [Roland TR-808]
Landmark house track built around the TR-808. An underground hit in Chicago, it failed to make the US Billboard Hot 100. However, it reached No. 1 in the UK, bringing Chicago house to mainstream attention and helping build towards the acid-house, rave and dance revolution to follow.
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Rick Astley, Never Gonna Give You Up (1987). [Linn 9000]
Produced by Stock, Aitken and Waterman on their beloved Linn 9000. They used it for years after they could have migrated to their computer-based studio, which given how buggy and prone to crashes the Linn 9000 was notorious for (and which led to the collapse of Linn Instruments in 1986).
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HEALTH, Godflesh, SICKO feat. Godflesh (1988). [Alesis HR-16]
Godflesh are well known for their use of Alesis HR-16 for drums. Unusual for a heavy metal/industrial band!
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Public Enemy, Don't Believe the Hype (1988).
The sampling drum machines ushered in a new phase of hip-hop. The gritty sounds of the E-mu SP-12 and SP-1200 were two of the key machines used by many prominent artists, giving this phase of hip-hop its distinctive sound.
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Carter USM, A Perfect Day to Drop the Bomb (1990). [Yamaha RX15]
A song on the band's 101 Damnations album that features a Yamaha RX15 databurst at the start, as well as relying on the machine for the drum track. Carter USM were one of the few 90s indie bands to exclusively use drum machines, not drummers.
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Aphex Twin, Xtal (1992). [Roland R-8]
A landmark electronic music album, Xtal is typical of Ambient Works Vol. 1 - atmospheric, hypnotic, and gently melodic. Although Aphex Twin has spoken of using modified TR-808 sounds, Mike Paradinas (μ-Ziq) has also been quoted as identifying the Roland R-8 as a drum source on Selected Ambient Works 85–92, though maybe not on Xtal.
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Rotterdam Termination Source, Poing (1993). [Roland TR-909]
The TR-909's harder sound matched the harder sounds coming out of Europe: EBM and New Beat from Belgium, techno from Detroit, and hardcore and gabber from the Netherlands. This track is as raw a 909 track as you could hope for, if not completely ridiculous at the same time. :-)
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Jeff Mills, The Bells (1996). [Roland TR-909]
Jeff Mills is rightly known as 'The Wizard', and his classic, 'The Bells' illustrates the Roland TR-909's central role in techno.
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808 State, 606 (2002). [Roland TR-606]
A band named after a Roland drum machine name a song after another Roland drum machine. (As well as the tracks 'Pacific - 707', 'Pacific 202'...)
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J Dilla, Lightworks (2006). [Akai MPC3000]
J Dilla was the leading proponent of the art of the Akai MPC - a self-contained sampling drum / production workstation. The term 'dilla-time' was coined to characterise his loping, wonky approach to rhythm construction.
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DJ Shadow, The Number Song (2006). [Akai MPC60]
DJ Shadow pushed the collage approach to sampling to the limits on Entroducing, his album made solely on a MPC60, Technics SL-1200, and Alesis DAT machine - and a collection of vinyl!
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Aphex Twin, MARCHROMT30A edit 2b 96 (2014). [Yamaha RX11]
RDJ on Soundcloud said, 'Something about this [Yamaha] RX11 - it's shit, but I just love using it.'
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The definitive Drum Machine playlist

The definitive list of drum machine tracks (give or take)