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roland’s first fully self-contained drum set was the tr-606 and its big brother, the tr-808, also appeared in 1988. designed for professional use but priced like consumer gear, these were hugely popular and, of all the roland drum machines, the 808 still sounds the best. once again, the sounds were remarkable, and the sound of the 808 continues to influence modern electronic drum sets and drum machine products, all the way through to the most recent products.

roland took off with their drum machines to a dramatic extent in 1989 with the d50 and dr-5 drum machines. weighing in at the unscientific total of 17kg, they were arguably the heaviest of the drum machines available – so heavy in fact that most drummers preferred using regular acoustic drums. the d50 also gave the first truly step-per-step trigger response, making playing the machine much more attractive than its previous variation. a perfect kit – they weren’t. at a time when few people had a synthesizer, and an even fewer number of people were able to afford it (the d50 cost the princely sum of £1,350), the ubiquity of this machine was remarkable.

by this time, of course, it was becoming clear that drum machines were going to be very big indeed, and the release of the first drum machines with sequencers (step and tatu), or samplers, such as the tr-909, had the drummers doubting their place in the new electronic music. consequently, the sales of the d50 were disappointing, and roland responded by undercutting the system with the less expensive tr-606. however, the compact form factor, analogue feel and superb sounds of the d50 made it difficult to ignore, and its popularity was not matched by a fall in the popularity of acoustic drums.

6. now that’s what i call music! 37 – 4the second of many third-wave ’70s tribute albums has got what the first had: a line up of the cream of uk garage stars. it also has a line up of guest vocalists, which could make or break the project. after all, the top 2 disco floor fillers sham & joey scott, the moments and fun boy three would be unthinkable in an all-star act. but the astles throw in a load of underground classics, and the pop group and the housemartins are great, as expected. this is a rich collection of oases in the desert that should please both history buffs and music fans alike. a.m.
5. pop group, the pop groupthe new york group that made a bit of a name for themselves in ’64 reviving the glam “r” né groove, ‘5 create a sleazy assault that is a perfect distillation of the essence of rock ‘n’ roll. if things had been different, larry levan may still be working the same y &oum;ôõµèâöè€óìéà‰è¯èμ ‘’70s dj. d.m.
4. t.s.o.l., moratoriumthe hard, punk rock trio that worked at the shortlived los angeles alt-rock squelch the zeros laid down three classics before disbanding in 1982. moratorium keeps the old band’s dynamic and gives the three tracks the treatment they deserve. no album captures the energy and spirit of t. better than this, and it’s a great snapshot of the maddening thing called punk rock in its thrash-saturated, underbelly days. d.m.
3. de la soul, de la soul is deadthe group that took hip-hop by storm in the ’90s re-released this classic mini-lp for the ’00s. after releasing their debut masterpiece, 3 feet, on geffen, the crew kept the bar high with de la soul is dead, a visceral and electric stunner that made a direct statement about their status as both underground icons and commercial breakthrough artists. but unlike many a remix, is dead doesn’t seem like it’s been retooled, but rather a wholly original recording that would sound amazing playing through a drum machine, with the aid of only a few rare guitar tracks – and by no means guitars in the traditional sense. this is what hip-hop could sound like if it was made in the 1990s. d.m.
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