Music has always been shaped by technological innovations, which have given rise to new genres and altered the sound of popular culture. One such groundbreaking piece of technology was the drum machine, which has become a staple in the world of electronic music and influenced many sub-genres. The story of how the drum machine became a fixture in pop music, however, starts with a fascinating twist from the 1960s.
At the time, the drum machine wasn’t seen as the revolutionary force it would later become. Instead, it was treated as a quirky novelty—an innovation that artists incorporated into their existing musical frameworks. Its initial use in popular music was less about creating something entirely new and more about convenience, allowing musicians to work quickly without hiring or working with a live drummer.
The origins of machines designed to simulate rhythm go back as far as 1930, when the rhythmically advanced ‘Rhythmicon’ was created by Leon Theremin. These early devices later evolved into electric rhythm boxes, such as the Wurlitzer Side Man, which offered basic rhythm functions but with limited control over the sound.
However, it wasn’t until the late 1960s that drum machines, as we know them today, began to be commercially available. This era saw the rise of companies like Korg (then Keio-Giken) and Ace Tone, which was founded by Ikutaro Kakehashi, who would go on to create Roland.
One of the first commercially available drum machines was the Ace Tone FR-1 Rhythm Ace. This box was equipped with simple controls that allowed users to switch between preset rhythms aligned with various genres—rock, samba, waltz, and swing—set the tempo, and select different patterns. Though it was an early model, it offered an exciting glimpse of what the future could hold.
It was this very drum machine that Robin Gibb of the Bee Gees, during his brief solo career, used while recording his 1969 hit “Saved by the Bell.” This track is widely regarded as the first pop hit to feature a drum machine in its mix.
“Saved by the Bell” stands out as a haunting, string-laden ballad of the 1960s, but the steady, pulsing rhythm of the FR-1 drum machine adds a unique, timeless quality to the song, especially when viewed through the lens of music history. Released as Robin Gibb’s first solo single in 1969, the song marked a period of creative independence for him, following tensions within the Bee Gees and his own struggles with fame and exhaustion.
Robin’s solo efforts came after the Bee Gees’ initial successes, including hits like “New York Mining Disaster 1941” and “I Started a Joke.” These early Bee Gees hits had propelled them into the spotlight, but fame also caused friction among the brothers. Robin’s use of the drum machine in “Saved by the Bell” reflected a unique approach to music production—recording himself on organ, paired with the drum machine, and then adding guitar and vocals. This creative method was highly innovative, as most studios at the time were still designed for live-band recordings.
Interestingly, Robin’s method of using the FR-1 drum machine was akin to the modern-day techniques of syncing click-tracks with MIDI keyboards in digital audio workstations (DAWs). His approach was a departure from traditional methods, which still favored live instrumentation.
While it was unusual to use a standalone drum machine in this way, it wasn’t completely unheard of. Earlier models like the Wurlitzer Side Man had been used by electric piano players for rhythm, but the FR-1 allowed users to manipulate rhythms and combine preset beats in new ways.
Gibb used the “Slow Rock 12/8” rhythm preset in the FR-1 during the intro to “Saved by the Bell,” setting the tone for the track and highlighting the machine’s influence on the sound of the song. The drum machine wasn’t just a rhythmic backdrop; it signaled the future direction of music production.
This track would go on to feature on Robin Gibb’s debut solo album Robin’s Reign. Over the course of the album’s eleven tracks, the drum machine would make multiple appearances. While Robin didn’t speak much about using the drum machine in later years, it’s clear that he recognized its value in enhancing the atmosphere of his music.
In fact, the FR-1 was the first sound heard on Robin’s Reign as it introduced the album opener, “August October.”
“Saved by the Bell,” released in June 1969, was the first pop song to feature an electronic drum machine throughout the entire track. The song reached number two on the UK charts, though it didn’t fare as well in the US. However, drum machines had appeared in music before this.
In 1968, the album The United States of America by the band of the same name featured several tracks with drum machines. Despite receiving praise from avant-garde circles, it did not achieve mainstream success in either the UK or the US.
Two years after “Saved by the Bell,” Sly and the Family Stone would use the drum machine in their US number-one hit “Family Affair,” featuring the Maestro Rhythm King MK IV. This track would define the drum machine’s role in creating funky, danceable rhythms. However, it’s Robin Gibb’s “Saved by the Bell” that stands as the first true pop hit to incorporate a drum machine.
Soon after his solo success, Robin reunited with his brothers, and the Bee Gees went on to become one of the most successful acts in music history, selling over 220 million records and winning multiple Grammy Awards.
Though Robin’s solo career is often seen as a brief detour before the Bee Gees’ disco heyday, it’s clear that this period laid the foundation for their future musical achievements. The creative breakthroughs of this time, particularly in regard to the drum machine, have been re-evaluated in recent years, especially following Robin’s death in 2012.
As The Guardian’s Alexis Petredis notes, Robin’s solo work from this era was “some of the weirdest, most fascinating music of the sixties,” blending orchestration with the primitive pulse of the drum machine. This combination created a sound that was unique, chilling, and the product of a truly inventive mind.
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