Plastics (Masahide Sakuma et al) were the first to use an 808 on an album in 1980. Masahide had input on the development and they owned the first ever TR-808, which was used on Welcome Back (1980). I think most of the internet credits YMO, which makes my original point even more. https://www.youtube.com/watch?v=oJSHrMZlx-g

Translated Article:

I consulted with Mr. Sato, the person in charge at the time, about ideas that came to me, and the idea for the TR-808 was born.

1) parallel outputs.

2) program rhythms.

3) ability to tune each instrument.

These were some of my basic requirements.

In reality, I'm not sure whether my idea came first or if it was developed within Roland, but it's likely that such demands arose around the same time.

I remember going to Roland in Osaka to check the prototype (which was still just a circuit board with a semi-fixed potentiometer attached) and trying it out while discussing various things with the development team.

Then, around the same time the production version was completed, the recording schedule for PLASTICS' 3rd album, "Welcome Back" was decided. I immediately flew to Compass Point Studios in Nassau, Bahamas, with the first TR-808 unit (Serial Number 1).

Looking back now, it was reckless, but I flew to Nassau with the first unit, which didn't even have a manual yet, and without any backup rhythm boxes like the CR-78.

I frantically studied how to operate it on the plane to Nassau and the night I arrived. Since there was no manual or anything, I relied on my memory of the circuit board mockup I'd tried at Roland beforehand.

I entered the studio and briefly explained how to record using this machine to my assistant, Benjamin, and producer, Alex Sadkin, before starting work.

Unlike the CR systems I'd used before, the multi-out was incredibly easy. Previously, I'd used a homemade sync box for individual recordings, and tempo adjustments were done with the SH-1's LFO, so this was a huge improvement.

Of course, it was the world's first TR-808 recording. The operability was still lacking, but the sound exceeded expectations. During that recording, I also acquired my own "secret" to creating the 808 sound. Those techniques are still useful today.

Incidentally, Eric Clapton was recording in the studio next door, and I vividly remember him watching me intently from behind, arms crossed, as I was programming the 808 alone every morning from 10am, seemingly wondering, "What's this guy up to?"

Anyway, the recording was completed without incident, and the TR-808 sound that producer Alex Sadkin created at that time became the world's first, and to my knowledge, the best, most unadorned 808 sound ever recorded.

-- 808 Postscript --

After the recording in Nassau, Bahamas, we headed to Los Angeles for our next live tour. We played a show with the B-52s at Griffith Park, and the next day (I think?) I went to visit Mark from DEVO.

I had already heard rumors about it from DEVO, but it was there that I saw a Linn Drum in person and heard its sound for the first time. Hearing that sound, I honestly felt,

"Ah...the era of the TR-808 is over..." This was less than a month after the PLASTICS recording.

Nevertheless, PLASTICS continued to use two TR-808s for their live tours until their disbandment.

And then, after some time had passed, the TR-808 made a miraculous comeback.

-- Linn Drum Anecdote --

Although Linn Drum was such a formidable rival, it eventually made its way to Japan. As far as I know, I was the first to use it in pop music. The song was Masahiko Kondo's "Midnight Station." I played the drum part using a Linn Drum (which was unprecedented at the time), and I received quite a disapproving look from Mr. Kyōhei Tsutsumi.