If you say so duck...

That is so hilarious!🙃

eti313 same bill Gerber who managed devo?

Like techno David Bowies. Kinda sound like him, too.

They should of won an award for being fake shite.

yaa, miming like a good isnt he

He's bouncing around like he had 10 cups of coffee. Cute!

I totally agree! He is the bouncing around like a little cute bunny!🐰

Anthony Washburn they were on American bandstand as well.

I didn't know there was ever Solid Gold without Marilyn McCoo.

I love his voice too!

They had a falling out with HL. Later reconciled. HL had greater success, but Heaven 17 is way better.

the linn drum mk1 sample playback and digital, first of its kind designed by roger linn, sounds sampled from a ludwig drum kit and his own claps all by Art wood in 1979. machine became available in early 1980 as a finished commercial product and heaven 17 programmed this drum pattern themselves anc used eventide harmonizer and lexicon sound processors.

No, they're saying "move it move it" not swear words! motion being the broader theme of the song.

@@leesusan9073 I was referring to the lyrics of “we live so fast…no time to waste…we can’t stand still..” i was wondering if life was going to move fast as a 12 yr old. And it did ! 😢

In answer to your question. the drums are not in any way "synthetic" as they are digital sample playback from the Linn drum mk1. The linn was put into various effects processors here on this tune, namely eventide, lexicon etc to good effect,, changing the characters of the handclap and tom sounds. Heaven 17 programmed the linn themselves, it is a totally intuitive easy to use but quite comprehensive drum machine for 1979 when it was first created by roger linn. It's the first drum machine to use 27 khz samples companded to 35 khz also digital, all samples were individuality tunable two octaves, linn is the first to have quantization correction, rolls flams odd timing signitures and shuffle swing incriment timing features,, easy internall recorability to chain patterns into its ample memory, 100 fully sequenced song patterns can be stored, The lin drum has outputs for each of the 15 sounds, which of course means you would have full creative control over how to process each individual sound, all samples were dry with no filtering so you could beef up or reverb in whatever ways. the linn can sound startlkngly real depending hlw you tune sounds or sound real but synthy by way of heavy proccessing. You can change the eproms chips containing the sound samples for a new drum set or more live sounding samples or ethnic types. Synth analogue sounds were never explored at the time with this drum machine, as people wanted to move away from analogue blip blops and boops approximations. I like the hand clap sample as it sounds so punchy like someone getting their face slapped! its that sharp. A man call Art wood, performed the drum shots and claps, he used a ludwig set of drums used in disco settings etc, he used teak wood sticks and that is left on the final samples, so that the bass drum and toms can be stick hitty, but if you open up the machine , theres a t c o filter that lets you dampen or sharpen the stick hit effect on the main drums. people who casually listen often erroniously think its "clicky" but upon deeper listening one realises the perfection sound wise and then timing wise and that its actually stick hits upon the samples Snare drum was finger scratched to give a "laid back". slightly lagged feel,, but thats also tight at the same time, roger linn deliberately left audio mistakes in the final sound, as it gave sharp depthful punchy character and this was also pre midi standards in house sound sampling, the hi hat chips sample was actually sampled on a long loop so that there were variations to each hihat, you could correct so as to have audably perfect glitchless hihats if preffered. when one fully considers the time in which this drum unit was created between 1978 early 79, it has to be said that roger linns far sighted creativity And enginuity using a then new and simple computer audio recording program in its infancy for sampling individual sounds and all tye first time available timing features he used like digital quantization etc, it just can't be underestimated as to how this changed how cut and paste type music creation would so very quickly change how music would be made and perceived from that point on, The british artists and advertising industry took this on fairly quick in the uk , and in the early part of 1981 a myriad of artists including oldsters such as elton john began using this american created drum macnine, the americans ironically were much more resistant to commercial music made by computers and synths etc in the mainstream of that same time, So it meant much fewer american artists took it up until around mid 82 ish, prince being one of the artists of 82 to take it on, but donna summer was the very first artist who featured the linn drum on her 1980 album, the wanderer on a track called "Grand illusion" herbie hancock also used it on 1 track in 1980, stevie wonder also, but the first group to record their entire album with it was the human league with martin rushent in the uk over spring to late summer 1981, Dare, being a runaway success and showing a very nuanced use pete shelley also used it that yr on homosapien album, heaven 17 on penthouse and pavement, altered images, trevor horn the producer used it on his adventures in recording album of 1981 even the philharmonic uk orchestra with hooked on classics showcased the linn drum! so we were hearing it all the time along with fairlight cmi and emulator samplers on hit records in 81, but a very a good example of the genre where lots of so called found sounds and vocals being sampled on the emulator,, was the october 1981 hit by dave stewart and barbara gaskins cover of "it's my party" this was one of the first examples of a no.1 hit, where sampling was overtly extensively usued in a piece of popular music, a gong , a segull, barbs voice, churchbells that slide down etc all used to very dramatic effectt, they used simmons drums rather than linn. kate bush, visage, peter gabrel, talking heads all used sampling in 1980 on their albums and singles, 81 was the benchmark yr in the uk for the real beginnings of polished synth and sampled sound pop music. 86 87 was the real start of whole phrase sampling mostly by hip hop dance artists etc,, with a few 1984 examples where a whole loop would be used, if your interested at all? check out a song by singer Mari wilson called "lets make this last" here you will note and hear the beginnings of rave trance dance music type sound sampling loops etc, theres a mix called the stereo loop mix this was recorded in the uk in late 1983 by mike mansfield very very innovative and ahead but too ahead to be taken seriously by casual listeners as its club oriented but also tuney and songful too... oddly! but advanced of breakdance type music as it has late 80's early 90's music tropes in their you'll know when you hear it.. There you have it all the things you didnt want to know but you'll here it anywah lol.,

the drum machine used sampled real drums and percussion, its call the linn drum mk1 its digital, and its the deliberate signal proccessing thats fake sounding upon the sounds as oppossed to the actual samples themselves. the linn is still one of the best sounding drum machines even today. and yes a drummer in situ seems silly when its a sophisticated drum unit used.