Well the difference there of course is that guitar hero has a prescribed pattern - there's a logic to his composition here, but it's also very free in that the percussion is all micro-edited - I'd be surprised if the fills and pattern variations weren't spontaneous inventions.

I think percussion is the most apt analogy in comparing this to other music - regular players on the drum kit aren't just glorified dance-dance revolutionaries, are they?

Horray for percussion! I love it all, and this was quite an awesome vid to watch.

When Frank Zappa Produced an Album....he did it the only way possible, the Frank way...
Musicians

* Frank Zappa – guitar, keyboards, vocals, arranger, producer, main performer, assistant
* Tommy Mars – keyboards, vocals, soloist
* Patrick O'Hearn – wind, bass guitar
* Scott Thunes – vocals, Minimoog, synthesizer, bass guitar
* Johnny "Guitar" Watson – vocals, guitar
* Ray White – guitar, vocals, backing vocals, choir, chorus, harmony vocals, harmony
* Moon Unit Zappa – vocals
* Ed Mann – percussion
* Chad Wackerman – drums, vocals
* Ike Willis – vocals, backing vocals, choir, chorus, harmony vocals, harmony
* Arthur Barrow – bass guitar
* Napoleon Murphy Brock – saxophone, vocals, harmony vocals, harmony
* Brad Cole – piano
* Roy Estrada – vocals, backing vocals, choir, chorus, harmony, bass guitar
* Bob Harris – keyboards, vocals, harmony vocals
* Thana Harris – vocals, harmony
* Steve Vai – guitar, soloist, fills
* Dweezil Zappa – soloist, guitar
* George Duke – keyboards, vocals, piano
* Bobby Martin – keyboards, saxophone, vocals, falssetist, harmony vocals, harmonica

Tags changed from "superleet" to "superleet, percussion, drums, indian" by gold star member bizinichi.

They do blow my mind. I used to do winterguard in high school, and we were pretty damn good. I haven't watched any band, guard, or percussion stuff in awhile, and I recently thought of searching youtube for them, and decided to share them with the sift community.

Nusrat is great! I really enjoy the percussion in qawwali. There is also some great guitar work in "Ag Ishq Di" from his Album "Nusrat Fateh Ali Kan - A Master Supreme"

You know IMHO I think the whole 'arts' label is crutching the LEMUR's possibility into breaking mainstream radio play

How about posting this into ARTS? http://www.youtube.com/watch?v=Eo0H8ztju78, it's the premiere of all-robotic version of George Antheil's infamous Dada piece for 16 player pianos and percussion orchestra which is far more Art then the lovely obscure techno beats of the video I sifted! thankyouverymuchandhaveniceday!

*Runs off quickly*

Tags changed from "drum" to "drum,percussion,drumming,pots,pans" by gold star member winkler1.

Old link (dupe). Still good stuff. Might want to replace the old video with this version as this is much cleaner and minus the annoying logo.

Just like to personally thank you for the percussion post. Very nice, and much appreciated.

*relief* Harmonic percussion froma high school band.

From the masses: What? No 'Eye of the Tiger'?

Lovely and much appreciated. In my day, I remember having to play patriotic type crap. If a beat was missed, you'd have either a baton or a sheet-music stand tossed at you.

This reminds me a LOT of the electro-acoustic band I was in back in high school. Sure it was fun, but it got really frustrating after a few years. We had all this kick ass synth gear, with SO much potential- Korg MS20, Vocoder and Sequencer, Moog MG-1, a half dozen drum machines, guitars, clarinet, two dozen effects pedals, microphones, probably close to a hundred different found sound percussion instruments (aka junk, except junk that happened to sound cool when you hit it- for example an old HD that was probably about 15 inches in diameter), cords everywhere, a couple of PCs, an Atari ST... it was such an AMAZING studio, and we just went every week and played with it. I have probably close to 100 hours of recordings of us screwing around with that gear.

...

And for all of that potential- nobody seemed to be interested in actually making "real" music. It was "experimental" which seemed to be mostly formless noodling.

Anyway, the technology in this video really should be in the hands of mashup artists. Hell, any proper DJ, really. I think it would be good to have kind of as a plug-in to your mixer. Ready, set, mix- "ok, the new track is in and three, two, one- FREAK IT UP!" flip the switch and unleash this madness for a few bars.

Actually!! Take Track A that is playing, and use the freakulator to mimic it with sounds from Track B- slowly mix that in, then increase the grain size until it just sounds like a weird chop of the track you're about to play, then BOOM- let them have it with Track B.

This would totally be awesome to play with.

Musically trained in London and schooled in the club scene of mid-'60s New York, Mulatu Astatke stands as the exceptional musical innovator of the Ethiopian groove. Starting in 1969, he created the first bands independent of the military, which had previously dominated the country's music scene. Having immersed himself in Caribbean music, funk, jazz and Latin grooves during his lengthy stint abroad, Mulatu returned to his native land to give rise to a brand new sound.

An album of instrumentals, Ethiopiques Volume 4 is a case study in the inventive blending of influences that comprised the Ethiopian groove. Strains of funk and reggae timings permeate the thick and chunky bass lines, which are pushed prominently forward in the mix. Multiple saxophones swirl with the hypnotic, snake-charming sounds of the East, while at the same time resonating with jazzy tones reminiscent of John Coltrane and Lester Young. Guitar is a main ingredient here, growling with funky distorted wah-pedaled fuzz riffs that sound like they were lifted straight out of an early '70s black-exploitation flick. Drums and percussion combine the punchy funk of James Brown and the Meters with the heavy Latin rhythms of Mongo Santamaria and Willie Bobo. Fusing all of these elements together, Mulatu unleashes a potent brew of afro-jazz grooves that pull you in and leave you in a mystical trance-like state.

From http://either-orchestra.org/mulatu.html

Wow! Not bad for a 15-year-old song and video. This song was the shining gem of a wonderfully relaxing album. Until I listened to it for the first time, I had never heard of open water being used as a percussive instrument for any melody - except for that "drop of water" sound that's sometimes mingled with sonar pings for an oceanic effect.

Speaking of water-like, the only other music that I can think of which reproduces the soothing water effect is Spencer Nilsen's soundtrack called Ecc
o: Songs of Time, based on his music for the video game series.

this track is called Lufuala Ndonga, from Konono No.1's first album, Congotronics 1.

more about the band (from its website):

KONONO N°1
'CONGOTRONICS'

KONONO N°1 was founded over 25 years ago by Mingiedi, a virtuoso of the likembé (a traditional instrument sometimes called "sanza" or "thumb piano", consisting of metal rods attached to a resonator). The band's line-up includes three electric likembés (bass, medium and treble), equipped with hand-made microphones built from magnets salvaged from old car parts, and plugged into amplifiers. There's also a rhythm section which uses traditional as well as makeshift percussion (pans, pots and car parts), three singers, three dancers and a sound system featuring these famous megaphones.

The musicians come from an area which sits right across the border between Congo and Angola. Their repertoire draws largely on Bazombo trance music, but they've had to incorporate the originally-unwanted distorsions of their sound system. This has made them develop a unique style which, from a sonic viewpoint, has accidentally connected them with the aesthetics of the most experimental forms of rock and electronic music, as much through their sounds than through their sheer volume (they play in front of a wall of speakers) and their merciless grooves."