Devo was an unusual group from the beginning in that they started with a philosophy and built their group from that. The name comes from their theory of De-Evolution, which is that “instead of continuing to evolve, mankind has actually begun to regress, as evidenced by the general dysfunction and herd mentality of American society.” At times used as a satire, but often the theory seems to be taken seriously by the group. It informed not only their early music, but also their visuals, which often evoked fascist conformity (and clearly borrowed heavily from Kraftwerk). The music was purposefully mechanical and soulless. Some didn’t get the joke or the irony, typically clueless Rolling Stone magazine disliked them from the beginning, calling them “fascist clowns.” Others were impressed. Early backers included Neil Young (who had them score one of his films before they released their debut and borrowed heavily from them on his own controversial Trans album), David Bowie (who helped secure them a record deal), Iggy Pop and Brian Eno (who produced their debut).
If you want to take the generous view, you could say the arc of their music has been an elaborate exposition of their de-evolution theories, because it has been a steady decline in quality and creativity. I’m not sure that is what they meant to do, though. Perhaps they just lost inspiration and ran out of ideas. Their early work is amongst the most important and creative of the New Wave era. The first four records are the only ones you need to hear, you can dismiss the rest of their discography altogether, although their most recent release was a nice return to, I would say, 1980-81 era form.
Hardcore Devo: Vol. 1 (compilation of demos) (1974-77/1990) ***
Hardcore Devo: Vol. 2 (compilation of demos) (1974-77/1991) ***
If we are going chronologically, we start here. Before their remarkable debut, Devo already had developed their unique musical philosophy. There are a handful of early versions of tunes that would appear on their first two records or as early singles, but the vast majority of this material is released here for the first time. It is primitive (all recorded on four track) but wonderfully weird. So weird at times it is a little spooky. Essential for fans who are curious as to the origins of the band, and quite a few of these songs, like “Mechanical Man,” “Auto Modown,” “I Been Refused” and the creepy misogynistic “Bamboo Bimbo” really do stand out.
This is why they are important, this is why they are great. Devo’s debut stands as one of the best and most innovative New Wave releases and from its own geeky perspective, it out-punks punk music because it really is subversive vs. being just empty attitude. “Uncontrollable Urge” and “Gut Feeling / (Slap Your Mammy)” rock really hard, something usually not associated with Devo. Their de-evolution theories are on full display – “Mongoloid,” “Too Much Paranoias” and manifesto “Jocko Homo.” But the greatest example of what they stand for is their transformative, shocking (at the time) cover of The Rolling Stones’ “(I Can’t Get No) Satisfaction.” It is just remarkable. All soul and flesh is sheered off to make a tense, robotic song that somehow exhibits even more frustration than the original. The key to the song and to this whole record, really, is that with the off putting robotic rhythms and jerky singing (from primarily Mark Mothersbaugh) the tension is wound up to unbearable levels but, crucially, is never released. There is no resolution to the tension. I cannot recommend this record enough. Also, Devo are primarily a traditional rock band on this record, the electronics and synths are in the background. That will change soon and they will become almost completely mechanized, again a realization of their theories of societal de-evolution into a mechanized, small minds/big technology black hole.
I’ve got a soft spot for the sophomore effort. I spent many an hour in the early 80’s listening to DNFTF whilst playing my Atari 2600. It goes well with Atari games. Absolutely it is a letdown from the phenomenal debut, has some filler and starts to tread a little on novelty territory (“Pink Pussycat”), but it still manages to be disturbing in some ways, like with “Triumph of the Will,” which, as Allmusic states, “embraces fascism as a satirical target without bothering to make it sound as if they disapprove.” When it was released it was panned by critics, but its reputation has improved dramatically over the years. In fact, DNFTF is now regarded as a pioneering record it its own right as it is one of the earliest new wave records to feature heavy use of synthesizers, paving the way for the synth pop of much of the 80’s. Like it or not. The highlights are really strong, like the Devolved cover of “Secret Agent Man,” the great, creepy “The Day My Baby Gave Me a Surprize,” “Clockout,” the unnerving “SIB (Swelling Itching Brain),” and concert staple “Smart Patrol/Mr. DNA.”
Freedom of Choice (1980) ***
DEV-O Live (live) (EP/Full Show) (1980/1981/1999) ***/****
The switch to synth pop band was completed with FOC, which was their biggest commercial success (thanks in large part to the popularity of “Whip It”). From here on out they are a much less interesting band. “Whip It” and “Girl U Want” stand as two of their most lasting songs, and a handful of others here are good. But there is a sameness that creeps in with the reliance on synths. The live EP was expanded to a full show in 1999, and it is fantastic. Surprisingly (due to their reliance on synthesizers and programming), Devo were a great live band. The sound is fuller than in the studio and they play with a lot of energy, and the FOC material is uniformly stronger live than in the studio.
ABOVE: The video for "Whip It" was a staple on MTV in the early 80's
New Traditionalists (1981) ***
New Traditionalists – Live in Seattle 1981 (live) (1981/2013) ****
The last remotely important or good Devo record (well, their latest is good), NT was a reaction to their popular success. Their reaction was not real positive. Disdainful of casual fans of “Whip It” who didn’t bother to understand their whole de-evolution message, the fantastically snide “Through Being Cool” serves as a new manifesto. Synthesizers are even more prominent, and while there is a sameness that falls over the entire record, it is a pretty cool sound. “Jerkin’ Back and Forth,” “Beautiful World” and “Super Thing” are also highlights. As with the previous record, NT now has a tour document available that is excellent.
Oh No! It’s Devo! (1982) *1/2
Shout (1984) *
Total Devo (1988) *
Now It Can Be Told: DEVO live at the Palace (live) (1989) NR
Smooth Noodle Maps (1990) *
If they wanted to prove their de-evolution theory musically, they have done a superlative job. These are terrible and unlistenable. Lacking in inspiration, memorable songwriting or good playing. ON!ID! is of interest due to their controversial decision to turn one of John Hinckley, Jr.’s poems into a song (the would-be-assassin of Ronald Reagan), and Hinckley is given co-writing credit. The only track worth hearing from Shout is actually a fantastically Devolved version of Hendrix’s “Are You Experienced?” But that is it. Mark once said that he wanted Shout to prove that guitars were obsolete and everything in music could now be mechanized. Maybe so, but does that also have to mean good songwriting is also obsolete?
E-Z Listening Disc (1981/1984/1987) ***
In 1981 and 1984, Devo offered cassettes to members of their fan club of them doing some of their better known songs as Muzak. In ’87, they released a disc of these efforts. A gimmick, sure. But listening to the disc, much of it is quite creative and fits right in with later self-aware synth cool lounge acts. Obviously I don’t listen to this regularly, but when I do pop it in it always brings a smile. They were successful in what they were trying to do, and the instrumental, tongue-in-cheek smooth versions of their songs often do reveal a surprisingly strong sense of melody underlying their tunes that can be covered up by the synthetic, jarring, jerky sound of the originals. And there is more variety and interesting things going on here than in real elevator music. It would be a strange, quirky dentist indeed who would have this playing in his office.
Something Else For Everybody (2013) **1/2
Devo justly disbanded after 1990’s SNM, but their comeback record is good and has a lot of life in it. The guitars make a welcome return to help balance the still heavily used synths. There are some memorable pop songs here, and “No Place Like Home” is as beautiful as it is unexpected. They had a trove of songs, and so allowed their fans to pick the tracklist online. SEFE contained the leftovers. They also released some singles during this period that were good, especially the humorous “Don’t Roof Rack Me, Bro (Seamus Unleashed)” (a song from the perspective of Mitt Romney’s dog who was notoriously put in his kennel and tied to the roof of the car for a long family road trip).
Devo’s Greatest Hits (compilation) (1990) ***
Devo’s Greatest Misses (compilation) (1990) ***
Hot Potatoes: The Best of Devo (compilation) (1994) ****
Pioneers Who Got Scalped: The Anthology (compilation) (2000) ****
Testifying from personal experience, it is exceedingly hard to put together a good Devo compilation that hits the high points, gives an accurate view of the band at their best, and yet avoids the massive amount of bad material. Hot Potatoes is probably the best single disc collection if you can still find it. Hits and Misses should be both owned or neither. They are companion pieces. PWGS is a good double disc collection that is generous with rarities, but comparing the brilliant first disc with the crap on disc 2 does tell the story of their decline better than any words could.
In sum, Devo started out with the potential to be one of the most significant bands of the New Wave era and beyond. They were smart, subversive and just catchy enough. But the debut is the only truly brilliant record they made, and after the fourth record they were simply horrible. But having the debut and then cherry picking songs from the rest does provide a potent set of songs.
No comments:
Post a Comment