Style: Post Punk, New Wave. Similar Artists: Thomas Dolby, Soft Cell. Recording year: Warner Bros, 2010.
Coming in way above their previous effort, 1990’s Smooth Noodle Maps, Something for Everybody is the album Devo's fans had craved for 28 long years, or maybe 29, if you fall on the sour side of the iffy Oh, No! It's Devo. The synthetic, compressed, and punchy production -- courtesy of producer and Bird & the Bee member Greg Kurstin -- is a modern take on the sound of 1981’s New Traditionalists, and if you judge by hooks, this is right in line with their 1980 breakthrough, Freedom of Choice, although there’s certainly no “Whip It”-sized megahit here. Instead, there’s the opening “Fresh!” a herky-jerky, infectious number with lead singer Mark Mothersbaugh stuttering as if he just created New Wave’s “My Generation.” The wicked highlight “Don’t Shoot (I’m a Man)” (“They’ll hunt you down/And tase you bro/For playing with the rules”) is the album’s other key track, thanks to Mothersbaugh’s perfect framing of de-evolution’s give (hybrid cars) and take, take, take (Beltway snipers, overzealous cops, etc.). Both highlights are co-produced by Santigold who, like Kurstin, checks her ego at the door, allowing the five spud boys to sound like a functioning band. The twangy guitars of Bob 1 are perfectly balanced with the synths and electronic percussion from new member Josh Freese, while Mothersbaugh’s ironic downers are complemented by co-frontman Jerry Casale’s more snide and silly songs, and the two attempts to re-create the sarcastic grandeur of their masterpiece “Beautiful World” -- with “Later Is Now” and “No Place Like Home” -- come pretty darn close. While some will complain that the satirical social commentary just isn’t as razor-sharp, and that the wild, primal nerdiness of their first two efforts is long gone, the purposeful Something for Everybody is proudly not a nostalgia trip and is, instead, filled with age-appropriate subversion, right up to its ironic title. "Something for Veteran Fans" is more like it with "Something Surprisingly Vital" being an even better choice.
Similar Artists: Softcell, Eurythmics, Thomas Dolby.
Recording Year: Warner Bros., 1990.
Formed in Akron, OH, in 1972 by Kent State art students Jerry Casale and Mark Mothersbaugh, Devo took its name from their concept of "de-evolution" -- the idea that instead of evolving, mankind has actually regressed, as evidenced by the dysfunction and herd mentality of American society. Their music echoed this view of society as rigid, repressive, and mechanical, with appropriate touches -- jerky, robotic rhythms; an obsession with technology and electronics (the group was among the first non-prog rock bands to make the synthesizer a core element); often atonal melodies and chord progressions -- all of which were filtered through the perspectives of geeky misfits. Devo became a cult sensation, helped in part by their concurrent emphasis on highly stylized visuals, and briefly broke through to the mainstream with the smash single "Whip It," whose accompanying video was made a staple by the fledgling MTV network. Sometimes resembling a less forbidding version of the Residents, Devo's simple, basic electronic pop sound proved very influential, but it was also somewhat limited, and as other bands began expanding on the group's ideas, Devo seemed unable to keep pace. After a series of largely uninteresting albums, the band called it quits early in the '90s, and Casale and Mothersbaugh concentrated on other projects.
Gerald Casale and Mark Mothersbaugh both attended art school at Kent State University at the outset of the 1970s. With friend Bob Lewis, who joined an early version of Devo and later became their manager, the theory of de-evolution was developed with the aid of a book entitled The Beginning Was the End: Knowledge Can Be Eaten, which held that mankind had evolved from mutant, brain-eating apes. The trio adapted the theory to fit their view of American society as a rigid, dichotomized instrument of repression which ensured that its members behaved like clones, marching through life with mechanical, assembly-line precision and no tolerance for ambiguity. The whole concept was treated as an elaborate joke until Casale witnessed the infamous National Guard killings of student protesters at the university; suddenly there seemed to be a legitimate point to be made. The first incarnation of Devo was formed in earnest in 1972, with Casale (bass), Mark Mothersbaugh (vocals), and Mark's brothers Bob (lead guitar) and Jim, who played homemade electronic drums. Jerry's brother Bob joined as an additional guitarist, and Jim left the band to be replaced by Alan Myers. The group honed its sound and approach for several years (a period chronicled on Rykodisc's Hardcore compilations of home recordings), releasing a few singles on its own Booji Boy label and inventing more bizarre concepts: Mothersbaugh dressed in a baby-faced mask as Booji Boy (pronounced "boogie boy"), a symbol of infantile regression; there were recurring images of the potato as a lowly vegetable without individuality; the band's costumes presented them as identical clones with processed hair; and all sorts of sonic experiments were performed on records, using real and homemade synthesizers as well as toys, space heaters, toasters, and other objects. Devo's big break came with its score for the short film The Truth About De-Evolution, which won a prize at the 1976 Ann Arbor Film Festival; when the film was seen by David Bowie and Iggy Pop, they were impressed enough to secure the group a contract with Warner Bros.
While 1979's Duty Now for the Future was another strong effort, the band broke through to the mainstream with 1980's Freedom of Choice, which contained the gold-selling single "Whip It" and represented a peak in their sometimes erratic songwriting. The video for "Whip It" became an MTV smash, juxtaposing the band's low-budget futuristic look against a down-home farm setting and hints of S&M. However, Devo's commercial success proved to be short-lived. 1981's New Traditionalists was darker and more serious, not what the public wanted from a band widely perceived as a novelty act, and Devo somehow seemed to be running out of new ideas. Problems plagued the band as well: Bob Lewis successfully sued for theft of intellectual property after a tape of Mothersbaugh was found acknowledging Lewis' role in creating de-evolution philosophy, and the sessions for 1982's Oh, No! It's Devo were marred by an ill-considered attempt to use poetry written by would-be Ronald Reagan assassin John Hinckley, Jr. as lyrical material.
This compilation, released concurrently with Greatest Hits, collects some of the band's stranger experiments, early album tracks, and a few rarities, such as the Booji Boy releases of "Be Stiff" and "Mechanical Man" (both available on the Hardcore compilations) and a U.K. B-side, "Penetration in the Centerfold." It does serve as a good supplement to the Greatest Hits collection, even if it is a bit haphazard, but listeners who want more than one Devo disc are advised to go ahead and purchase the first three albums rather than these two compilations -- it's a better way to appreciate their achievements, and it's more entertaining.
