Hubbry Logo
DevoDevoMain
Open search
Devo
Community hub
Devo
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Devo
Devo
Devo
View on Wikipedia
from Wikipedia

Devo[a] is an American new wave band from Akron, Ohio, formed in 1973. Their classic line-up consisted of two sets of brothers, the Mothersbaughs (Mark and Bob) and the Casales (Gerald and Bob), along with Alan Myers. The band had a No. 14 Billboard chart hit in 1980 with the single "Whip It", the song that gave the band mainstream popularity.

Key Information

Devo's music and visual presentation (including stage shows and costumes) mingle kitsch science fiction themes, deadpan surrealist humor and mordantly satirical social commentary. The band's namesake, the tongue-in-cheek social theory of "de-evolution", was an integral concept in their early work, which was marked by experimental and dissonant art punk that merged rock music with electronics. Their output in the 1980s embraced synth-pop and a more mainstream, less conceptual style, though the band's satirical and quirky humor remained intact. Their music has proven influential on subsequent movements, particularly on new wave, industrial, and alternative rock artists, as well as an internet microgenre originally known as “devo-core”.[10] Devo (most enthusiastically Gerald Casale) was also a pioneer of the music video format.[11]

History

[edit]

1973–1978: Formation

[edit]

The name Devo comes from the concept of "de-evolution" and the band's related idea that instead of continuing to evolve, mankind had begun to regress, as evidenced by the dysfunction and herd mentality of American society.[12] In the late 1960s, this idea was developed as a joke by Kent State University art students Gerald Casale and Bob Lewis, who created a number of satirical art pieces in a devolution vein. At this time, Casale had also performed with the local band 15-60-75 (The Numbers Band). They met Mark Mothersbaugh around 1970, a talented keyboardist who had been playing with the band Flossy Bobbitt.[13] Mothersbaugh brought a more humorous feel to the band, introducing them to material like the pamphlet "Jocko Homo Heavenbound",[14] which includes an illustration of a winged devil labelled "D-EVOLUTION" and would later inspire the song "Jocko Homo".[15] The "joke" about de-evolution became serious following the Kent State massacre of May 4, 1970. This event would be cited multiple times as the impetus for forming the band Devo.[16] Throughout the band's career, they have often been considered a "joke band" by the music press.[17][18]

The first form of Devo was the "Sextet Devo" which performed at the 1973 Kent State performing arts festival.[13][19] It included Casale, Lewis and Mothersbaugh, as well as Gerald's brother Bob Casale on guitar, and friends Rod Reisman and Fred Weber on drums and vocals, respectively. This performance was filmed and an excerpt was later included on the home video release The Complete Truth About De-Evolution. This lineup performed only once.[20] Devo returned to perform in the Student Governance Center (featured prominently in the film) at the 1974 Creative Arts Festival with a lineup including the Casale brothers, Bob Lewis, Mark Mothersbaugh, and Jim Mothersbaugh on drums.

The band continued to perform, generally as a quartet, but with a fluid lineup including Mark's brothers Bob Mothersbaugh and Jim Mothersbaugh. Bob played electric guitar, and Jim provided percussion using a set of home-made electronic drums. Their first two music videos, "Secret Agent Man" and "Jocko Homo", which both appeared in The Truth About De-Evolution, were filmed in Akron, and Cuyahoga Falls, Ohio, the hometown of most members. This lineup of Devo lasted until late 1975 when Jim left the band. Lewis would sometimes play guitar during this period, but mainly stayed in a managerial role. In concert, Devo would often perform in the guise of theatrical characters, such as Booji Boy and the Chinaman. A recording of an early Devo performance from 1975 with the quartet lineup appears on Devo Live: The Mongoloid Years (1992), ending with the promoters unplugging Devo's equipment.[12]

Following Jim Mothersbaugh's departure, Bob Mothersbaugh found a new drummer, Alan Myers, who played on a conventional, acoustic drum kit. Casale re-recruited his brother Bob Casale, and the lineup of Devo remained the same for nearly ten years.

Devo gained some fame in 1976 when their short film The Truth About De-Evolution, directed by Chuck Statler,[21] won a prize at the Ann Arbor Film Festival. This attracted the attention of David Bowie, who began work to get the band a recording contract with Warner Music Group. In 1977, Devo were asked by Neil Young to participate in the making of his film Human Highway.[22] Released in 1982, the film featured the band as "nuclear garbagemen". The band members were asked to write their own parts and Mark Mothersbaugh scored and recorded much of the soundtrack, his first of many.[23]

In March 1977, Devo released their first single, "Mongoloid" backed with "Jocko Homo", the B-side of which came from the soundtrack to The Truth About De-Evolution, on their independent label Booji Boy. This was followed by a cover of the Rolling Stones' "(I Can't Get No) Satisfaction".

In 1978, the B Stiff EP was released by British independent label Stiff, which included the single "Be Stiff" plus two previous Booji Boy releases.[24] "Mechanical Man", a 4-track 7-inch extended play (EP) of demos, an apparent bootleg, but actually put out by the band, was also released that year.[25][failed verification]

1978–1980: Recording contract, Q: Are We Not Men? A: We Are Devo!, and Duty Now for the Future

[edit]
Live performance in Atlanta, Georgia, 1978: Bob Casale and Gerald Casale

Recommendations from David Bowie and Iggy Pop enabled Devo to secure a recording contract with Warner Bros. in 1978. After Bowie backed out of the business deal due to previous commitments, their first album, Q: Are We Not Men? A: We Are Devo!, was produced by Brian Eno and featured rerecordings of their previous singles "Mongoloid" and "(I Can't Get No) Satisfaction".[26] On October 14, 1978, Devo gained national exposure with an appearance on the late-night show Saturday Night Live, a week after the Rolling Stones, performing "(I Can't Get No) Satisfaction" and "Jocko Homo".

The band followed up with Duty Now for the Future in 1979, which moved the band more towards electronic instrumentation. While not as successful as their first album, it did produce some fan favorites with the songs "Blockhead" and "The Day My Baby Gave Me a Surprize" [sic], as well as a cover of the Johnny Rivers hit "Secret Agent Man". "Secret Agent Man" had been recorded first in 1974 for Devo's first film and performed live as early as 1976. In 1979, Devo traveled to Japan for the first time, and a live show from this tour was partially recorded. Devo appeared on Don Kirshner's Rock Concert in 1979, performing "Blockhead", "Secret Agent Man", "Uncontrollable Urge", and "Mongoloid". Also in 1979, Rhino, in conjunction with the Los Angeles radio station KROQ-FM, released Devotees, a tribute album. It contained a set of covers of Devo songs interspersed with renditions of popular songs in Devo's style.[27]

Devo actively embraced the parody religion Church of the SubGenius.[28] In concert, Devo sometimes performed as their own opening act, pretending to be a Christian soft rock band called "Dove (the Band of Love)", which is an anagram of "Devo". They appeared as Dove in the 1980 televangelism spoof film Pray TV.

1980–1982: Mainstream breakthrough, Freedom of Choice, and New Traditionalists

[edit]

Devo gained a new level of visibility with 1980's Freedom of Choice. This album included their best-known hit, "Whip It", which quickly became a Top 40 hit. The album moved to an almost completely electronic sound, with the exception of acoustic drums and Bob Mothersbaugh's guitar. The tour for Freedom of Choice was ambitious for the band, including dates in Japan, the United Kingdom, France, Germany, Italy, the Netherlands, and Canada.[29] The band used a minimalist set including large custom light boxes which could be laid on their back to form a second, smaller stage during the second half of the set. Other popular songs from Freedom of Choice were "Girl U Want", the title-track, and "Gates of Steel". The band released popular music videos for "Whip It" and "Girl U Want". Devo made three appearances on the TV show Fridays in 1980 and 1981, as well as on Don Kirshner's Rock Concert, American Bandstand, and other shows. The band members often wore red, terraced energy dome hats as part of its stage outfit. The dome was first worn during the band's Freedom of Choice campaign of 1980. It reappeared in the 1981, 1982, and 1988 tours, as well as in most of their performances since 1997. Devo also recorded two albums of their own songs as elevator music for their fan club, Club Devo, released on cassette in 1981 and 1984. These were later re-released on the album E-Z Listening Disc (1987), with all but two of the original Club Devo songs. These songs were often played as house music before Devo concerts.

In August 1981, the band's DEV-O Live EP spent three weeks at the top of the Australian charts.[30] In 1982, they toured Australia and appeared on the TV show Countdown. Devo enjoyed continued popularity in Australia, where the nationally broadcast 1970s–1980s pop TV show Countdown was one of the first programs in the world to broadcast their video clips. They were given consistent radio support by Sydney-based non-commercial rock station Double Jay (2JJ) and Brisbane-based independent community station Triple Zed (4ZZZ), two of the first rock stations outside America to play their recordings. The late-night music program Nightmoves aired The Truth About De-Evolution.

In 1981, Devo contributed a cover of "Working in the Coal Mine", recorded during the Freedom of Choice sessions, to the film Heavy Metal. They offered the song to be used in the film when Warner Bros. refused to include it on the album. Warner then included it as an independent bonus single accompanying their 1981 release, New Traditionalists. For this album Devo wore self-described "Utopian Boy Scout uniforms" topped with a "New Traditionalist Pomp"—a plastic half-wig modeled on the hairstyle of John F. Kennedy. Among the singles from the album was "Through Being Cool", written as a reaction to their new-found fame from "Whip It" and seen as a response to new fans who had misinterpreted the message behind the hit song. The album's accompanying tour featured the band performing an intensely physical show with treadmills and a large Greek temple set. That same year they served as Toni Basil's backing band on Word of Mouth, her debut album, which included versions of three Devo songs, recorded with Basil singing lead.[31][32]

1982–1987: Oh, No! It's Devo, Shout, and Myers' departure

[edit]

Oh, No! It's Devo followed in 1982. Produced by Roy Thomas Baker, the album featured a more synth-pop-oriented sound than its predecessors. According to Gerald Casale, the album's sound was inspired by reviewers alternately describing them as both "fascists" and "clowns".[33] The album's tour featured the band performing seven songs in front of a 12-foot high rear-projection screen with synchronized video, an image recreated using blue screen effects in the album's accompanying music videos. Devo also contributed two songs, "Theme from Doctor Detroit" and "Luv-Luv", to the 1983 Dan Aykroyd film Doctor Detroit, and produced a music video for "Theme from Doctor Detroit" featuring clips from the film interspersed with live-action segments.

The band's sixth studio album, Shout (1984), which featured extensive use of the Fairlight CMI digital sampling synthesizer, was received poorly, and the expensive music video they'd produced for their cover of the Jimi Hendrix Experience's "Are You Experienced?" was criticized by some as being "disrespectful", all of which caused Warner Bros. to buy out the remainder of Devo's contract.[34] Shortly thereafter, Myers left the band, citing creative unfulfillment.[35]

In the interim, Mark Mothersbaugh began composing music for the TV show Pee-wee's Playhouse and released an elaborately packaged solo cassette, Musik for Insomniaks, which was later expanded and released as two CDs in 1988.

1987–1991: Total Devo, Smooth Noodle Maps, and breakup

[edit]

In 1987, Devo re-formed with former Sparks drummer David Kendrick to replace Myers. Their first project was a soundtrack for the horror film Slaughterhouse Rock (1988), starring Toni Basil. The band released the album Total Devo in 1988, on Enigma Records. This album included two songs used in the Slaughterhouse Rock soundtrack. The song "Baby Doll" was used that same year in the comedy film Tapeheads, with newly recorded Swedish lyrics, and was credited to (and shown in a music video by) a fictitious Swedish band called Cube-Squared. Devo followed this up with a world tour, and released the live album Now It Can Be Told: Devo at the Palace in 1989. However, Total Devo was not a commercial success and received poor critical reviews.[36][additional citation(s) needed]

In 1989, members of Devo were involved in the project Visiting Kids, releasing a self-titled EP on the New Rose label in 1990.[37] The band featured Mark's then-wife Nancye Ferguson, as well as David Kendrick, Bob Mothersbaugh, and Bob's daughter Alex Mothersbaugh. Their record was produced by Bob Casale and Mark Mothersbaugh, and Mark also co-wrote some of the songs. Visiting Kids appeared on the soundtrack to the film Rockula, as well as on Late Night with David Letterman. A promotional video was filmed for the song "Trilobites".

In 1990, Smooth Noodle Maps, Devo's last album for twenty years, was released. It too was a critical and commercial failure which, along with its two singles "Stuck in a Loop" and "Post Post-Modern Man", were Devo's worst-selling efforts; all failed to appear on the U.S. charts.[38] Devo launched a concert tour in support of the album, but poor ticket sales and the bankruptcy and dissolution of Enigma Records, which was responsible for organizing and financing the tour, caused it to be cancelled part way through.

In 1990, the members of Devo, bar Bob Mothersbaugh, appeared in the film The Spirit of '76. Two albums of demo recordings from 1974 to 1977, namely Hardcore Devo: Volume One (1990) and Hardcore Devo: Volume Two (1991), were released on Rykodisc, as well as an album of early live recordings, Devo Live: The Mongoloid Years (1992).

The band played one final show in March 1991 before breaking up. In an interview with Mark Mothersbaugh concerning their 1996 computer game Devo Presents Adventures of the Smart Patrol, he explained, "Around '88, '89, '90 maybe, we did our last tour in Europe, and it was kind of at that point, We were watching This Is Spinal Tap on the bus and said, 'Oh my God, that's our life.' And we just said, 'Things have to change.' So we kind of agreed from there that we wouldn't do live shows anymore."[citation needed]

1991–1996: Hiatus

[edit]

Following the split, Mark Mothersbaugh established Mutato Muzika, a commercial music production studio, along with Bob Mothersbaugh and Bob Casale.[39] Mothersbaugh meant to further a career as a composer, and the latter worked as an audio engineer. Mothersbaugh has had considerable success writing and producing music for television programs, including Pee-wee's Playhouse and Rugrats, video games, cartoons, and films, where he worked alongside director Wes Anderson. David Kendrick also worked at Mutato for a period during the early 1990s. Gerald Casale began a career as a director of music videos and commercials, working with bands including Rush, Soundgarden, Silverchair and the Foo Fighters. In the wake of Devo's dissolution, Bob Mothersbaugh attempted to start a solo career with The Bob I Band, recording an album that was never released. The tapes for this are now lost, though a bootleg recording of the band in concert exists and can be obtained through the bootleg aggregator Booji Boy's Basement.[40]

While they did not release any studio albums during this period, Devo sporadically reconvened to record a number of songs for various films and compilations, including a new recording of "Girl U Want" on the soundtrack to the 1995 film Tank Girl[41] and a cover of the Nine Inch Nails hit "Head Like a Hole" for the 1996 North American version of the film Supercop.

1996–2007: Reunion

[edit]

In January 1996, Devo performed a reunion concert at the Sundance Film Festival in Park City, Utah. The band performed on part of the 1996 Lollapalooza tour in the rotating Mystery Spot. On these tours and most subsequent tours, Devo performed a set-list mostly composed of material from between 1978 and 1982, ignoring their Enigma Records-era material. Also in 1996, Devo released a multimedia CD-ROM adventure game, Adventures of the Smart Patrol with Inscape. The game was not a success, but the Lollapalooza tour was received well enough to allow Devo to return in 1997 as a headliner. Devo performed sporadically from 1997 onwards.

In 1999, the Oh, No! It's Devo era outtakes "Faster and Faster" and "One Dumb Thing", as well as the Shout era outtake "Modern Life", were restored, completed and used in the video game Interstate '82, developed by Activision and released. Also that year, Mothersbaugh started the Devo side-project The Wipeouters, after their band in junior high,[42][43][44] featuring himself (keyboards, organ), Bob Mothersbaugh (guitar), Bob Casale (guitar), and Mutato Muzika composer Josh Mancell (drums). The Wipeouters performed the theme song to the Nickelodeon animated series Rocket Power, and in 2001 they released an album of surf rock material, titled P'Twaaang!!!.[45][46][47][48][49]

By 2000, Devo's online fandom continued to grow, leading to 'DEVOtional', a Devo fan convention held annually in Cleveland, Ohio. The festival was most recently held in September 2024.[50]

In 2005, Devo recorded a new version of "Whip It" to be used in Swiffer television commercials, a decision they have said they regretted. During an interview with the Dallas Observer, Gerald Casale said, "It's just aesthetically offensive. It's got everything a commercial that turns people off has."[51] The song "Beautiful World" was also used in a re-recorded form for an advertisement for Target stores. Due to rights issues with their back catalog, Devo has re-recorded songs for films and advertisements.

In 2005, Gerald Casale announced his "solo" project, Jihad Jerry & the Evildoers (the Evildoers, including the other members of Devo), and released the first EP, Army Girls Gone Wild in 2006. A full-length album, Mine Is Not a Holy War, was released on September 12, 2006, after a several-month delay. It featured mostly new material, plus re-recordings of four obscure Devo songs: "I Need a Chick" and "I Been Refused" (from Hardcore Devo: Volume Two), "Find Out" (which appeared on the single and EP of "Peek-a-Boo!" in 1982), and "Beehive" (which was recorded by the band in 1974, whereupon it was apparently abandoned, with the exception of one appearance at a special show in 2001). Devo continued to tour actively in 2005 and 2006,[52] unveiling a new stage show at appearances in October 2006, with the Jihad Jerry character performing "Beautiful World" as an encore.

Also in 2006, Devo worked on a project with Disney known as Devo 2.0. A band of child performers was assembled and re-recorded Devo songs. A quote from the Akron Beacon Journal stated, "Devo recently finished a new project in cahoots with Disney called Devo 2.0, which features the band playing old songs and two new ones with vocals provided by children. Their debut album, a two disc CD/DVD combo entitled DEV2.0, was released on March 14, 2006. The lyrics of some of the songs were changed for family-friendly airplay, which has been claimed by the band to be a play on irony of the messages of their classic hits."[53]

Mark Mothersbaugh performing live with Devo at the Festival Internacional de Benicàssim, 2007 (Gerald Casale vacuum forms thermoplastic using an Art Deco lamp as a mold, with a hat liner, to make the "energy" helmets)[54]

In an April 2007 interview, Gerald Casale mentioned a tentative project for a biographical film about Devo's early days.[55] According to Casale, a script was supposedly in development, called The Beginning Was the End. Devo played their first European tour since 1990 in the summer of 2007, including a performance at Festival Internacional de Benicàssim.

2007–2013: Something for Everybody

[edit]

In December 2007, Devo released their first new single since 1990, "Watch Us Work It", which was featured in a commercial for Dell.[56] The song features a sampled drum track from the New Traditionalists song "The Super Thing". Casale said that the song was chosen from a batch that the band was working on, and that it was the closest the band had been to releasing a new album.[57]

Devo performing live at Festival Hall, in Melbourne, Australia, 2008: Casale and Mothersbaugh.

Devo performed at the South by Southwest (SXSW) festival in March 2009,[58] unveiling a new stage show with synchronized video backdrops (similar to the 1982 tour), new costumes, and three new songs: "Don't Shoot, I'm a Man!", "What We Do", and "Fresh". On September 16, Warner Bros. and Devo announced rereleases of Q: Are We Not Men? A: We Are Devo! and Freedom of Choice, as well as a subsequent tour, where they would perform both albums in their entirety.[59]

A new album, Something for Everybody, was eventually released on June 15, 2010,[60] preceded by a 12-inch single of "Fresh"/"What We Do" on June 10.[61] Devo was awarded the first Moog Innovator Award on October 29, during Moogfest 2010 in Asheville, North Carolina. The Moog Innovator Award has been said to celebrate "pioneering artists whose genre-defying work exemplifies the bold, innovative spirit of Bob Moog".[62] Devo was scheduled to perform at Moogfest, but Bob Mothersbaugh severely injured his hand three days prior, and the band was forced to cancel. Mark Mothersbaugh and Gerald Casale collaborated with Austin-based band the Octopus Project to perform "Girl U Want" and "Beautiful World" at the event instead.[63]

The band split from Warner Bros in 2012 and launched a new "post-Warner Brothers" website that would offer "new protective gear" and "unreleased material from the archives in vinyl disc format".[64] In August of that year, the band released a single called "Don't Roof Rack Me, Bro (Seamus Unleashed)", dedicated to the Republican Party presidential candidate Mitt Romney's former pet dog Seamus. The title refers to the Mitt Romney dog incident of 1983, when Romney travelled twelve hours with the dog in a crate on his car's roof rack.[65]

On June 24, 2013, the group's former drummer Alan Myers died of stomach cancer[35][66] in Los Angeles, California. He was 58. News reports at the time of his death incorrectly cited brain cancer as the cause.[35][67][68] One month later, Devo released their Something Else for Everybody album, which collected "Unreleased Demos and Focus Group Rejects" from 2006–2009.[69] Gerald Casale had earlier teased the album in a 2012 interview with Billboard magazine.[70]

2014: Hardcore Devo Tour, Bob Casale's death

[edit]

On February 17, 2014, founding member Bob Casale died of heart failure at age 61.[71] Shortly afterwards, the group, a quartet for the first time in 38 years, embarked on their Hardcore Devo Tour, a ten-show tour across the US and Canada between June 18 and July 2, 2014.[72] The tour focused on material the group had written before the release of their first album, which was largely written when the group were a quartet. Partial proceeds for the ten shows went to support Bob Casale's family after his sudden death. The show featured the group performing material written during 1974–1977.[73] The June 28 Oakland show was filmed and later released as the concert film Hardcore Devo Live!, released on Blu-ray, DVD, and Video on Demand on February 10, 2015, accompanied by CD and double-vinyl audio releases.[74][75]

2014–present: Current activities

[edit]

Immediately following from the Hardcore tour, Devo continued to tour a 'greatest hits' style show.[72] Josh Hager joined the band at this time, playing guitar[76] and keyboards.[77] On April 29, 2016, Devo performed at Will Ferrell and Chad Smith's Red Hot Benefit.[78]

On May 22, Robert Mothersbaugh Sr., father of Mark, Bob, and Jim Mothersbaugh, died. Robert had portrayed General Boy in various Devo films.[79]

In 2017, the official Twitter account for the Are We Not Men? documentary film, which had been in production since 2009,[80] stated that "the film was finished years ago" and that "mm [Mark Mothersbaugh] is blocking its release".[81] Jeff Winner, who was consulting producer for the Devo documentary, went on to state that he and director Tony Pemberton[82][better source needed] had "delivered the film that was contracted, and on schedule. It's now in the hands of the band to decide when/how it's released/distributed."[83]

Devo headlined the Burger Boogaloo festival in Oakland, California, on June 30, 2018, with comedian and former Trenchmouth drummer Fred Armisen on drums.[84] On October 12, 2020, Devo performed at the Desert Daze festival, with Jeff Friedl on drums.[85]

In January 2021, Funko released two Devo Funko Pops inspired by the group's "Whip It" and "Satisfaction" music videos.[86] One month later, the band starred in Devolution: A Devo Theory, a television documentary based entirely on their theory of devolution,[87] which had been completed in 2020.[88] In September, Devo performed a short three-date tour of the USA, including a show at Riot Fest.[89] These performances marked the return of Josh Freese on drums,[90] who had not played live with Devo in over five years.

Shortly afterwards, Gerald Casale announced the release of an official Devo potato-based vodka through the Trust Me Vodka brand. The packaging for the drink was themed around Devo imagery and featured original artwork. It was signed by the group's co-founders Gerald Casale and Mark Mothersbaugh, as well as Bob Mothersbaugh.[91]

On October 24, 2021, John Hinckley Jr posted on Twitter that he had not received any royalties for Devo's song "I Desire" in 35 years. "I Desire" had been written by Mark Mothersbaugh and Gerald Casale for their 1982 album Oh, No! It's Devo, inspired by a poem written by Hinckley that was published in a tabloid newspaper, following his attempt to assassinate then-current president Ronald Reagan. Hinckley had been adequately credited for his contributions through a co-writing credit on all releases. Casale claimed that Devo were not at fault, as it was the publishing company's duty to pay him, not the band's.[92]

Devotional 2021, an annual convention for Devo fans, was held on November 5–6, with the annual 5KDEVO race taking place on the 7th.[93] On November 15, it was announced that Devo would perform a one-off show at the Rooftop at Pier 17 on May 18, 2022, in order to make up for their cancelled Radio City Music Hall gig in September 2021.[94] Tickets went on sale on the 18th.[95]

In December, it was announced that rare images of Devo would feature in a book of rock photography from 1977–1980 titled HARD + FAST, to be released on February 1, 2022. The book will also include a 7-inch single of live recordings from the band, which were also released on SoundCloud prior to the book's release.[96] The recordings were dated 1977, but the performances are identical to those found on an audience bootleg recorded on October 10, 1978.[97]

Devo were nominated for induction into the Rock and Roll Hall of Fame in 2018, 2021 and 2022.[98][99][100]

On May 14 and 15, 2022, Devo performed at the Cruel World Festival at the Rose Bowl's Brookside golf course in Pasadena, California,[101] followed three days later by their performance at The Rooftop at Pier 17.[94]

In a February 20, 2023, article by the Akron Beacon Journal promoting the film Cocaine Bear, Mothersbaugh announced that the group would celebrate the year as their 50th anniversary, and that he had plans for Devo to remain active for 50 more years. He also stated that he, Gerald Casale and Bob Mothersbaugh were all interested in touring.[102] This was followed by the announcement of a European tour, taking place between August 8th and 19th of 2023, with shows at London's Eventim Apollo,[103] Øyafestivalen in Norway, Way Out West festival in Sweden, Flow Festival in Finland, Green Man Festival in Wales,[104][105] and Luna Fest in Portugal.[106] This was followed in November and December by a string of shows in the USA and Australia.[107]

Mark Mothersbaugh (centre left), Gerald Casale (centre right) and Bob Mothersbaugh (second to the right) at the premiere of the documentary about the band at the 2024 Sundance Film Festival

On January 21st, 2024, Devo, a Chris Smith directed documentary on the band premiered at Sundance Film Festival,[108][109] with the group performing at the event.[110] The film was produced and financed by BMG, Fremantle Documentaries, and Warner Music Entertainment, and according to a statement by the band "explores Devo's evolution from hippie artistes to art-rockers with a message, to their unexpected mainstream success as a hit rock band and the pioneers of the MTV age,"[111][112] following the group's career arc up to its status as "elder statesmen".[113] Smith was executive producer on Tiger King,[114][115] which had been scored by Mark Mothersbaugh, with Bob Mothersbaugh co-scoring its first season.[116][117]

Between May 4th and 26th, Devo underwent another short US tour, including a show at the Andy Warhol Museum[118] and at this same time, Mothersbaugh released an art book titled Apotropaic Beatnik Graffiti.[119] On the June 5th, 2024, a collaboration between David Byrne and Devo was released. The recording was an early version of Byrne's song "Empire", recorded during the sessions for his 1997 Feelings album, seven years before the song appeared on his Grown Backwards album.[120][121]

On February 14, 2025, Devo appeared on Saturday Night Live's SNL50: The Homecoming Concert special, performing "Uncontrollable Urge" with Fred Armisen again serving as drummer. In late 2025, they will co-headline with the B-52s on the "Cosmic De-Evolution" tour in 2025, with Lene Lovich as the opening act.[122]

Band members

[edit]

Current

  • Gerald Casale – lead and backing vocals, bass, keyboards (1973–1991, 1996–present)
  • Mark Mothersbaugh – lead and backing vocals, keyboards, occasional guitar (1973–1991, 1996–present)
  • Bob Mothersbaugh – lead guitar, backing and occasional lead vocals (1974–1991, 1996–present)
  • Josh Freese – drums, percussion[123][124] (1996–present)
  • Josh Hager – guitar, keyboards, backing vocals (2014–present)

Timeline

[edit]

Discography

[edit]
Main article: Devo discography

Studio albums

Notes

[edit]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Devo

View on Grokipedia
from Grokipedia

Devo is an American new wave band formed in Akron, Ohio, in 1973 by Mark Mothersbaugh, Gerald Casale, and associates inspired by the Kent State University shootings and broader societal disillusionment. The group's name derives from "de-evolution," a concept positing that humanity, rather than advancing, is regressing toward primitive instincts amid technological and cultural decay—a theory rooted in observations of post-Vietnam War America and mechanized conformity. Comprising core members (vocals, keyboards), and (guitars), (bass, vocals), and Alan Myers (drums), Devo debuted with the 1978 album Q: Are We Not Men? A: We Are DEVO!, produced by , blending punk energy with synthetic rhythms. Their breakthrough came in 1980 with and the single "Whip It," a satirical critique of motivational platitudes that sold over two million copies and earned double platinum certification. Known for robotic stage attire, including hazmat suits and red plastic "" hats, Devo's performances and early music videos exemplified a man-as-machine aesthetic, influencing visual and sonic innovations in popular music.

History

1973–1977: Formation and early experimentation

Devo originated in , where and , both former students, formed the band in 1973 as a response to the societal upheavals they observed, particularly the National Guard's shooting of student protesters on May 4, 1970, which Casale witnessed firsthand. The event, resulting in four deaths and nine injuries, crystallized their view of cultural regression amid political chaos, prompting initial collaborations that blended experimentation with performance elements. Early lineups included Mothersbaugh on vocals and synthesizers, Casale on bass and vocals, and rotating members like on guitar, emphasizing a DIY approach in Akron's post-industrial "Rubber City" environment, where factory closures and economic stagnation shaped themes of mechanized redundancy. The band's initial output focused on theatrical live shows as an art project, featuring primitive synthesizers such as the , custom projected visuals, and exaggerated "mutant" personas to satirize conformity. Between December 1976 and March 1977, Devo performed ten times at The Crypt, a repurposed bar in Akron's , honing a spastic, robotic stage presence that drew small crowds and occasional , including one instance where they were paid $50 to end a set early. These gigs underscored their of self-reliance, with homemade costumes and props amplifying the local decay's influence on their redundant, machine-like aesthetic. Conceptual foundations emerged through media like the 1976 short film In the Beginning Was the End: The Truth About De-Evolution, directed by Chuck Statler with Devo's input, which depicted factory workers transforming into performers to illustrate regression motifs via clips of "Secret Agent Man" and "Jocko Homo." Accompanying this was a de-evolution pamphlet, evolving from earlier satirical ideas including the "Jocko Homo" tract, distributed to articulate their observational framework drawn from empirical societal breakdowns. In March 1977, they self-released their debut single "Mongoloid" backed with "Jocko Homo" on Booji Boy Records, a vanity label named after a Mothersbaugh character, pressing limited copies to promote their raw, tape-recorded sound without external backing. This period solidified Devo's commitment to integrated audio-visual experimentation, predating wider recognition while rooted in Akron's gritty, autonomous scene.

1978–1981: Recording debut and initial breakthrough

Devo signed a recording contract with Warner Bros. Records in early 1978, aided by endorsements from and , who had viewed footage of the band's performances and advocated for their signing due to the group's unconventional approach. The band's debut album, Q: Are We Not Men? A: We Are Devo!, followed on , 1978, produced by at studios in , , from October 1977 to February 1978. The record showcased Devo's signature style, including high-pitched "spud-boy" vocals evoking detached conformity and angular reinterpretations of covers like ' "(I Can't Get No) Satisfaction." It sold approximately 500,000 copies in the United States, attaining gold certification by 2007 despite modest initial chart performance peaking at No. 78 on the Billboard 200. The follow-up, Duty Now for the Future, arrived on July 27, 1979, self-produced with assistance from Roy Thomas Baker, marking a pivot toward denser synthesizer integration and a darker, more electronic tone compared to the debut's rawer edge. This evolution reflected Devo's growing emphasis on synthetic instrumentation, drawing from affordable keyboards like the EML 200 and ARP Odyssey to craft robotic textures amid the punk-to-new-wave transition. Live performances during this era featured precise, synchronized choreography that amplified the band's mechanical aesthetic, fostering a cult audience in underground venues tied to the punk and new wave circuits rejecting 1970s arena rock bombast. Their anti-heroic satire resonated causally with the scenes' disdain for excess, positioning Devo as intellectual outliers amid rawer acts. Breakthrough accelerated with on May 16, 1980, which introduced the plastic "energy dome" headgear in live sets to symbolize energy recirculation, enhancing visual synchronization. The album's lead single "Whip It," released August 1980, became Devo's first major hit, reaching No. 14 on the after 25 weeks on the chart, propelled by its quirky video gaining early airplay despite network hesitance toward non-conventional acts. This success transitioned Devo from niche appeal to broader recognition, with album sales surpassing prior efforts and solidifying their role in new wave's commercial ascent.

1981–1988: Commercial peak, shifts, and internal tensions

Devo's fourth studio album, , released on September 16, 1981, by Records, marked the band's commercial zenith, peaking at No. 23 on the chart. The lead single "" reached No. 102 on the and No. 14 in , while the band incorporated covers like "," featured on the Heavy Metal soundtrack and performed live on programs such as ABC's Fridays. This period saw Devo playing arena venues, including the Metropolitan Sports Center in , on October 13, 1981, reflecting sustained touring momentum amid mainstream exposure. Subsequent releases signaled shifts toward pop-oriented experimentation under label expectations for broader appeal. , issued in October 1982, debuted at No. 96 and climbed to No. 47 on the , with singles like "Peek-a-Boo" emphasizing synthesizer-driven hooks over earlier punk edges. By 1984's , produced with heavy sampling, the band pursued accessibility, but the album stalled commercially, peaking at No. 83 on the and prompting to drop Devo. later attributed such pivots to post-Duty Now for the Future pressures from to deliver hits, diluting the group's original analog, DIY rooted in Akron's industrial experimentation. Internal frictions compounded these creative strains. Original co-founder Bob Lewis's 1978 lawsuit against the band and for intellectual property theft—alleging uncredited contributions to Devo's concepts and early recordings—fostered lingering resentments, as Lewis sought compensation after the success of Q: Are We Not Men? A: We Are Devo!. Tensions peaked post-Shout when drummer Alan Myers departed around 1985, citing creative unfulfillment amid the push for radio-friendly material; Devo recruited Sparks' for 1987's soundtrack work. Critics of mainstream dilution often overlook empirical tour data, such as 1981-1982 arena dates sustaining fan engagement, yet causal pressures from label demands demonstrably eroded the band's autonomous, de-evolutionary purity, prioritizing chart viability over conceptual rigor.

1988–1996: Later albums, breakup, and hiatus

Devo's seventh studio album, , was released in May 1988 by , marking the band's return after a four-year gap since (1984). The record featured a mix of synth-driven tracks and covers like a new wave rendition of Elvis Presley's "," aiming to blend the group's signature robotic aesthetic with contemporary elements. It peaked modestly on dance charts with singles such as "" reaching No. 45 on Billboard's Hot Dance Club Play, but overall commercial performance was lackluster amid shifting tastes favoring emerging and over and new wave. Critics often highlighted the album's perceived overreliance on stylistic quirks at the expense of musical depth, contributing to its underwhelming reception. The band's eighth album, Smooth Noodle Maps, followed in June 1990, still under Enigma, with production emphasizing smoother, groove-oriented synth textures in tracks like "Stick Up" and "Go Monkey Go." Reviews were generally dismissive, portraying it as a misguided pivot that diluted Devo's edge into generic pop experimentation, with little radio support or chart traction. Supporting tours suffered from dismal ticket sales and audience turnout, exacerbated by the label's financial instability and the broader market pivot away from 1980s synth acts toward rawer genres like grunge, which eroded new wave's viability. Enigma Records' bankruptcy in early 1991 sealed the immediate crisis, as unpaid royalties and distribution failures left the band without viable promotion or funds. These setbacks culminated in Devo's official in 1991, following just two final shows amid mounting frustrations over creative direction and commercial irrelevance. Internal dynamics, including documented clashes over —such as preferences for synth-heavy versus guitar-based sounds—compounded fatigue from years of touring and label woes, prompting members to diverge into solo endeavors. , in particular, founded Mutato Muzique to focus on film and television scoring, leveraging Devo's experimental ethos for projects like . The period from 1991 to 1996 saw no new releases or commitments, with occasional reunion teases fizzling due to persistent egos and lack of momentum, solidifying the hiatus as a response to empirical market rejection rather than deliberate artistic choice.

1996–2014: Reunions, final album, and key losses

Devo reunited in 1996 after nearly a decade of inactivity, performing at the on January 26 in , and undertaking a short run of dates on the tour, including a set on August 4 at in . These appearances marked the original lineup's return to live performance without new recordings, emphasizing selections from their catalog amid a festival circuit that exposed them to younger audiences alongside acts like Metallica and . The band remained sporadic in output through the early 2000s before releasing on June 15, 2010, their first studio album in 20 years, issued by Warner Bros. Records. Recorded between 2007 and 2009 with production led by and band input, the effort incorporated fan-voted tweaks from over 40,000 online submissions at clubdevo.com, aiming to recapture early new wave energy through synth-driven tracks like "Fresh" and "What We Do." Critics noted its fidelity to Devo's robotic, satirical , though commercial performance was modest, underscoring sustained interest rather than mainstream revival in a fragmented digital market. Intermittent touring resumed post-album, with 2010-2013 dates including U.S. headline shows and festival slots tied to career milestones, such as 35th-anniversary nods to their debut, sustaining fanbase engagement without resolving internal creative tensions. This momentum was abruptly disrupted by the death of guitarist on February 17, 2014, at age 61 from precipitated by recent medical complications, including treatment. As a founding member alongside brother , Bob's rhythm guitar and engineering roles had anchored Devo's precise sound; his loss severed familial and logistical ties central to the band's operations, precluding further reunions for original material. In response, Devo mounted the Hardcore Devo Tour from June to July 2014, delivering 10 dates of pre-1978 basement-era songs like "Mechanical Man" and "Bamboo Bimbo," drawn from unreleased archives. A June 28 performance at Oakland's Fox was later documented as Hardcore Devo Live!, serving as an archival tribute amid grief, with the tour proceeding via substitutes like on drums to honor early experimentation rather than pursue new evolution. This effort highlighted causal fractures from Casale's absence, shifting focus from potential studio revival to historical preservation and effectively concluding the classic lineup's viability.

2014–present: Touring focus, farewell events, and future uncertainty

Following the death of in February 2014, Devo adopted a touring-oriented approach with a streamlined core of (vocals, keyboards), (vocals, bass), (guitar), and (drums), supplemented by additional live musicians such as and Dave Kendrick. This configuration enabled sustained performances without new studio output, prioritizing high-energy renditions of catalog material amid persistent fan interest. The "50 Years of De-Evolution" tour commenced in 2023, celebrating the band's origins with setlists emphasizing hits like "Whip It" and "Peek-A-Boo!" alongside deeper cuts, and extended into 2025 as "50 Years of De-Evolution... Continued!" with 10 North American dates from May 1 in Philadelphia to August 29 in Las Vegas, including stops in Boston (May 9), Cleveland, Detroit, Toronto, and Denver. In June 2025, Devo revealed the co-headlining "Cosmic De-Evolution Tour" with the B-52's and special guest Lene Lovich Band, comprising 11 shows starting September 24 in Toronto and ending November 2 in Houston, featuring dual sets of new wave staples. Key engagements included the Hollywood Bowl on October 18 and 19, where the band delivered extended performances drawing over 17,000 attendees per night. Further 2025 festival slots underscored this live emphasis, such as a May 15 appearance at Kilby Block Party in Salt Lake City, where Devo's set of tracks including "Uncontrollable Urge" and "Girl U Want" energized a multi-generational crowd. Looking ahead, the band confirmed participation in Coachella 2026 on April 10-12 and 17-19 in Indio, California, billed alongside acts like Iggy Pop and David Byrne. Absent from announcements are intentions for fresh recordings, with resources allocated instead to reissues and enhancements like the October 2025 upscaled remaster of the 1990 "Post Post-Modern Man" video, restoring its satirical visuals for modern platforms. Interviews reveal a deliberate deceleration toward , with Casale, then 77, stating in October 2025 that "it takes a long time to say goodbye" due to the emotional and logistical inertia of disbanding a 50-year entity, compounded by age-related physical demands that constrain innovation while live audiences—often including younger fans via viral rediscoveries—sustain viability. This phase coincides with the August 2025 Netflix release of the documentary DEVO, directed by Chris Smith, which chronicles the band's trajectory from Kent State roots to cultural icon status and earned an 85% score for its archival depth, though Casale has noted in promotions its selective framing of internal dynamics.

Musical style and innovations

Core elements and instrumentation

Devo's music is characterized by a mechanical, repetitive aesthetic rooted in new wave and , employing spastic rhythms generated through analog synthesizers and s to evoke deliberate inefficiency rather than seamless futurism. This approach diverged from contemporaries by prioritizing herky-jerky sequences over fluid grooves, achieved via tools like the , which provided rigid, programmable beats underpinning tracks such as those on New Traditionalists. Sequencers on Roland models like the JUPITER-8 further enabled locked-in loops that emphasized redundancy and precision, contrasting organic rock dynamics with metronomic exactitude delivered by drummer Alan Myers, described as the band's "human ." Central to this signature were monophonic and polyphonic synthesizers, starting with early adoption of EML models like the 500 and Poly-Box for portable, abrasive tones in the 1970s. Later integrations included the ARP Odyssey for "ugly" distorted leads on debut albums and the Moog Minimoog Model D for aggressive, sawtooth-based riffs, as in "Smart Patrol." Oberheim Two-Voice units appeared in later works like Something for Everybody (2007), contributing layered polyphony, while Roland SH-101 and D-50 added basslines and digital textures in the 1980s, often sequenced for staccato effects. These choices, influenced by Kraftwerk's electronic minimalism but subverted into primitivistic satire, favored raw, circuit-limited sounds over polished production. Guitars, handled primarily by , were deployed in detuned, choppy styles to mimic industrial clatter, eschewing traditional solos for manipulated tones—evident in early recordings where guitars simulated detuning amid electronic backdrops. Multi-tracked layering on TEAC 4-track recorders amplified this, blending with synths for a homogenized, android-like texture. Mark Mothersbaugh's vocals featured a nasal, robotic delivery, multi-tracked to achieve synthetic uniformity and rhythmic , reinforcing the band's dehumanized precision over emotive variance. This technique, paired with shortened structures averaging 2-3 minutes per track, prioritized punchy repetition, as in "Whip It" (2:38), to underscore stasis through looped motifs rather than narrative progression.

Evolution across eras


Devo's debut album Q: Are We Not Men? A: We Are Devo! (August 28, 1978) showcased a jagged punk-industrial aesthetic with angular guitars, robotic vocals, and rudimentary electronics, emphasizing dissonance over melody. By Freedom of Choice (May 16, 1980), the band refined this into synth-driven pop with infectious hooks, as in "Whip It," streamlining arrangements to appeal to mainstream radio amid pressures for commercial viability following modest initial sales. This polish extended through (August 1981) and (July 1982), but post-1982 releases saw declining chart positions, from 's No. 22 Billboard 200 peak to 's No. 47, prompting further adaptation. (October 1984) experimented aggressively with Fairlight synthesizers, drum machines, and reduced guitars, aiming for futuristic textures but resulting in lackluster songwriting and commercial flop, with poor reviews and no significant singles success, hastening Warner Bros. departure. In the 1990s, (June 1990) reverted toward guitar-centric new wave roots with elements and emerging digital effects, yet its synth-heavy leanings underscored persistent commercial struggles, peaking poorly and contributing to lineup fractures and hiatus. The 2010 comeback (June 2010) applied modern digital production—clean mixes and programmed elements—to revisit concise, hooky structures akin to early hits, balancing nostalgia with contemporary sheen without recapturing peak sales. Devo pioneered video synchronization with live acts, integrating promotional films and choreographed routines (e.g., uniform-clad precision moves during "Whip It" performances) that anticipated spectacles in concerts, though some analyses highlight how such innovations sometimes favored conceptual over evolving musical substance.

Ideology and

Origins of de-evolution theory

Gerald Casale, a Kent State University student, witnessed the May 4, 1970, shootings where Ohio National Guardsmen killed four unarmed students and wounded nine others during protests against the Vietnam War and the Cambodia incursion, interpreting the event as stark evidence of societal regression to irrational, herd-like behavior. Casale later described the incident as fundamentally altering his worldview, stating it "started discussions… and they led to this word – de-evolution," framing human responses as devolving into tribalism and devoid of logic rather than advancing toward enlightenment. This observation of causal breakdown in institutional and collective rationality formed the empirical core of the theory, prioritizing direct evidence of violence and conformity over abstract ideals of progress. Casale introduced the de-evolution concept to Mark Mothersbaugh shortly after, with Mothersbaugh embracing it as a lens for critiquing modern humanity's stagnation; the duo, alongside early collaborator Bob Lewis, formalized it as a rejection of unidirectional evolutionary optimism. Historical influences included Rev. B.H. Shadduck's 1924 anti-Darwinian pamphlet Jocko-Homo Heavenbound, published by Jocko-Homo Pub. Co. in Ohio and reprinted multiple times, which mocked claims of primate-to-human ascent by highlighting human folly and devolutionary tendencies through satirical illustrations and arguments like "Jocko Homo" (monkey man). Discovered amid 1970s Ohio cultural contexts, the pamphlet provided a textual precedent for questioning biological and societal "advancement," though Devo's version emphasized observable entropy in greed, consumerism, and stupidity as drivers of decline, not theological literalism. The theory posited causal realism in patterns like the Kent State chaos—where crowd dynamics and authority responses exemplified devolutionary stupidity over adaptive intelligence—countering narratives of inevitable industrial or cultural elevation amid evident decay and conformist inertia. Rather than biological reversal, it highlighted verifiable regressions in , such as unthinking violence and mass obedience, as entropy accelerating toward primitive states, debunking faith in unchecked progress by grounding claims in events like party disruptions faced by early Devo performances, which reinforced data on societal dumbing-down. Before musical fame, the concept circulated locally through artifacts like the 1976 short film The Truth About De-Evolution, scripted by Casale and Mothersbaugh and directed by Chuck Statler, which dramatized factory workers transforming into a primitive band, encapsulating the theory's vision of regressive impulses overriding civilization. This pre-commercial output distributed the idea in circuits, establishing de-evolution as an independent philosophical framework rooted in firsthand causal observations over metaphorical abstraction.

Applications in lyrics and visuals

In Devo's lyrics, de-evolution concepts critiqued perceived human regression through satirical portrayals of superiority and conformity. The song "," from the 1978 album Q: Are We Not Men? A: We Are Devo!, challenges the assumption that equates to , using phrases like "Are we not men?" to mock anthropocentric and imply devolved primate-like states. Similarly, "Whip It" from the 1980 album parodies self-improvement mantras, framing compulsive motivation as masochistic submission to societal pressures rather than advancement. ![Devo onstage, wearing their trademark bright yellow radiation suits](./assets/DevoEventim190823_41of6041_of_60 Visual elements reinforced these themes via symbols of uniformity and regression. Hazmat suits, worn in performances and the 1977 cover of "Satisfaction," evoked contamination and isolation from authentic , highlighting industrial decay's role in human devolution. Energy domes, introduced in 1981 for , represented stored psychic energy in a dystopian , ironically critiquing technological fixes for spiritual stagnation as futile anti-progress artifacts. The Booji Boy character, debuted in the 1976 short film The Truth About De-Evolution, depicted a simian-child hybrid to satirize cultural infantile regression, appearing in live shows and videos as a of devolved innocence. Lyrics like "" from targeted consumerism's hollow promises, with ironic refrains ("It's a beautiful world / For you") exposing discrepancies between marketed optimism and personal disillusionment, later evidenced by commercial uses omitting dissenting lines. Repetitive motifs in both lyrics and visuals—such as chant-like structures and uniform attire—mirrored media techniques, anticipating cultural "enshittification" through enforced sameness and over-stimulation. Band members, including , have cited such applications as prescient, as in a 2018 open letter linking de-evolution to contemporary political under figures like , affirming the philosophy's empirical foresight into societal decline. Critics, however, have viewed these elements as mere nihilistic gimmicks, prioritizing shock over substantive critique despite the band's consistent use of verifiable cultural observations.

Critiques of societal progress narratives

Devo's de-evolution theory fundamentally rejects the mainstream narrative of linear societal advancement, positing instead that human civilization exhibits regressive tendencies driven by thermodynamic and cultural complacency. Band members and articulated this as a response to perceived falsehoods in consumer-driven optimism, arguing that "linear progress in a consumer society was a lie" and that conditions were deteriorating rather than improving. This critique emphasizes biological and informational —irreversible disorder accumulation—over faith in technological or social engineering fixes, which the band viewed as inadequate against innate human devolutionary pressures. In a , Devo claimed empirical vindication of their predictions, linking de-evolution to observable 21st-century phenomena such as intensified and societal fragmentation, which they attributed to entropy's dominance in human endeavors. The letter highlighted how and consumer habits amplified herd-like behaviors, accelerating cultural decay rather than fostering enlightenment, with Casale describing the era as one where "we are drowning in a devolved world." This prescience, per the band's assessment, stemmed from early observations of suburban and institutional failures, contrasting sharply with utopian projections of perpetual improvement through or . Critics of de-evolution counter that it anthropomorphizes by implying a directional "" toward which humanity could regress, ignoring 's non-teleological and humanity's demonstrated adaptability via and cultural . Scientific perspectives argue no inherent exists in evolutionary outcomes, rendering "" a for mere functional losses or shifts, not a reversal of advancement. Additionally, some observers have questioned the theory's consistency with Devo's own market engagements, such as merchandising and advertising tie-ins, suggesting these pursuits mirrored the consumer they decried, though framed such activities as satirical extensions of their critique. These counterpoints underscore debates over whether de-evolution overemphasizes decay at the expense of evidence for adaptive resilience in human systems.

Band members

Core lineup and roles


Devo's core creative nucleus formed around two pairs of brothers: and , alongside Jerry Casale and . Mark Mothersbaugh handled lead vocals and synthesizers, serving as the primary musical architect responsible for melodies and visual concepts. Jerry Casale played bass and provided backing vocals, while driving the band's conceptual framework, including the development of de-evolution theory and production strategies. Bob Mothersbaugh contributed lead guitar, emphasizing rhythmic and textural elements in the band's sound. performed rhythm guitar and keyboards, supporting the layered instrumentation that defined Devo's new wave style. Alan Myers provided drums during the band's formative recording era, delivering the precise, mechanical rhythms central to their aesthetic. The interplay between the Mothersbaughs' melodic and visual innovations and the Casales' emphasis on ideological content and production fueled Devo's distinctive output, though fraternal dynamics occasionally generated creative friction. In contemporary touring configurations, and Jerry Casale remain the central figures, augmented by on guitar and on drums.

Departures and changes

Alan Myers departed Devo in 1985 following the release of the album Shout!, citing a lack of creative fulfillment as the band increasingly incorporated electronic programming and synthesizers, which reduced the emphasis on his precise, metronomic live drumming style. Myers' exit stemmed from professional frustrations over the group's evolving sound, which prioritized studio experimentation amid declining commercial success and internal stylistic rigidities. He was replaced by David Kendrick, formerly of Sparks, who joined in 1987 for the soundtrack to the film Slaughterhouse and subsequent projects, marking a transitional phase with more programmed elements. Earlier tensions contributed to lineup instability, including the 1976 exit of co-founder Bob Lewis, who sued the band in 1978 alleging theft of related to Devo's concepts and name, exacerbating egos and legal strains during their major-label breakthrough. The lawsuit, filed in , highlighted causal rifts over creative control and contributions, though Devo countersued for on ownership rights, ultimately settling but underscoring how personal and professional disputes nearly derailed momentum without prompting full dissolution due to emerging touring profitability. The death of guitarist on February 17, 2014, from triggered by complications from and a perforated stomach lining, represented the most significant recent change, eliminating any prospects for new studio material and shifting focus exclusively to live performances. described the loss as a shock that dismantled the band's core unit, yet financial viability from nostalgia-driven tours prevented disbandment; rhythm guitar and synth duties were assumed by Josh Hager, with handling drums since the mid-1990s. For the 2023–2025 farewell tours, including the "50 Years of De-Evolution... Continued" dates extending into 2025, Devo incorporated freelance support like Hager and Freese to sustain high-energy sets amid reduced core membership, prioritizing performance reliability over expansion. These adjustments reflect pragmatic adaptations to aging lineups and logistical demands, ensuring continued revenue from live shows without reverting to recording.

Timeline of membership

Devo formed in 1973 with on keyboards and vocals and on bass and vocals as founders, joined briefly by Bob Lewis on guitar (1973–1974), Fred Weber on vocals (1973), and Rod Reisman on drums (1973). In 1974, joined on and vocals (1974–present), on and keyboards (1974–2014, deceased February 17, 2014), and on electronic percussion (1974–1976). The classic five-piece lineup solidified in 1976 upon Alan Myers joining on drums (1976–1986), comprising , , , , and Myers; this configuration recorded the debut album Q: Are We Not Men? A: We Are Devo! in 1978 and remained stable through the mid-1980s. Myers departed in 1986 amid creative differences, leading to a hiatus; David Kendrick then handled drums for the 1988 album (1987–1991, with additional stints 1996–2004). The band reunited in 1996 for live performances, with assuming drums (1996–present for select recordings and tours, spanning nearly two decades initially). Following Bob Casale's death in 2014, Josh Hager joined on rhythm guitar and keyboards (2014–present); Jeff Friedl took over drumming duties for touring from around 2019, including the 2023 50th anniversary shows.
PeriodCore Active MembersKey Change/Note
1973–1974, Gerald Casale, Bob Lewis, Fred Weber, Rod ReismanFormation and early fluid shifts
1974–1976+ , , Expansion to brothers' involvement
1976–1986 & , & , Alan MyersClassic lineup for major releases
1987–1991Myers; + Post-hiatus albums
1996–2014+ (drums)Reunion era
2014–present; + Josh Hager; Jeff Friedl (drums touring)Current touring configuration

Discography

Studio albums

Devo released nine studio albums from 1978 to 2010, with commercial peaks during the early 1980s followed by declining sales and niche appeal in later years. The debut album, Q: Are We Not Men? A: We Are Devo!, was issued on August 28, 1978, by Records, reaching number 78 on the chart and number 26 on the , with estimated worldwide sales of 560,000 units. Duty Now for the Future followed in September 1979 on Records but failed to chart significantly on major US or UK album rankings. , released May 16, 1980, on Records, peaked at number 22 on the US 200 and sold over 1 million copies in the United States, achieving platinum certification. appeared in August 1981 on Records, attaining number 23 on the US 200. Oh, No! It's Devo! came out in July 1982 on Warner Bros. Records, charting at number 148 on the US . Shout, released October 1, 1984, on Warner Bros. Records, did not enter the top 100 on the US or . After a hiatus, Total Devo was issued in May 1988 on , with no notable chart entries in major markets. Smooth Noodle Maps, released August 28, 1990, on , similarly achieved limited commercial visibility without top-chart placements. The final studio album, , emerged on June 15, 2010, via Devo's independent imprint, peaking at number 160 on the US and reflecting sales under 100,000 units amid niche distribution.

Key singles and compilations

Devo's most commercially successful single, "Whip It," released in August 1980 from the album , peaked at number 14 on the chart and remained on the chart for 15 weeks. The track's distinctive received extensive rotation on , contributing to the band's increased visibility during the early era of the network, as "Girl U Want"—the preceding single from the same album—failed to register on major charts. Other notable singles included covers like "" (1978), which achieved moderate airplay but no Hot 100 entry, underscoring Devo's reliance on "Whip It" for mainstream breakthrough amid a discography dominated by album-oriented releases rather than consistent 45 RPM hits. Compilations played a role in sustaining Devo's catalog post-1980s, with Greatest Hits issued in December 1990 by Warner Bros. Records, compiling remixed and standard versions of tracks including "Whip It," "," and "Jerkin' Back 'n' Forth." This anthology emphasized the band's new wave phase, drawing from studio albums without live material, and served as a amid shifting formats from vinyl singles to CD-era collections. Later efforts like Pioneers Who Got Scalped: Who Will Survive and What Will Be Left of Them? (2000) aggregated rarities, B-sides, and live recordings, highlighting early punk influences and unreleased demos to appeal to archival fans rather than chart-driven audiences. These releases reflected causal adaptations to , extending accessibility of pre-MTV era material like "" beyond original 7-inch pressings.

Live and other releases

Devo's live recordings capture the band's energetic performances, often emphasizing their synchronized stage routines and satirical visuals. The EP DEV-O Live, recorded on August 16, 1980, at the Fox Warfield Theatre in San Francisco during the Freedom of Choice tour, was initially issued as a four-track promotional release in 1980 and expanded to a full album in 1981, featuring tracks like "Whip It" and "Girl U Want." A 1999 reissue added further material from the same show, totaling 22 tracks with some duplicates and remixes. In 1989, the band released Now It Can Be Told: DEVO at the Palace, a live album from a performance at the Palace Theatre in Los Angeles, highlighting their mid-career touring phase amid declining commercial success. Later archival efforts formalized earlier bootlegs and fan-circulated tapes. DEVO Live 1980, released in 2005, revisited the Warfield performance with additional mixes, while Live 1981 emerged in 2022, drawing from European tour dates to showcase raw energy post-. The 2014 release Miracle Witness Hour compiled 1970s live material, including Kent State-era sets, underscoring Devo's roots before major-label deals. Post-2010 touring, spurred by the revival and festival appearances like , yielded no major official live albums by 2014, though fan-driven archival videos and up-resolutions of 1970s-1980s footage proliferated online, reflecting sustained cult demand rather than new studio output. Early shows, such as the May 23, 1977, set at in New York, remain documented via setlists and bootlegs but lack formalized commercial releases. Beyond band performances, "other releases" include contributions from core members in soundtracks and media projects. , Devo's co-founder and frontman, composed the theme and scores for the series Rugrats from its 1991 debut through its 2004 run, incorporating whimsical, Devo-esque synth elements into over 170 episodes and three films, including (1998). These works extended Devo's influence into family animation without direct band involvement, prioritizing Mothersbaugh's studio output over group efforts. Sporadic side projects, such as Jerry Casale and Mothersbaugh's collaborations in the , further diversified post-hiatus activity, though they remained peripheral to Devo's core catalog.

Reception and legacy

Critical responses and commercial performance

Devo's debut album Q: Are We Not Men? A: We Are Devo! (1978) garnered significant critical acclaim upon release, with reviewers praising its satirical edge and innovative production by . The album achieved gold in the United States for sales exceeding 500,000 units, a milestone reached decades later in 2007. The band's commercial breakthrough arrived with (1980), their third studio album, which became their best-selling release and marked their peak mainstream success. The lead single "Whip It" peaked at number 14 on the chart and number 3 on the Canadian singles chart, driving album sales and establishing Devo as a new wave staple. Critics, however, increasingly dismissed the band's robotic stage personas and futuristic aesthetic as gimmicky; Village Voice writer argued in 1981 that Devo's "" had become outdated, reflecting a shift from early enthusiasm to skepticism about their artistic sincerity. Subsequent albums like (1981) and (1982) failed to replicate this success, with sales declining sharply amid perceptions of creative stagnation. Band members attributed the post-1982 flops to deliberate resistance against label pressures to "sell out" with more conventional pop structures, compounded by internal disagreements over direction that led to self-sabotaging choices like experimental production over radio-friendly hooks. Devo's emphasis on self-directed music videos, helmed by co-founder , positioned them as early innovators in , influencing MTV's launch in 1981 through visually striking, conceptual clips that aired frequently despite the band's waning chart presence. By the mid-1980s, Devo had transitioned to cult status, with no further top-40 singles but sustained viability through live performances and licensing; for instance, "Whip It" continues generating substantial royalties, underscoring enduring but limited commercial footprint beyond the 1980 peak. The 2024 documentary Devo, directed by Chris Smith and premiered at the , elicited mixed but generally favorable responses for elucidating the band's de-evolutionary themes often misconstrued as mere novelty acts rather than pointed social critique. Variety praised its archival depth in tracing Devo's trajectory, while some outlets noted it as a conventional retread that still illuminated critical misreadings of their work.

Cultural influence and reinterpretations

Devo's integration of satirical visuals and electronic instrumentation contributed to the emergence of synth-punk as a genre, with the band's angular rhythms and DIY ethos echoed in subsequent acts. They Might Be Giants have acknowledged Devo among their key influences, incorporating similar quirky, synth-driven structures in their output. Bands like drew from Devo's hybrid, as evidenced by collaborations between Devo and LCD frontman James on new material in . The group's emphasis on multimedia elements, including custom costumes, stage props, and integrated short films, positioned Devo as early innovators in beyond traditional rock concerts. This approach influenced visual aesthetics in industrial and electronic music, with Devo's surreal, presentations prefiguring the video-heavy staging of later acts. However, some rock traditionalists have dismissed Devo's output as prioritizing gimmickry over musical depth, viewing their conceptual framework as a novelty that overshadowed substantive songcraft. Devo's de-evolution theory, positing human regression through conformity and technological overreliance, has been reinterpreted in the digital age as a forecast of social media's role in amplifying superficiality and . Band members have noted in interviews that contemporary societal trends, such as algorithmic echo chambers, validate their critique of cultural . This prescience sustains Devo's relevance, with 2020s performances attracting audiences seeking amid perceived modern decline.

Achievements versus criticisms

Devo's longevity stands as a primary achievement, with the band maintaining activity from its 1973 formation through 50th anniversary celebrations, including the 2023 box set 50 Years of De-Evolution (1973-2023) and ongoing North American tours announced for 2025. This endurance underscores their resilience amid punk and new wave shifts, validated by sustained archival releases and performances. Multiple nominations to the Rock and Roll Hall of Fame—in 2018, 2021, and 2022—signal institutional recognition of their influence on aesthetics and satire, even without induction. The band's de-evolutionary philosophy, positing human cultural regression, has gained retrospective validation from members like Jerry Casale and , who in 2018 described contemporary events as confirming their predictions of societal over progress. Early innovations in merging synthesizers with jerky rhythms and pioneering video integration—such as custom visuals for live shows and pre-MTV clips—anticipated multimedia performance standards, influencing electronic and visual hybrids. Critics have faulted Devo's rigid adherence to gimmickry, exemplified by a 1981 Rolling Stone piece portraying them as targets of disdain akin to "Nazis and clowns," emphasizing perceived novelty over musical depth amid public indifference. Post- (1980) commercial peaks, their insistence on conceptual uniformity—eschewing mainstream adaptations—led to audience contraction, as later albums leaned into eccentricity rather than trend alignment, limiting broader appeal. This self-imposed stasis, per band reflections on de-evolution's irony, outweighed video-era innovations by constraining evolution beyond the archetype, contributing to uneven commercial trajectories despite core fan loyalty.

References

  1. https://clubdevo.com/about/
  2. https://shorefire.com/releases/entry/devo-50-years-of-de-evolution-1973-2023
  3. https://www.kent.edu/art/news/remembering-may-4-interview-devos-jerry-casale
  4. https://clubdevo.com/kent-state-shootings-led-to-founding-of-devo-says-bands-co-founder/
  5. https://signalakron.org/new-book-highlights-devo-early-years-in-akron/
  6. https://jazzrocksoul.com/artists/devo/
  7. https://www.grammy.com/news/devo-living-legends-mark-mothersbaugh-jerry-casale-more-relevant-than-ever
  8. https://clubdevo.com/crack-that-whip-new-documentary-explores-the-evolution-of-devo/
  9. https://www.facebook.com/theeightiesrule/posts/devothe-bands-name-and-philosophy-of-de-evolution-were-established-after-the-ken/1324457882617267/
  10. https://www.eatsdrinksandleaves.com/devo-mongoloid/
  11. https://lightintheattic.net/products/art-devo-1973-1977
  12. https://faroutmagazine.co.uk/iggy-pop-devo-their-start-in-music/
  13. https://www.rhino.com/product/q-are-we-not-men-a-we-are-devo-deluxe-remastered-edition
  14. https://www.facebook.com/slicingupeyeballs/posts/on-this-day-in-1978-devo-released-their-debut-studio-album-q-are-we-not-men-a-we/947362020764420/
  15. https://reverb.com/news/the-synths-of-devo
  16. http://blog.musoscribe.com/index.php/2018/12/07/devos-debut-album-at-40/
  17. https://bestsellingalbums.org/artist/3209
  18. https://www.discogs.com/master/52668-Devo-Duty-Now-For-The-Future
  19. https://www.youtube.com/watch?v=Fb8j_SXM8To
  20. https://www.electronicsound.co.uk/features/long-reads/summer-1978-new-yorks-new-wave-heatwave-devo/
  21. https://devo.fandom.com/wiki/Energy_Dome
  22. https://www.musicvf.com/Devo.songs
  23. https://www.rhino.com/article/august-1980-devo-release-whip-it
  24. https://musicchartsarchive.com/artists/devo
  25. https://www.musicvf.com/Devo.alb
  26. https://www.noise11.com/news/devos-new-traditionalists-turns-40-20210827
  27. https://www.youtube.com/watch?v=3tBX1bRE7CA
  28. https://concerts.fandom.com/wiki/DEVO
  29. https://www.recordsandcharts.com/albumrun.php?alid=6047
  30. https://www.discogs.com/master/52782-Devo-Shout
  31. https://magnetmagazine.com/2016/12/15/magnet-classics-the-making-of-devos-freedom-of-choice/
  32. https://warmowski.wordpress.com/2010/03/01/devo-founder-bob-lewis-my-1997-interview/
  33. https://rugrats.fandom.com/wiki/Bob_Mothersbaugh
  34. https://joelfrancis.com/2010/07/23/the-evolution-of-devo/
  35. https://www.allmusic.com/album/total-devo-mw0000652169
  36. https://www.discogs.com/release/574825-Devo-Total-Devo
  37. https://www.spin.com/2019/10/devo-total-october-1988-interview/
  38. https://www.theaudiodb.com/album/2133989-DEVO-Total-Devo
  39. https://www.allmusic.com/album/smooth-noodle-maps-mw0000689854
  40. https://www.sputnikmusic.com/review/83888/Devo-Smooth-Noodle-Maps/
  41. https://www.pastpri.me/home/devo-smooth-noodle-maps
  42. https://www.furious.com/perfect/devolution2.html
  43. http://profward.com/profward/web/devo/his_1990.html
  44. https://www.reddit.com/r/devo/comments/1cqgl6d/did_devo_have_internal_conflicts/
  45. https://goldenrobotrecords.com/pages/devo
  46. http://huboon.com/1996_99.html
  47. https://www.setlist.fm/setlist/devo/1996/irvine-meadows-amphitheatre-irvine-ca-3bd7b8f4.html
  48. https://www.facebook.com/groups/1110595615993343/posts/1773794363006795/
  49. https://www.wsj.com/articles/SB10001424052748704198004575311071064168164
  50. https://www.metacritic.com/music/something-for-everybody
  51. https://edition.cnn.com/2014/02/18/showbiz/devo-bob-casale-dead
  52. https://www.latimes.com/entertainment/music/posts/la-et-ms-devo-guitarist-bob-casale-dead-20140218-story.html
  53. https://www.rollingstone.com/music/music-news/devo-guitarist-bob-casale-dead-at-61-119626/
  54. https://www.brooklynvegan.com/devo-announce-2/
  55. https://www.setlist.fm/setlist/devo/2014/arcada-theatre-st-charles-il-5bc1bf70.html
  56. https://guestpectacular.com/artists/devo/events/tour/hardcore-devo-tour
  57. https://www.mprnews.org/story/2014/02/19/music
  58. https://ultimateclassicrock.com/devo-retirement/
  59. https://www.setlist.fm/setlists/devo-53d68b21.html
  60. https://clubdevo.com/devo-announces-north-american-tour-dates/
  61. https://www.rollingstone.com/music/music-news/b52s-devo-cosmic-de-evolution-tour-dates-1235365098/
  62. https://www.hollywoodbowl.com/events/performances/4197/2025-10-18/the-b-52s-devo-cosmic-de-evolution-tour
  63. https://www.setlist.fm/setlist/devo/2025/utah-state-fairpark-salt-lake-city-ut-1b5fe5f0.html
  64. https://www.latimes.com/entertainment-arts/music/story/2025-09-15/coachella-2026-festival-lineup-sabrina-carpenter-justin-bieber-karol-g
  65. https://www.instagram.com/reel/DQMuePcEXn_/
  66. https://faroutmagazine.co.uk/devo-shed-new-light-on-their-retirement-plans/
  67. https://www.netflix.com/title/82052197
  68. https://www.rottentomatoes.com/m/devo
  69. https://articles.roland.com/a-few-minutes-with-gerald-v-casale-of-devo/
  70. https://www.electronicsound.co.uk/features/long-reads/devo-freedom-of-choice/
  71. https://altrockchick.com/tag/mark-mothersbaugh/
  72. https://www.markprindle.com/devo.htm
  73. https://teachrock.org/people/devo/
  74. https://en.apoplife.nl/devos-third-and-best-album-freedom-of-choice/
  75. https://www.facebook.com/groups/36370052388/posts/10163292092777389/
  76. https://critterjams.wordpress.com/2017/01/25/devo-shout-1984/
  77. https://en.debaser.it/devo/shout/review
  78. https://parade.com/news/iconic-80-band-released-an-album-35-years-ago-so-horrible-they-broke-up
  79. https://rateyourmusic.com/release/album/devo/smooth-noodle-maps-18/
  80. https://www.culturesonar.com/the-final-album-devos-something-for-everybody/
  81. https://www.soundonsound.com/people/devo-mark-mothersbaugh
  82. https://www.rogerebert.com/reviews/devo-movie-review-2025
  83. https://www.ohiohistory.org/we-are-devo/
  84. https://dangerousminds.net/comments/q_are_we_not_men_the_origins_of_devos_theory_of_de-evolution/
  85. https://www.laweekly.com/devo-plots-the-next-50-years-of-de-evolution-at-the-hollywood-bowl/
  86. https://kuteradio.org/kuteblog/the-rise-of-devo/
  87. https://genius.com/Devo-jocko-homo-lyrics
  88. https://songmeanings.com/songs/view/42421/
  89. https://illinoisentertainer.com/2024/05/stage-buzz-qa-devo-at-the-riviera-theatre-chicago/
  90. https://www.moderndrummer.com/2023/12/devos-electrifying-50-years-of-de-evolution-tour-a-night-of-music-outfits-and-iconic-moments-at-the-paramount-theatre-in-seattle/
  91. https://musicmascotsarchive.com/mascot/general-boy-boogie-boy
  92. https://www.noise11.com/news/devos-booji-boy-is-now-a-bobblehead-20150516
  93. https://www.songfacts.com/blog/interviews/devo
  94. https://thevoroscope.com/2021/01/24/dark-clouds-in-the-crystal-ball/
  95. https://www.vice.com/en/article/devo-mark-mothersbaugh-gerald-casale-anniversary-interview-2018/
  96. https://www.vice.com/en/article/devo-open-letter-devolution-rock-hall-trump-2018/
  97. https://thequietus.com/culture/books/devo-book-the-brand-unmasked-interview-mark-mothersbaugh-gerald-casale/
  98. https://www.bostonglobe.com/opinion/2018/12/06/there-any-question-that-evolution-real/txtbYo90gDckUxLkYG5tcP/story.html
  99. https://www.scientificamerican.com/article/is-the-human-race-evolvin/
  100. https://thehumanevolutionblog.com/2019/02/19/devolution-not-a-thing/
  101. https://www.reddit.com/r/devo/comments/ljdjvj/i_have_to_ask_do_you_actually_believe_in/
  102. https://www.aaemusic.com/artist/devo
  103. https://www.classicrockhistory.com/complete-list-of-devo-band-members/
  104. https://pitchfork.com/news/51327-rip-alan-myers-drummer-with-devo/
  105. https://rockandrollparadise.com/alan-myers-62013/
  106. https://www.rollingstone.com/music/music-news/devo-bandmates-remember-late-drummer-alan-myers-190386/
  107. https://www.rollingstone.com/music/music-news/devos-jerry-casale-remembers-his-brother-bob-devo-was-a-unit-112746/
  108. https://livemusicblog.com/concerts-live-music/tour-announcements/b52s-devo-2025-cosmic-de-evolution-tour/
  109. https://ultimateclassicrock.com/devo-north-american-tour-2025/
  110. https://newtraditionalists.fandom.com/wiki/Devo
  111. https://devo.fandom.com/wiki/Discography
  112. https://elpee.jp/artist/Devo/
  113. https://www.officialcharts.com/artist/16832/devo/
  114. https://www.discogs.com/artist/12834-Devo
  115. https://diffuser.fm/devo-new-traditionalists/
  116. https://top40weekly.com/whip-it-song-meaning/
  117. https://music.apple.com/us/album/greatest-hits/335284766
  118. https://www.discogs.com/master/52796-Devo-Dev-O-Live
  119. https://devo.fandom.com/wiki/DEV-O_Live
  120. https://primarywave.com/writer/devo/
  121. https://www.albumoftheyear.org/artist/953-devo/
  122. https://www.concertarchives.org/bands/devo
  123. https://www.setlist.fm/setlist/devo/1977/cbgb-new-york-ny-7b9222f0.html
  124. https://www.rollingstone.com/music/music-features/devo-mark-mothersbaugh-scores-interviews-rugrats-tiger-king-984614/
  125. https://www.amazon.com/Rugrats-Movie-Motion-Picture-Enhanced/dp/B00000DHZX
  126. https://open.spotify.com/artist/5sEDTHJJyDEWVFx99hGSIb
  127. https://blog.musoscribe.com/index.php/2018/12/07/devos-debut-album-at-40/
  128. https://alexmcgill.substack.com/p/devos-commercial-peak-was-freedom
  129. https://www.last.fm/music/Devo/_/Whip%2BIt
  130. https://www.rollingstone.com/music/music-news/devo-sixties-idealists-or-nazis-and-clowns-119053/
  131. https://www.reddit.com/r/todayilearned/comments/6yuxqp/til_that_the_devo_album_oh_no_its_devo_was_born/
  132. https://media.rhino.com/press-release/energy-dome-frequencies-songs-devo-documentary
  133. https://www.usatoday.com/story/entertainment/music/2025/01/29/devo-whip-it-rob-dyrdek-ridiculousness-mtv/77969298007/
  134. https://variety.com/2024/film/reviews/devo-review-chris-smith-sundance-1235884171/
  135. https://stephensilver.substack.com/p/devo-is-an-underwhelming-look-back
  136. https://www.altpress.com/synth-punk-history-devo-le-tigre-nine-inch-nails/
  137. https://inflooenz.com/?artist=They%2BMight%2BBe%2BGiants
  138. https://www.spin.com/2009/06/devo-collaborate-lcd-soundsystem-frontman/
  139. https://www.theguardian.com/music/2009/apr/30/devo-art-punk-80s-revival
  140. https://www.reddit.com/r/devo/comments/1bwprx6/im_a_newer_listener_and_i_think_whip_it_is/
  141. https://www.nytimes.com/2023/10/12/arts/music/devo-mothersbaugh-casale.html
  142. https://www.bostonglobe.com/2025/05/08/arts/devo-mark-mothersbaugh-gerald-casale/
  143. https://www.denverpost.com/2014/02/18/devos-lasting-influence-on-modern-culture/
  144. https://clubdevo.com/50-years-of-de-evolution-out-now-1973-2023/
  145. https://rockcellarmagazine.com/devo-tour-dates-2025-north-america-50th-anniversary/
  146. https://ultimateclassicrock.com/devo-rock-hall-of-fame-snubs/
  147. https://expmag.com/2020/03/devos-co-founder-on-musics-technological-toolbox/
  148. https://www.reddit.com/r/devo/comments/1jgk4vm/rs_50_most_disappointing_albums_of_all_time_37/
Add your contribution
Related Hubs
User Avatar
No comments yet.