Devo & the video for "Whip It"

The band moved to Los Angeles, capital of the entertainment business, and with 1980's Freedom of Choice made a record even more calculatedly commercial than the clinical-sounding Duty. This gave Devo their own platinum album, spurred on by the Top 20 success of "Whip It".

Written during the ailing twilight of the Carter presidency, "Whip It" offered Dale Carnegie-style advice to the embattled leader. "Come on Jimmy, get your shit together", laughs Mothersbaugh. By the time Warner Brothers allowed Devo to make a promo clip for the song, it was clear that Reagan was heading for a landslide victory. Devo made the video into a surreal commentary on America's shift to the Right. The result was a video that twenty-five years later is not the least bit dated looking and is still a huge hoot. It was Devo's one true moment of mass-cultural triumph.

Pitched somewhere between a John Ford Western and David Lynch's Eraserhead, the genuinely creepy video for "Whip It" perfectly cristallizes Devo's "freak show aesthetic". As a bunch of Texas stud muffins and blonde bimbos gawk and giggle, Mothersbaugh wields a whip and one by one lashes away the garments of a strange Grace Jones-like amazon of a woman, whose legs start trembling in an indescribably abject way as she waits for the final whip crack to strip off her last shred of modesty. Meanwhile, the rest of Devo performs the song cooped inside a cattle pen - pasty-faced spud-boys wearing shorts that show off their scrawny knees and the famous "flowerpot hats". "We were horrified by Reagan's ascent", says Casale, "So we were just making fun of myths of cowboys in the West".

Devo - Whip It 1980

As the new decade progressed, the original "eighties industrial band" got chewed up by the industry. Even as they railed against Reaganism with songs like "Freedom of Choice" and "Through Being Cool", Devo found themselves increasingly bossed around by their record company.

Devo - Freedom of Choice 1980


Devo - Through Being Cool 1981

Devo - Duty Now for the Future

An icky squeamishness contaminated Devo's sex songs, from their earliest efforts like "Buttered Beauties" (in which Mothersbaugh imagines female secretions smeared all over him like "glossy tallow"), to the chorus "I think I missed the hole" in the debut album's "Sloppy (I Saw My Baby Gettin')". They loved pornography, whether it was Bataille's avant-garde version or Hustler's mass-market hardcore. "I wrote a song called 'Penetration in the Centerfold' about the first Hustler I ever saw", says Mothersbaugh.

Devo - Sloppy (Single version) 1977


Devo - Penetration in the Centerfold 1979

What emerged from these impulses and inputs were songs that, beneath the quirky Dada surface, were often plain misogynistic in the most conventional sense. On the debut, "Gut Feeling" segues straight into "Slap Your Mammy", while "Triumph of the Will" on the second album, Duty Now for the Future, reads like a Nietzschean justification for rape: "It was a thing I had to do/It was a message from below...It is a thing females ask for/When they convey the opposite".

Devo - Triumph of the Will 1979

Devo's first singles and debut album "Q: Are We Not Men? A: We are Devo!"

As expressed in the anthem "Be Stiff", Devo's proudly neurotic, uptight attitude was a revolt against the take-it-easy baby boomers. "We were anything but hippies - loose, natural", Devo founder Gerard Casale recalled years later.

Devo - Be Stiff 1977

Devo's first two singles, "Satisfaction" and "Jocko Homo" - self-released on the group's own Booji Boy label -were relatively torpid compared with their later frantic sound. This was partly because "Jocko Homo" and its B-side, "Mongoloid", were recorded in a garage with no heating during a freezing winter, with the band wearing gloves.

Devo - (I Can't Get No) Satisfaction (single version) 1977


Devo - Mongoloid (album version) 1978

Whenever feasible, Devo gigs began with The Beginning Was the End: The Truth About De-Evolution, a ten-minute film directed  by their friend Chuck Statler, whom they'd originally met in an experimental-art class at Kent State University. Statler's minimovie generated the enduringly famous images of Devo: singer Mark Mothersbaugh as mad professor in bow tie and white coat giving a student lecture on devolution, the rest of the band wearing plastic sunglasses and colored tights pulled tightly over their heads to squish their features, bank-robber style.

Devo - Jocko Homo (from The Truth About De-Evolution) 1976

Devo recorded their debut, Q: Are We Not Men? A: We Are Devo!, in Germany while still embroiled in negotiations with labels (in the end, owing to a dispute over verbal agreements, Virgin and Warner Brothers both got the group, releasing Devo's records in the U.K. and America, respectively).

Released in August 1978, Q: Are We Not Men? is a stone classic, but it does suffer slightly from falling between two extremes, neither capturing the full frenzy of Devo's live shows nor making a total foray into producer Brian Eno's post-Low soundworld. "In retrospect, we were overly resistant to Eno's ideas", says Mothersbaugh. "He made up synth parts and really cool sounds for almost every song on the album, but we only used them on three or four songs...like the loop of monkey chanters that's on 'Jocko Homo'".

Devo - Jocko Homo (album version) 1978

You can still hear the Eno imprint. "Shrivel Up" is dank with synth slime, giving the song an abject feel that fits the lyrics about decay and mortality.

Devo - Shrivel Up 1978

"Gut Feeling" takes garage punk's woman-done-me-wrong rage and gives it a perverse twist: "You took your tongs of love and stripped away my garment".

Devo - Gut Feeling 1978

"Uncontrollable Urge" makes rock's "wild sexuality" seem as absurd and humiliating as an involuntary nervous tic.

Devo - Uncontrollable Urge 1978

"Come Back Jonee" likewise turns Chuck Berry's "Johnny B. Goode" inside out. In Devo's tune, the heartbreaker bad boy "jumps into his Datsun", the OPEC 1970s low-gas-consumption version of a real rock 'n' roll automobile like a T-Bird.

Devo - Come Back Jonee 1978

Their cover of the Rollling Stones' "Satisfaction" - which defiled the iconic sixties classic by reducing it to a desiccated theorem - was a hit in several European countries. Devo's disco-punk version resembled, in Mothersbaugh's words, "a stupid perpetual-motion machine clanking around the room".

Devo - Satisfaction (album version) 1978

Pere Ubu - The Modern Dance and Dub Housing

With outside interest in the Ohio scene reaching its peak, Blank Records released Ubu's debut album, The Modern Dance, in March 1978, while in April U.K. label Radar Records put out Datapanik in the Year Zero, an EP that made widely available for the first time the best tracks from the first three singles released on Hearthan Records.

At the eight of both their acclaim and artistic power, Pere Ubu sealed the impression of their creative floodgates having been hurled wide open by unleashing a second, even more impressive album only seven months after the debut.  

Dub Housing got its evocative name not from any reggae leanings, but a stoned eye's view of Baltimore as the band drove through the city in their tour van. "In Baltimore they had these row houses, and somebody said, 'Oh, look, dub housing'", says drummer Scott Krauss. The vistas echoed endlessly, paralleling the way that drum hits, guitar chords, and horn licks were turned into reverb trails by dub producers like King Tubby.

Pere Ubu - Ubu Dance Party 1978

The Modern Dance and Dub Housing both contained absurdist sound collages and exercises in pure Dada like "The Book Is on the Table" and "Thriller". These now became the blueprint for Ubu's third album, New Picnic Time.

"Our problem is that we never wanted to repeat Dub Housing", Thomas once said. "That desire to never repeat became as much of a trap as trying to repeat formulas the way some bands do". "We were on the edge of being popular but we were fundamentally incapable of being popular", Thomas admits, "because we were fundamentally perverse".

Pere Ubu's first singles

Pere Ubu formed from the ashes of singer David Thomas's and guitarist Peter Laughner's previous band Rocket from the Tombs, a less obviously art-warped proposition modeled on the raw power of the Stooges and MC5. Pere Ubu's inaugural act was recording one of Rocket from the Tombs' least characteristic tunes as a single. In Ubu's rendition, "30 Seconds Over Tokyo" - an attempt to create the "total sonic environment" inside American bombers as they set off on their World War II mission to flatten Japan's capital - became even more eccentric. It starts out like some loping, rhythmically sprained hybrid of Black Sabbath and reggae, speeds up a bit, dissolves into free-form splinters, flips back to avant-skank, lurches into a sort of doom-laden canter, then expires in a spasm of blistered feedback. Over six minutes long and almost prog in its structural strangeness, "30 Seconds" sounded about as far removed from the Ramones as, say, Yes did.

Pere Ubu - 30 Seconds Over Tokyo 1975

The band's next two singles, "Final Solution" and "Street Waves", sold very well in the U.K. and Ubu's first tour there in the spring of 1978 was greeted as the Second Coming. Emerging bands like Joy Division and Josef K were in the audiences, assimilating Tom Herman's fractured guitar, Tony Maimone's baleful bass-as-melody approach, and the ominous atmosphere of song like "Real World" and "Chinese Radiation".

Pere Ubu - Final Solution 1976


Pere Ubu - Street Waves 1976


Pere Ubu - Real World 1978


Pere Ubu - Chinese Radiation 1978