Backstage Pass: Helicopter Helicopter - Discography

Formed in Boston in the spring of 1998 by guitarist/vocalists Julie Chadwick and Chris Zerby, both of whom were involved in the local punk scene, Zerby as a member of Flycatcher, Chadwich leading The American Measles. Despite an inauspicious first rehearsal, the two later got together and made it work with a new sound. They were joined by drummer Ned Gallacher and a host of bassists, including Shawn Setaro.

I happened upon Helicopter Helicopter while going to see a concert by the Juliana Theory and Bleach at my regular Nashville hangout, The Exit/In (side note: I always wanted to play the Exit/In, never made it. I did play their sister club across the street, The End. I remember standing on stage, getting ready to sing and thinking, "Jesus, I'm standing where Joey Ramone stood"). Anyhoo, Juliana was great, Bleach was great but Helicopter Helicopter were captivating, I remember Ghost Face knocking my socks off, but song after song I was floored by the hooks, the vocals/harmonies, arrangements and play  - I fell head over heels for the band that night, even got all geeky and had them sign the CD I bought that night (By Starlight), they were nice about it, Julie was the one who sold it to me and patiently listened to me gush about how amazing they were.

It can be difficult to find all the music these days, several can be had at Bandcamp, and can be heard at Spotify, but I bought 'em as I found 'em. 

I do remember one of the Nashville entertainment mags comparing the duo to Frank and Kim from The Pixies, other places have other ways of describing the sound, for me they were catchy, I like catchy tunes... Beatlemania was catchy, and 'Copter's the same, it's the kind of music that got into my ears and I never wanted it to leave.

Squids and Other Fishes (1998) 

Tracks: Gay Porno / Cut Down by Trees / Great Big Meaningless / Lucky / Leakage Disappeared / Cadillac Drugs / Squids and other Fishes / Steel Bull / The Accidental / Please Please Tito

I didn't know this album existed until years and years into being into the band and gave it a listen at Spotify sometime in 2023. It and the follow up display H2 at their edgiest - raucous, yet familiar - while they'll refine their sound over the years, they're fantastic right out of the gate - grungy garage-like, with grinding guitars, and twin vocals that snake around one another - clashing, then uniting (Lucky). Tito sounds like the cacophonous lovechild of the Pixies and the Red Hot Chili Peppers; and here and there, the ghost of Kurt Cobain haunts a track. The debut offers up incendiary titles (track one) and caustic lyrics ("I'm the only one who can stand you"), and runs a lean 28 minutes, no filler, no fat. It sets the stage nicely. 

Analog & Electrical Fields (1999) 

Tracks: Ghost Face / Scarab in A Hole / Please Take Me to Mars / Firefly Mechanical / Map / Self Sick / The Deep Sea / Ever Since the Buzzards Moaned / Those Bees / Sinking Light / The Drunken Taxi Cabs of Absolute Reality

Ghost Face, what a great song - at the concert I only had cash enough for one CD and was torn between this and By Starlight. Julie suggested going with Starlight, and in hindsight it was the right pick, but I later bought this because I had to have Ghost Face, IMHO it's quintessential H2 - with a simple, howling guitar riff, driving backbeat, killer hooks, killer vocals (Chris's leads are raw and urgent, and Julie takes over at the bridge, giving the tune a cool, brief detour) it also boasts some of their finest lyrical work - haunting, pleading, lost ("I saw the future, it's like a hammer - And now I'm senseless, I have no thoughts"). After this, the collection cools down with the groovy Scarab, minimalistic at the verses with bass and drum anchoring the song, accompanied by a sliding, spacy guitar - before giving away to the full, heavy chorus. Chris is again in fine voice.

Julie takes over with the bass heavy Mars, signaling a stream of steady rockers that go quiet/loud (Firefly, with more of that spacey guitar) - or loud/quiet (Map). Bluesy, beatnik Deep Sea was a nifty shift in sound & style, and I'm especially enamored with the steady, punky Buzzard, with its hooky chorus, that breaks into the hammering, noisy bridge, just love this thing structurally. While I often skip Taxi Cabs (a backward, instrumental replay), all told Analog is another winner from the band.

By Starlight (2001) 

Tracks: And Just Once / Moveable / Trembling God / By Starlight / Unfortunate / Passing Car / Slow Dying Flashlight / History of Space Flight / Bottom of the Ocean / The Afterworld

My first CD and my favorite. I used the term "catchy" in the introduction, this is very catchy - Chris' songwriting is top drawer, featuring (among other things) impressionistic tales of space and oceans (which he spoke of in the interview linked to in the intro). I love the vocal handoffs in certain songs, the harmonies are ace, and Julie's numbers are her finest. Starlight's more radio friendly than the previous 2, though that doesn't mean they're neutered, it's just that the melodies, hooks and vocal pairings are especially strong here, more polished. The Beatles fan in me was seriously drawn to this release, and that's present right from the opening track - a rocking earworm with harmonies that thrill. Moveable offers more of the same - I'm sitting here rocking in my seat, digging the vocals, the stinging riff and crunchy rhythm guitar. Julie's Trembling God is incredible, dramatic, soaring, and what a great title. Passing Car has a Broadway Musical feel to it, what with Julie and Chris trading lines back and forth, and the building pre-chorus (there's no true chorus). 

As amazing as these tracks are, the final 4 is even better. Flashlight (another great title) has an eerie vibe, slow at the start, before building to this beautiful, melodic pre-chorus (again, no traditional chorus here) then to the gorgeous, blended vocals (though I do need to focus on Chris's side of it, because Julie seems a little hot in the mix?) the lead guitar is also pretty - I just adore this song to death, it might be my very favorite from the Bostonians. Julie's Space Flight is a fun one, both words and music, as is Ocean, which takes us to the ominous closer, Afterworld, which isn't as poppy as the other tracks, leaning into the dreamy, moody and apocalyptic - it's Syth heavy with FX laden backing guitars - a striking number that wraps up the bands most consistent effort... my only complaint, at 28 minutes it's over and done with too quickly, I want more, but have to admit, it's perfection as is.

Wild Dogs with X-Ray Eyes (2003) 

Tracks: Helicopter Fight Song / Harsh Light / Talented Socialites / The Devil / 1234 / Like Detroit / The Misfit / Talk the Flyer Down / August / Time Machine / Pine Trees on Fire / Waves Roll into Boston

The first track was awesome, the second even more so.... Harsh Light's thundering drum intro and memorable guitar riff - the irresistible verses, and sing-songy harmonized drive to the title gets the blood pumping. On the other side of the spectrum, you have The Devil, which is beautifully melodic, melancholic and lingering - the instrumentation, the smooth bassline and piano just takes me away... and just when I think the number reached its peak, the soaring bridge shifts it to another emotional high.  

The release does this frequently, from strong verse to stirring chorus and bridge, and Chris and Julie's twinning vocals are vital in amplifying the affecting power of these numbers (see Like Detroit). 

It also takes a surprising left turn with Chris going solo on the folky acoustic Pine Tree - it's another one I found moving and pretty. Also, I'd like to know the backstory on these lyrics, the words fascinate me, with their tales of firefighters and pilots. 

Wild Dogs displays a new level of musical maturity for H2, it's both familiar but distinct, and succeeds on all phases, from production (Matthew Ellard, his second time at bat for the band), to songwriting and performance (I can't say enough about Gellacher and Setaro's contributions, they brought their A-games). Sensational album, significant and affecting -- but unfortunately, this lineup's last, which is a shame because the pieces were all in place; flawless and firing on all cylinders.   

Hello Dragon 

I don't know the details, but at some point, Chris and Julie moved to L.A. and took on a new identity, er, band name. You can read an interview with Chris that goes into it a bit, here... Buzzbands

The Quantum Explorers (2008) 

Tracks: Millions of Terrible Moths / Birds of Prey / Rats of L.A. / Such a Drag / Stephen Hawking / Good Cops and Coke Fiends / Dirt and the Body / Automatic Friends / I Believe You / Garcia Marquez / End of the World

This one actually slipped past my notice, I found, purchased and listened to Information first, discovering Explorers around the same time I did Squids. Once more, my journey with these folks is chronologically screwy.

While Julie is credited on guitars and vocals, she has no solos, this is Chris' baby, he's the only songwriter, and will be the only one pictured on the back cover of the following Album. 

Quantum is rather laid-back and tonally somber, though it doesn't start that way, the sprightly acoustics of Moths, the ringing keyboard in response to the guitars strum on Birds of Prey, these are its brightest moments, after this the record begins to drag.

In that Buzzbands interview, Zerby was quoted, "We used to be a straightforward power-pop band – two guitars, bass and drums. Now there’s a more going on, a lot more tomfoolery in the arrangements.” and yeah, you can hear that, the continued growth in the studio, straying from the rawer elements. It's crisp and professional, but I find I respect it more than love it, it doesn't leave as deep an impression on me, take my breath away or reach the emotional highs of their best efforts.

 

But God forbid I bemoan Chris' desire to try new things and write tunes that reflect his new headspace and their new living space (L.A. finds its way into the words, Echo Park for one).

Information (2010)

Tracks: Siberia / 107 / Ones and Zeroes / Ambulance Driver / All My Friends Live in Buffalo / Engines Blown / Cities Need a Subway / Death of the Americas / We Are Mythology / Skin and Bones / Coasts and Continents

Information continues the bands trajectory towards creative change and challenges (while retaining their musical identity) which interestingly always comes in pairs, from punk-garage (Squids/Analog) to melodic power pop (Starlight/Wild Dogs) to the refined and varied studio sounds of Hello Dragon, evolving but still Zerby and... yes, Chadwick - who gets to sing a solo number this time out; her voice is ever present and utilized well. Plus, she designed the cover and provided the photography.

I liked Quantum, but not passionately, the follow up, however, is more to my taste. Info's injected with a liveliness that was missing on the previous CD. Siberia has that somber thread, but there's heat there as well, with the big beat, the evocative vocals. 107 starts off relaxed and smooth, before becoming irresistibly danceable, Ones and Zeroes is funky 'n' rocking and highlights the vocal gymnastics I always loved from the duo. 

While it doesn't host my favorite chorus, Ambulance gives us the acoustics, tuneful verses and lyrics with an autobiographical connection (Chris has worked as an EMT). Subway continues the 'keys responding to guitars' thing we heard in Quantum - it's a lovely ballad, with a moving melody and interesting phrasing ("And I pity the poor American this time, who's a sad anachronism in his prime") and superb, blended vocals (with folk-flavored solos bits). The instrumental spot is sweet too. 

Death of America has a biting, indie style, wonderfully structured - Skin and Bones is a return to the sing-songy catchiness we heard in the last 2 Helicopter CDs, with a dash of punk attitude.

The production ranks among their slickest, without becoming cold or plastic, there's a vibrancy here. And as players, the band is in fine form.  

The brief return of H2

The Modern World (2015)

Tracks: The Modern World / Get Harmed

And then it went silent - no more Dragon no more H2, where did they go, would they return? 5 years later, a single - 2 songs, nearly 6 minutes - and it was heartwarming to the hear Chris and Julie again, with their brand of up-tempo pop rock. 2 delights, the kind that would have fit snugly on By Starlight - plus, a video - cool beans! And that was it, one sweet sendoff. Their last Facebook post was in Dec 2019, and then.... Wherever they are, whatever they are doing, I hope they are happy and healthy and know that those who loved them, loved them a lot.

Flycatcher and The American Measles?

Flycatcher - Ovulation (April 26, 1994)

Tracks: Stuck Pig / Cannibal / Sound / Blister / Poor Lucy / Up from The Ground / Too Many Aspirin / Nothing Is Something / Firetrucked / Cold Water / Lung / I Have an Animal / Stupid Like All the Rest / Sick Again / Feels Like Lisa / Elephants and Tigers / King of the World

Flycatcher - Pee (1995)

Tracks: Bad Wombats / The Wreck / Donor / Pissed On / Winter of Hate / Boy Du Jour / Knuckle Under / Dog Whistle / Pick Up Sticks / A Tasty Chew / Nerve / Washout / Running with Scissors / I Smell Blood / Suck / 27 / A Butterin' We Go

Produced by Blondie keyboardist Jimmy Destri, Flycatcher was Chris' band before H2, they had 2 releases according to Discogs - Ovulation and Pee. I listened to the 2nd first (the other is on order); what greeted my ears was heavy Indie rock, and Nirvana style grunge, Zerby's even doing his best Kurt on vocals. He's joined by drummer Jen Chouinard and a couple of bassists; Dan Sotak-Cooper (ovulation) and Joe Melchionda (Pee). It's a decent release, though it took a few spins to get used to it, as they sound like an imitation of other bands, who frankly do it better - while you can hear hints of H2 popping up in spots, in finding their own style for 'Copter, I think Chris moved closer to Julie's sound, as Flycatcher's Pee is a lot noisier. 

Update: Ovulation arrived, of the two it goes down easier on a first listen, Pee's more rewarding with time. It too shares the same the inspirations, parts of Poor Lucy recalled Black Francis and Cobain can be heard on Firetrucked. All tracks were written by Chris, save for Dan's Lisa - There are some cool guitar solos (Sean Keefe is credited as providing the one on Blister), drumming's speedy, fill happy and a little off kilter,when need be, there's some deft bass work and Chris is a scream machine... when he's not crooning to acoustic accompaniment (seriously).   

The American Measles - Shover the Cupcake (1997)

Tracks: Uncle Bernie / Carlo / Chinese Girls / Stoic / God Took My Bike / Rockets / Mirth the Baddie / Gravy / The Z / No It's Not / Chicks on Crack / Little Carlo

A year before Helicopters debut release, Julie Chadwick could be heard on CD as a member of the American Measles, where she is credited as singer, songwriter, guitarist, photographer and -judging by the cartoon she drew with her autograph on my CD- art (which I loved BTW). As for the sound, it's not any punkier than what we heard on Squids, and I think if you dig something like Bikini Kill's Rebel Girl, you'd dig the Measles. There's attitude throughout, and while Chadwick doesn't have the most tuneful voice, she'll throw in these little touches that add tone and feeling to a number, whether that's bratty, incensed or as heard in Chicks, vulnerable - she can also scream out a lyric pretty well when she wants to. Additional grinding guitars are played by Adrian Healey (who also provides the bass, keys and backing vocals), while Mike Gioscia is the man hammering away on the drums. It's a good, uncomplicated, kick in the head type of record - well worth checking out.

Note: They also had a song on the "Twisted Rico: Class of 1998" compilation LP, titled Parade of the Diaper People - lol - sure, I'd like to hear that one.

Links: Lunch Records / Facebook / Bandcamp / Daily Free Press (article)

Backstage Pass: The Psychedelic 60s

Not an authoritative list of the all-time greats, just a rundown of personal favorites in random order. 1 album per band (though I'll mention others).  Aside from the LPs, there are songs I liked - "Pictures of Matchstick Men" from Status Quo, "I Had Too Much to Dream Last Night" by The Electric Prunes, "Incense and Peppermint" from The Strawberry Alarm Clock, "Green Tambourine", The Lemon Pipers, "In-A-Gadda-Da-Vida", Iron Butterfly, a couple of First Crow (Crew) to the Moon singles, "The Sun Lights Up the Shadows of Your Mind" and "We Walk the Rain", The Balloon Farm, with "A Question of Temperature" - the Saphire Thinkers album "From Within", the electronic drone of Silver Apples and the taste of tropicália with Os Mutantes are others worth checking out. 

The 13th Floor Elevators, The Psychedelic Sounds of the 13th Floor Elevators (Oct 17, 1966)

Tracks: You're Gonna Miss Me / Roller Coaster / Splash 1 (Now I'm Home) / Reverberation (Doubt) / Don't Fall Down / Fire Engine / Thru the Rhythm / You Don't Know / Kingdom of Heaven / Monkey Island / Tried to Hide

While Dylan was the lyrical inspiration for the genre, this is the first band to refer to themselves as psychedelic rock. Formed in Austin, Texas in 1965 by guitarist and vocalist Roky Erickson, electric jug player Tommy Hall, and guitarist Stacy Sutherland. Their debut has a raw, rough noisy garage band sound, drug inspired, "You're Gonna Miss Me" is an enduring classic. I might like their more polished follow up, Easter Everywhere a little more, but this, and the next listed album, is where the sound really gets going. 1966 is your true launching point.

The Deep, Psychedelic Moods (October 1966)

Tracks: Color Dreams / Pink Ether / When Rain Is Black / It's All a Part of Me / Turned On / Psychedelic Moon / Shadows on the Wall / Crystal Nite / Trip #76 / Wake Up and Find Me / Your Choice to Choose / On Off-Off On 

This acid fueled release might have been the first album to use to term psychedelic in its title (near to it was the Blue Magoos, "Psychedelic Lollipop", which sound-wise was more garage than psych) - recorded in the dark, reportedly under the influence of LSD, over the course of 2 days - with strange overdubs and offbeat vocals (lead and backing). Lyrics are a hippy trip, and while a product of the time and the genre, I'm not going to ding it too much it for that (okay, "Psychedelic Moon" is goofy), because for the most part it effectively takes listeners on a hallucinogenic journey to the past.

Neighb’rhood Childr’n (1968)

Tracks: Up Down Turnaround World / Long Years in Space / Feeling Zero / Over the Rainbow / Changes Brought to Me / Please Leave Me Alone / Chocolate Angel / Happy Child / Patterns / Happy World of Captain K / She's Got no Identification / Hobbit's Dream

Starting off an Oregon R&B, surf band, before moving to San Francisco, where they were influenced by that musical scene. Their lone release features several psyche gems, like the moody mantra-like "Long Years in Space" - but they also blend in sunshine pop, a silly cover and nursery rhyme fluff, a screaming instrumental/spoken word, with bits of Jefferson Airplane - like the Electric Prunes debut, it's all over the place, but this is stronger - some great songs, some fair, but never a dull moment. A 1997 compilation (Long Years in Space) includes previously unreleased material.

Pretty Things, S.F. Sorrow (Dec 20, 1968)

Tracks: S. F. Sorrow Is Born / Bracelets of Fingers / She Says Good Morning / Private Sorrow / Balloon Burning / Death / Baron Saturday / The Journey / I See You / Well of Destiny / Trust / Old Man Going / Loneliest Person

Pretty Things have been around for a while and have seen their sound change, but they dabbled with the psychedelic on a couple of albums, with this also earning the distinction of the first rock opera, which tracks the progression of a character named Sebatian,  from birth to eventual disillusionment - life is a tragedy, illustrated in the stellar "Balloon is Burning", where S.F. loses the love of his life in the Hindenburg disaster, grim stuff, but an incredible listen, produced by Norman Smith (The Beatles, Pink Floyd). The song that came out before, "Deflecting Grey" is pretty wild too.

Tomorrow (February 1968)

Tracks: My White Bicycle / Colonel Brown / Real Life Permanent Dream / Shy Boy / Revolution / The Incredible Journey of Timothy Chase / Auntie Mary's Dress Shop / Strawberry Fields Forever / Three Jolly Little Dwarfs / Now Your Time Has Come / Hallucinations

The only studio release from UK freakbeat band that featured Steve Howe (Yes) on guitar, with Keith West as vocalist and songwriter. The stellar "My White Bicycle" was the song that brought me to the LP, but there's a lot to enjoy beyond that one, like "Hallucinations", which reminds me of Cream. I've been listening to the 1999 remaster, but in 2023 Howe reworked the album, with extra tracks, as "Permanent Dream"

The United States of America (March 6, 1968)

Tracks: The American Metaphysical Circus / Hard Coming Love / Cloud Song / The Garden of Earthly Delights / I Won't Leave My Wooden Wife for You, Sugar / Where Is Yesterday / Coming Down / Love Song for the Dead Ché / Stranded in Time / The American Way of Love (I. Metaphor for an Older Man - II. California Good-Time Music - III. Love Is All)

Electronic, acid rock with a political slant. Founded in Los Angeles in 1967 by composer Joseph Byrd and vocalist Dorothy Moskowitz, with electric violinist Gordon Marron, bassist Rand Forbes and drummer Craig Woodson. They disbanded shortly after releasing their debut. Their sound is both jarring and melodic, primitive yet progressive - while short lived, they had an influence on several who came after (Portishead, Broadcast). A 2004 reissue included bonus tracks.

Red Crayola, The Parable of Arable Land (June 1967)

Tracks: Free Form Freak-Outs, with songs, Hurricane Fighter Plane / Transparent Radiation / War Sucks / Pink Stainless Tail / Parable of Arable Land / Former Reflections Enduring Doubt  

Freak-outs by The Creative Ugly, coupled to 6 nightmarish numbers from Mayo Thompson (vocals, guitars), Steve Cunningham (bass), and Rick Barthelme (drums). The standout is "Hurricane Fighter Plane", which always makes me feel ill at ease. It's like the music equivalent to "Eraserhead". Maybe it's that 3 note bass (?) line that repeats over and over. Or the static and off-key arraignment. The song weirds me out, but I can't stop listening to it. I love it even though it makes me feel... off.  The LPs been recategorized as Noise Rock, rather than psychedelic, though truth be told, as AllMusic's Mark Demming wrote, "it exists on a plane all its own".

The Moody Blues, The Search of the Lost Chord (July 26, 1968)

Tracks: Departure / Ride My See-Saw / Dr. Livingstone, I Presume / House of Four Doors - Part 1 / Legend of a Mind / House of Four Doors - Part 2 / Voices in the Sky / The Best Way to Travell / Visions of Travel / The Actor / The Word / Om

A musical journey of discovery - an exploration of the self and the world, as filtered through a veil of mysticism and philosophy... sometimes poetically serious about its themes, at others, taking a piss out of it all when it comes too close to pretention. The Blues are experimenting with new instruments, seeing just how far they can push the boundaries, while keeping to a sound that is melodic and flows like water. And if all of that reads like cosmic hooey, I can't help it, the record has that effect on a person. "Ride My See-Saw" and "Legend of the Mind" are two of the highlights.

Jefferson Airplane, Surrealistic Pillow (Feb 1, 1967)

Tracks: She Has Funny Cars / Somebody to Love / My Best Friend / Today / Comin' Back to Me / 3/5 of a Mile in 10 Seconds / D.C.B.A.–25 / How Do You Feel / Embryonic Journey / White Rabbit / Plastic Fantastic Lover

The Sgt. Pepper's inspired Bathing at Baxter's might be freakier, but I prefer the tunes on this one, with classics like the dreamy "Today", "Plastic Fantastic Lover", and “White Rabbit” - a tune that opens with the minimalistic rat-a-tat-tat of the drums, a throbbing bass, and a snake like guitar lick - it builds in intensity as it goes, telling the surreal tale of Alice in Wonderland as drug metaphor. Grace Slick has a strong contralto voice. Her singing weaves sinuously and powerful, matching the force of the music note for note. It reaches its frenzied peak and climaxes in a storm of crashing drum and guitars… 2 minutes and 30 seconds of pure rock and roll bliss.

Airplane personifies and acts as the perfect soundtrack to the Haight-Ashbury counterculture, folk, psychedelia movement of the 60s.

Cream, Disraeli Gears (Nov 2, 1967)

Tracks: Strange Brew / Sunshine of Your Love / World of Pain / Dance the Night Away / Blue Condition / Tales of Brave Ulysses / SWLABR / We're Going Wrong / Outside Woman Blues / Take It Back / Mother's Lament

R&B given a psychedelic makeover. Aside from the throwaway number at the end ("Mother's Lament" mars this masterpiece) “Gears” is Cream's most consistent effort, with songs about Ulysses (my favorite here), strange brew and a bearded rainbow. The cream of crop for this band, though Wheels of Fire, with the amazing "White Room" is pretty awesome too. 

The Who, The Who Sell Out (Dec 15, 1967)

Tracks: Armenia City in the Sky / Heinz Baked Beans / Mary Anne with the Shaky Hand / Odorono / Tattoo / Our Love Was / I Can See for Miles / I Can't Reach You / Medac (Spotted Henry) / Relax / Silas Stingy / Sunrise / Rael 1 & 2 - (the 1995 CD included several bonus tracks)

This is my favorite Who album because it’s fun and very catchy. With radio commercials interspersed between the tunes, it's like having the radio in record form. “I Can See for Miles” is the LPs highlight, though not it's only ace. There are surreal sounds and acoustic ballads with pretty harmonies ("Mary Anne with the Shaky Hand"). I remember how the cover stood out on the record racks, you just had to check it out to hear what it was all about - a successful ad campaign all around.

Pink Floyd, Piper at the Gates of Dawn (Aug 4, 1967)

Tracks: Astronomy Dominé / Lucifer Sam / Matilda Mother / Flaming / Pow R. Toc H. / Take Up Thy Stethoscope and Walk / Interstellar Overdrive / The Gnome / Chapter 24 / The Scarecrow / Bike

Syd Barrett's Floyd was a different animal - While self-consciously surreal, it's done with such fresh-faced exuberance that I was easily charmed. "The Gnome" is a hoot and "Bike" is equally fun, I loved its shifting tempos, and the way it moves from sing-song vocals at the verses, into an off-kilter, non-chorus, accompanied by theremin-like backing, which ends with a clipped explosion of percussion. The LP might not have the polish and gravity of later PF works, but it's that freewheeling spirit that drew me in. I liked the psychedelic flourishes. I liked the playful vocals and strange trippy lyrics. I liked the overall production - Norman Smith was George Martin's right-hand man before helming this project, and his work is tight, while maintaining an open experimental feel.

The Jimi Hendrix Experience, Are You Experienced (May 12, 1967)

Original US Track Order: Purple Haze / Manic Depression / Hey Joe / Love or Confusion / May This Be Love / I Don't Live Today / The Wind Cries Mary / Fire / Third Stone from the Sun / Foxey Lady / Are You Experienced? - 1997 CD Bonus Tracks: Stone Free / 51st Anniversary / Highway Chile / Can You See Me / Remember / Red House

A lot of the greatest, familiar tunes are here (Purple Haze, Hey Joe, Foxey Lady, Wind Cried Mary) but there is so much more to enjoy. Mitch Mitchell's unique jazzy drums and Noel Redding's trebly, chord-heavy bass lines add layers to Jimi's smooth guitar work. Blues and psychedelic rock collide brilliantly, and even lesser tunes have something to offer ("Remember" features some of Jimi's best vocals, for example). "Axis: Bold as Love" and "Electric Ladyland" are two other psych classics well worth experiencing, but the bands stellar debut is my go-to Hendrix.

The Zombies, Odessey and Oracle (April 19, 1967)

Tracks: Care of Cell 44 / A Rose for Emily / Maybe After He's Gone / Beechwood Park / Brief Candles / Hung Up on a Dream / Changes / I Want Her, She Wants Me / This Will Be Our Year / Butcher's Tale (Western Front 1914) / Friends of Mine / Time of the Season

The Zombies are best known for 3 hits, "Tell Her No", "She's Not There" and the stupendous number found on this masterpiece, "Time of the Season". This psychedelic, keyboard pop, is boosted by expressive vocals and lyrics that probe a variety of subjects, including the great "Care of Cell 44" which is a letter sent to a girlfriend in jail. Hooky popper "This Will Be Our Year" (but I need the horns), the haunting "Butcher's Tale" with Chris White's effective, warbly vocals, and "Beachwood Park" a flower power gem, are among the cuts that make this a timeless classic - even as it embraces the era so completely, Odessey never sounds dated. The CD includes both Mono & Stereo mixes (and there are differences) and the bonus songs on my copy includes "Imagine the Swan" and "If It Don't Work Out", which has an incredible groove, I just love the arrangement of the instruments on that track.

Love, Forever Changes (Nov 1, 1967)

Tracks: Alone Again Or / A House Is Not a Motel / Andmoreagain / The Daily Planet / Old Man / The Red Telephone / Maybe the People Would Be the Times or Between Clark and Hilldale / Live and Let Live / The Good Humor Man He Sees Everything Like This / Bummer in the Summer / You Set the Scene

After the heavy electric of "Da Capo", Love returns with this lush, acoustic masterpiece. Lee has kind of a Johnny Mathis thing going on with his vocals and this style meshes perfectly with his singing. Lyrical it's a juxtaposition between light and dark. "Andmoreagain" is one of the most beautiful tunes I've ever heard, and as a whole this album transports me, from the memorable opening track, to the epic closer, with its changing time signature signaled by beguiling horns (and Lord, those strings), Forever Changes takes me on psychedelic journey. I've read that "Wonder People" was left off the LP because Lee felt it didn't fit, is that lyrically, because musically it suits the record better than the Dylanesque "Bummer in the Summer" the only (minor) misstep on an otherwise flawless collection. (but hell, I just switch them out and I'm in Heaven).

The Monkees, Head (December 1, 1968)

Tracks: Opening Ceremony / Porpoise Song (Theme from Head) / Ditty Diego—War Chant / Circle Sky / Supplicio / Can You Dig It? / Gravy / Superstitious / As We Go Along / Dandruff? / Daddy's Song / Poll / Long Title: Do I Have to Do This All Over Again? / Swami—Plus Strings, Etc.

A difficult choice between 2 bits of Monkee madness - Pisces, Aquarius, Capricorn & Jones Ltd. is my overall favorite, with tracks that certainly fit the criterion, what with Mickey's Moog contributing to the vibe; but Head is even more out-there; a soundtrack to their avant-garde feature film, it blends 6 new songs, with sound collages overseen by Jack Nicholson that gives the release a bit of a Revolution 9 flavor. Peter's contributions were among his finest - the groovy, "Can You Dig It" with its memorable guitar work (supplied by Tork?) and, "Long Title: Do I have to Do This All Over Again?" (dig that Lance Wakely bass). Also, Goffin & King's hypnotic "Porpoise Song" is a surreal, keyboard infused Acid classic. Last but not least, lets close with 2 I've spoken of previously on this blog...

Alice Cooper, Pretties for You (June 25, 1969)

Tracks: Titanic Overture / 10 Minutes Before the Worm / Sing Low, Sweet Cheerio / Today Mueller / Living / Fields of Regret / No Longer Umpire / Levity Ball / B.B. on Mars / Reflected / Apple Bush / Earwigs to Eternity / Changing Arranging

Not an album you'll see named often in lists like this, but I unapologetically love it. To quote myself - "Puzzling and original, Cooper’s experimental lo-fi debut album is like nothing you’ve ever heard from the band. There are little snippets of songs, bits that start here then suddenly go there, and lengthy but utterly enthralling instrumental segments... it's trippy and weird and raw, but not unfocused, there are catchy guitar licks (Living), bass lines (Apple Bush), harmonicas (Cheerio) and melodies to dig." for more on it, check out my full review... Cooper - Part 1

The Beatles, Revolver (Aug 5, 1966)

Tracks: Taxman / Eleanor Rigby / I'm Only Sleeping / Love You To / Here, There and Everywhere / Yellow Submarine / She Said She Said / Good Day Sunshine / And Your Bird Can Sing / For No One / Doctor Robert / I Want to Tell You / Got to Get You into My Life / Tomorrow Never Knows

"Magical Mystery Tour" is arguably the most psyche of the Beatle psychedelic albums, and Pepper's is the one that changed the musical landscape, but "Revolver" is my favorite, and while it offers a wide mix of styles and personalities, Lennon's She Said and Tomorrow Never Knows are prime, mind-bending examples of the style, and marks the lad's transition to a whole different musical realm. For more of my thoughts on these and other records... Beatle Rankings

Psychedelic Cinema of the 60s

Movies with a groovy look, a groovy sound with a story that's a trip - here are a few I dug

1965: Juliet of the Spirits * 1966: Daisies * 1967: Magical Mystery Tour / The Trip 

1968: 2001: A Space Odyssey / Yellow Submarine / Head / Barbarella / The Girl on a Motorcycle / Danger: Diabolik * 1969: Easy Rider / Psych-Out 

Backstage Pass: Devo - My Collection and Memories

It all began for me on October 14, 1978. That’s when Saturday Night Live host, Fred Willard introduced an oddly named band called “Devo”. I watched these guys -garbed in yellow radiation suits, who moved robotically- tear into a brilliantly off-kilter version of “Satisfaction” --- and in that instant they altered the musical landscape for me.

Devo was a breath of fresh ‘weird’ air. Devo was Dadaistic concept art with a social bent. And Devo had a lead singer with this wonderful nerd voice that blistered the air to my great delight.

The next day I took a bus downtown to the only record store open on Sunday and picked up a copy of Q: Are We Not Men? A: We Are Devo! rushed home, breathlessly placed the record on the player, and was swept away.

This is a look at the albums in my collection

Q: Are We Not Men? A: We Are Devo! (August 1978)

Tracks: Uncontrollable Urge / (I Can't Get No) Satisfaction / Praying Hands / Space Junk / Mongoloid / Jocko Homo / Too Much Paranoias / Gut Feeling (Slap Your Mammy) / Come Back Jonee / Sloppy (I Saw My Baby Gettin') / Shrivel-Up

It’s 45 years old, and still amazing to this day. Aside from those on the fringe, music was dire for me at that time, but this was different, original, off beat, unpolite and beautifully mutated.

Devo’s seminal work. Today it is generally highly regarded, but upon its release some critics took their shots and called it sterile, cold. I don’t see it, or how someone could listen to the frantic cadences of "Uncontrollable Urge", and not feel their pulse race. Sterile? Cold? Na.  

Are We Not Men sizzles with organic sounds. Sure, there were the beeps and pops of the synths, there were the stops and starts and unpredictable chord structures associated with New Wave… but they also rocked with good old-fashioned bass, drums and guitars.

"Gut Feeling (Slap Your Mammy)" in particular offered up a taste of Devo as guitar crunching punks. Alan Myers was a strong drummer, punctuating his heavy backbeat with quick exciting fills, but that was more evident in the live shows than on record. With Gut Feeling though, you feel him working those sticks for all his worth. Bob Mothersbaugh’s guitars snarled aggressively during the transitions from Gut to Mammy and Gerald Casales’s bass playing is given its due. One unfortunate side effect to the Devo electronic sound was that Gerald’s bass got buried. So, I’m thrilled that there’s a song (and album) that puts his talents on full display – we can clearly hear him dart and slide across those strings like a master, and it gives Devo’s sound a bit O’ muscle and warmth that would be lost in subsequent recordings.

"Satisfaction" is proof that DEVO does the best covers, ever (Mick called it the best cover of the song). Funny that Devo played this a week after the Stones performed on SNL. In addition to this, Devo draws from rocks past with a catchy sequel to Johnny B Goode ("Come Back Johnnie").

"Jocko Homo" is one of the great anthems, and they added to it since filming of the video, made it even more memorable - "Too Much Paranoias" is often ranked as the worst song on the record; not for me, I find it a nightmarish joy

I know most people wouldn’t dare compare Devo to the Beatles, but in those days in 1978 I felt like I did when I discovered the Beatles. Like I found something special. I’d sit there and listen to these wild songs, and stare at that ugly/wonderful cover, which was perfectly Devo. I’d pour over the pictures on the sleeve and read the lyrics as the music played - and rocked like crazy in my chair, with those 4 speakers surrounding me, just as I did when I’d listen to the fab four all those years before.

Unlike the Beatles, who had a wide fan base, I was flying solo with these guys. I had no one to share this with - no one was interested. I’d try to get my band to play "Mongoloid", but the song and the music in general, freaked them out too much. Devo, at least for the first 2 years (78-79), was pretty much mine and mine alone.

Duty Now for the Future (July 1979)

Tracks: Devo Corporate Anthem / Clockout / Timing X / Wiggly World / Blockhead / Strange Persuit / S.I.B. (Swelling Itching Brain) / Triumph of the Will / The Day My Baby Gave me a Surprise / Pink Pussycat / Secret Agent Man / Smart Patrol/Mr. DNA / Red Eye - Bonus Tracks: General Boy Visits Apocalypse Now / Soo Bawls / Be Stiff (Still Version) / Penetration in the Centerfold / Secret Agent Man (Live)

After discovering Devo, the floodgates started to open. In my little town they began airing a late-night radio show on Sundays, which introduced me to new breaking bands as well as a couple of treasured oddballs (the Fabulous Poodles). Also in 1979, I got a taste of Beatlemania in the guise of a band called The Knack. Who exploded on the scene with the hook filled "My Sharona". Music was making a big comeback in my universe and the summer of ‘79 brought the promise of a new release from Ohio’s favorite spud boys.

Devo’s second album was initially not well received, folks suggested that Brian Eno was responsible for what made the band great, and without him they were lost. The tracks were actually culled from the same gene pool as Are We Not Men? – Had you attended concerts from 75 to 77, you would have heard a mix of songs from both LPs. But the tone of Duty was decidedly different. While I didn’t agree with critics who said that AWNM Was cold… Duty would definitely give you frost bite.

The freaky five were pulling away from standard rock and roll instruments and began pushing the electronics to the fore. Alan’s still hitting the toms and kicks, but there's emphasis on the snappy snares, and while the Bob's plug away on those screaming guitar strings, it's all so oddly detached. Even the vocals have a strange remoteness, as if they were being transmitted from an alien planet. It took me a while to warm up to the album, though even today I find its frigid terrains exhausting (I always feel tired after listening to it)

There are a few deviations from the robotic. The frantic "Clock Out" allows Jerry Casale to show off his slick bass playing and "The Day My Baby Gave Me A Surprise" is rather melodic and catchy. "Smart Patrol/Mr. DNA" had a driving tempo and opened with an underlying theremin sound straight from a 50s sci-fi flick. And "Secret Agent Man" is yet another stellar cover-song (though better live).

I get the sense that Devo was cleaning out their musical closet on this release, ala the B-side of Abbey Road (without the trick of fusing the tracks together). Reflecting on it today, I think that Duty Now for The Future was actually a very good record that simply had the misfortune of being released after a truly great one. Oh, and lastly...

The colorful Janet Perr artwork satirized the new requirements for bar codes on albums, which a lot of bands felt defaced the art. 'Course, Devo, being Devo see the Orwellian possibilities and de-evolution in it, take it and use it to make a statement. BTW - The rectangular image of the band originally came perforated and could therefore be removed from the "offending" barcodes surrounding it.

Freedom of Choice (May 1980)

Tracks: Girl U Want / It's Not Right / Whip It / Snowball / Ton o' Luv / Freedom of Choice / Gates of Steel / Cold War / Don't You Know / That's Pep / Mr. B's Ballroom / Planet Earth

Their appearances on Fridays (and perhaps Bandstand, I’m not sure the month that aired) whet my appetite for the new album. I could tell that this release was going to offer warmth not found on Duty. And I recall rushing off to the record store on the day of its release.

From the first notes of "Girl U Want" I was in heaven. This was an incredible LP and like always, different from what came before. So far Devo had not repeated them-selves. FOC was the transitional album that would see them shift from New Wave to Synth Pop. It wasn’t as perfect as Are We Not Men - but there really wasn’t a bad tune in the bunch. In addition to Girl and -gasp- the hit record "Whip It" (with its nice B-side number, “Turn Around”), was the powerful title track, "Freedom of Choice" (single peaked at 103 on Billboard charts). Freedom is an example of Devo’s literary leanings as the lyrics are inspired by Aesop’s fable “The Dog and the Bone”. Musically, Alan Myers steady, hammer-like drumming gives the track a rousing pulse. Oh, and speaking of drawing from other sources, "That's Pep" (which acts as kind of a bookend to Whip It) was inspired by an early 20th century poem by Grace G. Bostwick

Lyrically the band was in a romantic mood. Songs about desire and heartbreak pepper the production. But that’s not to say they’d abandoned themes of De-evolution – the urgent "Gates of Steel" -for example- addresses mankind being bound by logic, which is undone by their irrational, impulsive, and illogical natures.

With a new LP comes another costume change. This one left an indelible mark as everyone had something to say about those Aztec Energy Domes (yeah, the flowerpot hats) and any die-hard DEVOtee put in an order and proudly wore them to concerts (I’d even wear mine for a song or two during my own gigs)

With all this radio attention and TV appearances, 1980 was a hell of time to be a beautiful mutant and it got even better for me on August 12th, 1980. That’s when my father and I drove off to Seattle. He was to conduct business and visit family, and I was anxiously awaiting a concert.

As for details on how R&B influences impacted the tone and sound in the bottom end, among other topics - an interview with producer Robert Margouleff on the making of the album - Sound on Sound

What was next? Nightflight and later MTV (8/1/81) hit the air and showed music videos, while VJs keep us updated on all the news. At first, these shows/channels didn’t have a lot to choose from in the mainstream. All they could do is turn to the oddballs, the new wave artists who were all about visuals and had plenty of material to offer. It was perfect timing for bands like Devo, the B-52s, Talking Heads, Oingo Boingo, XTC, Gary Numan, Mi-Sex, the Brains, Adam and the Ants etc – radio might have been a tough nut to crack, but TV was desperate for them. And it helped that these arty types liked filming striking and interesting images.

New Traditionalists (August 1981)

Tracks: Though Being Cool / Jerkin' Back 'N' Forth / Pity You / Soft Things / Going Under / Race of Doom / Love Without Anger / The Super Thing / Beautiful World / Enough Said - Bonus Tracks: Nu-Tra Speaks (New Traditionalist Man) / One Dumb Thing / Modern Life / Faster and Faster / Psychology of Desire (Demo) / It's a Beautiful World" (E-Z Listening Version)

Devomania was at an all-time high. The previous year they had a hit record, and in 1981 music television was running their vast catalog of video on a steady basis. In addition to that, "Working in a Cole Mine", from the Heavy Metal Soundtrack was getting plenty of airplay (though it topped out at #43 on the charts). At this high peak was where I met my first Devo disappointment.

NT wasn’t a horrible album, but it was a flat one. In each of their first 3 releases Devo gave a fresh spin on their sound, but they stood pat for NT as it sounds a lot like castoffs from Freedom of Choice.

It starts with the funky "Through Being Cool", an okay tune, but not scorching enough for an album opener. The next cut, "Jerkin' Back 'N' Forth" fares better, but it’s not a complete killer either. I remember listening to the record for the first time and this feeling of dread washing over me track after track after track. I kept waiting for them to ramp it up, and while the songs weren’t terrible (and "Going Under" and "Pity You" were both solid, groovin numbers), for the most part little sparkled. There were no Whip Its or Girl U Wants in sight. On top of that, Devo decided to helm the LP themselves. This was met with less than stellar results. The production was muddy, low key and dry, though happily, the 2010 remaster gave it more clarity, gave it a little oomph.

It wasn’t until the second to last tune that the album finally struck gold. "Beautiful World" was the LPs lone gem and one of Devo’s very best songs as well as one of their finest videos. Beautiful World is quintessential Casale (and he was the one who painstakingly scoured through hours of archives to find the clips he wanted for the video), it’s the quintessential Devo message song/video, it exemplifies the theory of De-evolution sharpened in the aftermath of the bloodshed at Kent State. Oddly it’s kind of a sequel to the FOC song, Planet Earth, Beautiful surpasses that one - the only time Traditionalists betters its sister album.

Overall, the lyrics are strong. The humor, when present, seems darker to me; it’s generally more straight-out serious and maybe a little angry. Many critics offer that in Through Being Cool, Devo is dissing those who jumped on the “Whip It” bandwagon and wanted to make it clear who they were and what they were about. "Enough Said" is full of contempt for political leaders.

2010 Bonus tracks were good, but 3 came from sessions for the next LP - why didn't Warners include the single, "Working in A Cole Mine" or the B-Sides, "Hello Kitty" and "Mecha-Mania Boy"?

Notes: The outfits for this release were “Utopian Boy Scout Uniforms” and plastic, molded hair modeled after JFKs. The tour was massive and included a Greek temple motif.

* Human Highway, Neil Young’s little seen film that Devo appeared in as workers in a nuclear power plant, has a limited release in 1982. A video for their cover of “It Takes a Worried Man”, from that film, gets some coverage (which includes bookend appearances from Rod and Donut Rooter). The movie featured Mark Mothersbaugh’s first foray into film scores.

Oh, No! It's Devo (October 1982)

Tracks: Time Out for Fun / Peek-a-Boo! / Out of Sync / Explosions / That's Good / Patterns / Big Mess / Speed Racer / What I Must Do / I Desire / Deep Sleep

Before it got serious, Devo started off as a laugh (Jerry found about a book about brain eating monkeys, and how this contributed to backward evolution). And when it became a band there was a postmodernist philosophy attached to it. When Mark or Jerry speak of the group, they speak of it in the third person, as if it were a performance art piece created around a fictional band who have come to the planet with a message. So, Devo was always more than just a bunch of guys making music, Devo was a concept

With "Oh, No", the concept might have defeated itself. The intent was always to pull further away from guitars and into electronics, but I wonder if Devo shot themselves in the foot. Adhering so faithfully to the idea of Devo, that they sacrificed the quality of the music of Devo. It would have been preferable to have said, “Screw the concept, let’s get a real bass and drum and put some depth and meat on these bones.” (something Gerald and Bob wanted for Shout, but couldn't convince Mark, who had a new musical toy)

I say this because the production on Oh, No sounds thin and tinny. The programmed drums and synths all have a similar sound - the danger there is that it can make the LP mesh together in one undistinguishable mass.

Despite these flaws, on a song-by-song basis, I like this record. Unlike the murky New Traditionalist, Oh No is exciting - it has fire and energy. There are catchy grooves in "That's Good", and some of those electronics can be quite captivating (the siren sound in "Peek-A-Boo!")

Devo is now pure synth pop, and the effort sounds so bubbly - and with titles like "Time Out for Fun" - you might think this was Devo-lite, fluffy and sweet like cotton candy. But the lyrics hide a darkness - with mental illness and unrest a reoccurring theme - "Big Mess" draws inspiration from the Cowboy Kim letters (schizophrenic missives sent to TV game shows - Devo was friends with someone who worked in the mailroom and got their hands on them). "I Desire" sounds like a thousand other urgent songs about a man who’ll do anything for his love. Until you discover that the lyrics were inspired by letters John Hinkley Jr. sent to Jodie Foster – the line between love and madness is thin indeed. I always thought I Desire, while robotic, had a pretty melody and I’ve always enjoyed singing along with the track.

Sadly, the mutated stitches are starting to unravel. There were rumblings that Alan Myers was not happy with Devo’s growing reliance on programming/drum machines, as many drummers of electronic bands often become. I remember the Cars drummer issuing the same complaints, ironic in a way, the Cars producer Roy Thomas Baker, was the man in the control booth for this record (he also produced Alice Coopers "Flush the Fashion", which I felt was too gutless on that side of things).

MTV is also acting like snippy brats and for some reason turns on the band. It was the French fry that did it! In the video for "That’s Good", an animated French fry inserts into a donut, which cuts to footage of a woman in the throes of passion. MTV refused to air the video and things got heated. Mark laughs about it today and nails the double standard on the head, when he stated that Madonna could stick a French fry in her ass, and they’d have had no problem with it.

Shout (October 1984)

Tracks: Shout / The Satisfied Mind / Don't Rescue Me / The 4th Dimension / C'mon / Here to Go / Jurisdiction of Love / Puppet Boy / Please Please / Are You Experienced?

This is the beginning of the end. This would be Alan’s last stand with the band. Saying that he felt “creatively deprived”, the drum master takes his leave after this release. Alan wasn’t the only disgruntled one, fans and critics were none too happy with it, the album failed to chart, and Warners dropped them.

Shout does sound like a group with nothing left to say. There’s little new here (other than the Fairlight CMI computer synthesizer’s they used for the first time), and it sounds almost like the work of a Devo knock-off. It’s similar in style to Oh, No! It’s Devo, with its video game synths. But it’s actually a bit fuller, more bass heavy and we get some guitar work from Bob 1. This is the second stab at production for the guys, and I think they do a better job this time out.

I won’t argue that Shout is a great album - the title track is strong, but after that it fades into melodies and lyrics that have been done before and done better. There are good moments in songs like "The 4th Dimension" (with its Day Tripper riff) and I liked the detached alien-like backing vocals throughout, but overall Shout is pleasantly non-descript, and I can’t blame those who threw up their hands and gave up.

I can’t blame them, but they should have stuck with it. Because Shout’s second side actually offers up some entertaining material: "Puppet Boy" and "Please Please" aren’t going to make anyone forget "Jocko Homo" or "Uncontrollable Urge", but they are solid tracks. The funky Puppet Boy in particular was a hell of a kick, convulsively danceable and delivering that old Devo humor, with a defiant Puppet (Booji) Boy piping in his protests.

The spuds from Ohio saved the best for last with one of their trademark classic covers. This time they do Jimi Hendrix’s Are You Experienced? The tune opens with noise that hearkens back to "Too Much Paranoias" and then throbs with a cool fusion of 80s new wave and 60s psychedelic (and inserting a lick inspired by Hendrix’s Third Stone from the Sun). It’s a fitting end (though not truly the end). I discovered these guys performing the brilliant Satisfaction” and finished with them doing Hendrix. 

I never bought but have listened to Total Devo (May 1988) - Aside from "Baby Doll", it was pretty weak stuff, a few bad ones, a few decent ones, and a lot that sounded like they were borrowing bits from previous numbers - Devo had run out of fresh ideas. Next was the near unlistenable dance popper Smooth Noodle Maps (June 1990) and that was it - aside from a good song showing up here or there, I thought my days of full-length Devo records were done. Until...

Something For Everybody (June 15, 2010)

Tracks: Fresh / What We Do / Please Baby Please / Don't Shoot (I'm a Man) / Mind Games / Human Rocket / Sumthin / Step-Up / Cameo / Laster Is Now / No Place Like Home / March On 

There wasn’t much news out of Spudland, until 2007 when they recorded a song for a commercial in Japan. That song was the great "Watch Us Work it", and it put us Devotees into a spin. Would they, could they, make a return and record again?

It was uncertain for a while; they went back and forth for years. Mark announced the band was regrouping in his studio, later Gerald said that Mark had halted the project and that there would be no new Devo album. Then it was back on, release dates were suggested, set – and then changed again. They leaked a few songs, but it was taking so long that I started to wonder if they’d ever get it in gear. Finally, they’d re-signed with Warners, a website was set up for a song study and clever promos were played. It was a hoot (I loved the guy who hosted it, Jacob), but I think people maybe took it too seriously and a few got upset when the fans choices weren’t followed to the letter. I could care less what they’d release at this point, I just wanted the CD.

Soon the day arrived, a listening party for cats was planned (I watched some of it and laughed like mad at the idea) and after work I sped on down to the local Best Buy and grabbed my copy!

Ahh the beautiful noise they made was like taking a trip back to my past. The production was brilliant, smoother and fuller than they’d done in ages. The synths were there of course, but they didn’t sound as cheap and tinny as with Oh No, It’s Devo. The songs rattled with energy, the pulse pounding album opener "Fresh" ripped right through me. I wanted to get up and make these creaky old bones of mine dance. Unlike other comeback albums, this wasn’t a tired old band wheezing and sputtering through safe music, and resting on past glories - this music was as bright and relevant as what they’d done with Are We Not Men? and Freedom of Choice. The insightful lyrics, rousing music and slick production were all aces. And the underlying commercialized concept and message tied it all together and added to the experience. SFE was a success on all phases.

"Fresh" opens the album and it quickly became one of my all-time favorites. Bob Mothersbaugh’s lead guitar adds spice and Joah Freese’s drums are big and bold. The lyrics (I think) are about advertisers etc, dangling every new bauble in front of consumers like a carrot. And how we go for it like starving dogs, thinking it’ll be the thing that makes our lives perfect. That sums up the concept of the album, as well as the costumes (Plastic faceplates that obliterate the individual. Every person looks the same).

Even though "Cameo" received the fewest votes among fans, Devo included it… and I’m glad they did (I actually voted for its inclusion). I like quirky weird Devo (Paranoias, Speed Racer) and Cameo is indeed, odd. "Sumthin"’ features a sweet instrumental handoff during the verses - from synths to a quick strum from the rhythm guitar, which gives way to a lead guitar lick from Bob 1.

Reviews were generally positive (though many critics still don’t get it, judging by comments -that in all seriousness- attacked the commercialism and promotions. They couldn’t see that the marketing campaign, the lyrics rife with catch phrases… it’s all part of the joke, it’s all part of de-evolution’s dark satirical twist). The album was their 3rd highest charter (peaking at #30), the band played on Letterman, there were cool new videos to watch… man it was like old times but with an Internet twist, which offered up more access and entertainment.

That song study allowed us fans to know what we were missing. Personally, I’d have replaced "No Place Like Home" and "March" with "Knock Boots" and "Watch Us Work It", but those tunes, and 2 others are now available.

And lastly, a word about EPs, a concert and a video compilation.

B Stiff (September 1978)

Tracks: Jacko Homo / (I Can't Get No) Satisfaction / Be Stiff / Mongoloid / Sloppy (I Saw My Baby Getting) / Social Fools

I remember seeing this EP in the important section of my favorite local record store (Strawberry Jams) but didn't pick it up until years later. B Stiff collects the three singles released by Stiff Record in the UK - so these cuts were different from was heard on the "Are We Not Men?" album, and there was a tune I wasn't familiar with (Social Fools), so that was cool.

DEVO-O Live (March 25, 1981)

Tracks: Freedom of Choice Theme Song / Whip It / Girl U Want / Gates of Steel / Be Stiff / Planet Earth

I saw a show during this tour, and had to have this EP, thought it wasn't the same as seeing them in person. I didn't listen to it a lot (though I liked this faster version of Be Stiff).

As for the concert I attended - I arrived early (with a book to entertain me), I was like 5th, 6th in the queue. And by the time the doors opened, the line had wrapped around the block (the show sold out and they added another one for later that night!)

I remember Devo came around the corner; the Bobs had guitars in hand and walked in through the front entrance. We cheered and I was jacked. I’d never seen a band just walk out in front and nod at all their fans in line. I could hear rehearsals and sound checks and when they let us in, I must have had the biggest assed smile pasted on my face. I was tired, I’d spent the morning in a car, going from the far western part of the State to the far eastern end of it, then about 2/3 hours standing in a line - but that weariness was about to disappear.

Devo was their own warm up act, as they showed all their videos, including a few exclusives (like the death of Booji Boy). 

The guys had on vests, each emblazoned with a letter. After the first song, the lights when out and all you could see those letters, glowing in the dark, spelling out DEVO. What cheesy good fun. The crowd went wild. I noticed that Alan didn’t play drums behind everyone else, as was the tradition; he was up front on the left. I had a good view of him and was really impressed watching him play. The drums were strong live; you could feel them pounding in your chest.

The concert was brilliant, the best I’ve ever seen. It was without a doubt the most fun I’ve had at a show - and as a bonus... during the performance, Mark wiped his brow and threw the towel in the audience, right in my direction. I raised my hand, never thinking it would actually find me. When I felt it fall into place. I quickly pulled it into my chest. No one were going to take this away from me!

Also in my collection, "The Complete Truth About De-evolution", which wasn't actually complete as it's missing "Are You Experienced?", but the other videos were there, including the short film they made in 1976 directed by Chuck Statler - No, it doesn't have all of the Rod and Donut segments from an earlier collection (We're All Devo) but there was more Devo content. and I was happy to have that.

I'll watch it from time to time, it's a nice trip down memory lane.

My Five Favorite Albums

1. Q: Are We Not Men? A: We Are Devo! 

2. Freedom of Choice

3. Something for Everybody

4. Duty Now for the Future 

5. Oh, No! It's Devo