Disco de Devo: “Oh, No! It's Devo”

Devo was my first concert, just a couple of months after the release of this album. I saw them in December, 1982. It seemed like a great show at the time, but of course I had nothing to compare it to. Regardless, I went on to enjoy this album more and more until I completely forgot about Devo a few years later.

Fast forward to a few years ago. I bought the import CD that has this album and Freedom of Choice on it. I figured it was a great attempt to recapture something I had forgotten. Unfortunately, I think the sound on this CD is sub-par, and when I recently listened to it again, I decided I had no choice but to go out and find it in its original form... vinyl. Much better. (Don't waste your money on that import like I did!)

Now, I've heard all Devo up to this point. Beyond this, I've heard nothing of theirs. As everybody knows, Mark Mothersbaugh has gone on to write music primarily for kids shows (Rugrats, etc.) If you've ever heard these tunes, you can definitely hear the same sort of slight weirdness that Devo was so well known for.

I like older Devo as much as the next guy. Yes, it was edgy and different at first. Sure, Devo began catering to a more pop-oriented audience with this album, but don't let that fool you. These guys were master song writers by this time. The key to enjoying Devo is to not read too much into what they're saying and just take it for the entertainment value it provides. Don't be mistaken. "Oh, No! It's Devo" fulfills that promise of entertainment. Try not to listen to this album and tap your feet the entire way through. It's hard, and That's Good.

Devo has always been good at tackling serious (or semi-serious) subject matter under the veil of silliness, but I think this is their best attempt at such. While New Traditionalists is normally mentioned as Devo's "dark" album, I think this one tops it in that area. Themes of impending mental collapse, paranoia, social decay, and various forms of mental illness are explored liberally throughout the album.. same as any other Devo release on the surface, but the music is so danceable and deceptively innocent that it may take several listens to pick up on the various layers of meaning in these ostensible pop songs. The most blatant examples of this are "Big Mess" and "I Desire" the lyrics of which were culled from crazy letters written to the band by an obsessed fan, and the journal of would-be Reagan assassin John Hinkley, respectively.

In any case, this is probably not the "best" Devo album, strictly speaking, but it is the one that gets the most play at my house. In spite of, or probably because of, its brilliantly disguised lyrical content, it's still the most fun of all of the band's albums for me.

This is an easy 5 stars, as is every Devo album that came before it.

"Oh, No! It's Devo!" for me represented the apotheosis of the Spudboys from Akron, O-hi-o. I know that for most people. this was the beginning of the end, but for me the proof is in the grooves: I played this one so much (LP vinyl) I had to buy a replacement. Within a year the grooves were turning white from dust and the cheapo "Soundesign" needle on my turntable. And, don't forget, the album cover had a cameo appearance on "Diff'rent Strokes," in the ownership of Willis Drummond, as played by the venerable Todd Bridges.

The reason this album works, is because it works as an album. Devo was best when they put their tunes in the hands of accomplished producers, as with their debut (Brian Eno) and "Freedom of Choice" (Robert Margouleff).

This one was put to the mix by Roy Thomas Baker, who produced so many great albums for The Cars, as well as AC/DC's "Back in Black." While "Oh No" bears zero resemblance to the latter, it is produced much like The Cars' second album, "Candy-O": All the songs, in a constant 4/4 tempo, fit with the previous and the subsequent like a dovetail joint. Let your ears and your mind follow the beat as "Out of Sync," "Explosions," "That's Good," "Patterns," and "Big Mess" weave and flow seamlessly into one another.

It wouldn't mean a thang if these were lackluster tunes, but every single one is SOLID.

While contemplating the lyrics of "What I Must Do," I thought that the line -- as sung by Mark -- "To Bring You Happiness / Could Become a Lifetime Goal / A Smile I Might Bring You / Is More Important Than World Peace," is simple and beautifully expressed. Only years later did I find out that Devo lifted many lines (including that one) from love letters crazed (attempted) assassin John Hinckley sent to actress Jody Foster.

By themselves, the words aren't earth shatteringly profound. But when sung with conviction in Mothersbaugh's warbling tones and when backed up by Devo's instrumentals, they rise to the level of profundity.

Frightening, but the very essence of "Devolution" just the same.

I was compelled to write this review in response to TBrough. I appreciate your review, but disagree. This is simply a well-written, fun album, period. Even if you find fault (as TBrough did) with the vocal effects, there is inovation here. More so in the songwriting and lyrics as opposed to the engineering and musicianship. I'll agree the sound engineering is a bit thin at times, but not to the extent of being severely dated (like early Eno, Tangerine Dream, or even Depeche Mode, for example). I believe that the vocals and Synths are intentionally juxtaposed against each other - like dueling alien spaceships in a B sci-fi movie ala Mystery Science Theater 3000. One is not meant to drive the other.

Devo's other more edgy work will undoubtedly be less enduring then the quality arranging on this album. This kind of work doesn't go out of style. Especially notable for the quality of composition are "Patterns" and "Deep Sleep". These songs don't use conventional over-used progressions and, quirckiness aside, are quite melodic and catchy.

If you are the kind of person who doesn't follow music fads, appreciates good composition, and has a silly side, this CD is for you. Forget that Devo is one of the quintessential 80's bands - it doesn't matter. Maybe you're not going to listen to this with all the lights out, headphones on, and have a religious experience. But, you will find yourself wanting to listen to at unexpected times, long after you bought the CD.

I wish people would stop considering this album Devo's downfall and open their ears to how unique this album was (and still is). Let's face it...if Devo had been contained to the style of their first two albums, they would have dropped off the map into early obscurity!! Don't get me wrong, I'm a big fan of everything Devo has ever done. Already tight on guitars and traditional drums, Devo always wanted to stay on top of or ahead of the technology...and was just getting warmed up electronically with Freedom Of Choice and New Traditionalists. It would be the style of Roy Thomas Baker (long time producer with The Cars)to lend his "Candy-O ear" on "Oh no" recordings giving Devo a very tight, polished club sound that pushed them beyond their "pop expectations". The cool thing is that the Oh, no! it's Devo had the traces of an "industrial edge" blended into this album with stripped down songs like Speed Racer, I Desire, and Explosions that were more progressive for college radio and less pop radio friendly. Freedom Of Choice had more pop radio hits! Peek a Boo, the video was in heavy rotation on MTV more than it was ever heard on the radio. I like to look at the "Oh No" period this way...Roy Thomas Baker was intending to push the spud boys into a polished pop package that would make Warner Bros. happy. Oh, no! it's Devo was the result of some over producing that allowed traces of Devo's earliest art school style to come through and take center stage with the latest gadgetry to back it up! In my opinion, they also broke ground with the following "Shout" album along with a cool "indie come back" into the "digital age" with the dark wave influenced release of Total Devo. Mark Mothersbaugh and the smart patrol have been around long enough, had many hits and misses, influenced many styles of art and music to have earned their "Pioneer Status". Their cover of "Head Like A Hole" was unique enough to rival the NIN version making Mr. Reznor blush. Be Stiff... Devo was right!