I don’t recall the release of this film. Simply called Devo, it’s a 2024 release directed by Chris Smith, and can be viewed on Netflix. I’ll tell you right now, I love this film. It’s whip-smart funny and visually appealing. Smith does more than just assemble a story, he presents it in a style as creative as the band.
Devo was more than just a flash in the pan, these guys had a witty and outlandish presentation and style of music. Being so different gets you the proverbial 15 minutes of fame…and then what?
There’s much more to their story than Are We Not Men or Whip It, Whip It Good. Members of Devo trace their roots back to Kent State University and was heavily shaped by the 1970 political upheaval and campus shootings. Witnessing the shootings of fellow students, gave them a direction – de-evolution – and they would do it through art, performance art.
Their music was minimalistic, and to match that they bought gray jumpsuits, clear masks and blue plastic hats. “We wanted to look like cogs in a machine. The only way we could crack the music business was the marriage of music, theatrics and philosophy.”
The film traces the evolution of Devo’s de-evolution through the early music videos they created to introduce Devo to the small masses. They had the songs so they recorded their own album, but no distribution. Record companies got a copy of the record and a video, but they didn’t respond.
Warner Bros. finally bit, and found super agent Elliott Roberts (Neil Young, Joni Mitchell) to represent them, on the condition that he gets them on Saturday Night Live, which he did. After 15 million people saw them on TV, Devo’s tour suddenly had to find larger venues. “(I Can’t Get No) Satisfaction” appeared on their debut album, but before it could be released, the band had to play it for Mick Jagger and get permission, which he granted.
While they were treated like a novelty act, they weren’t selling records and were facing being dropped from the label, so for their third album…they got funky with it.
They approached synthesizer arranger Bob Margouleff, who had worked with Stevie Wonder, to co-produce their album. Gerald Casale said the result was funky robot R&B. Watch their performance of “Whip it,” that’s funky stuff.
Many TV appearances followed, The Midnight Special, Don Kirchner’s Rock Concert, Fridays, American Bandstand, and talk shows like The Mike Douglas Show and The Merv Griffin Show where they performed “Whip It” and stayed for some chat. Merv even wore the flower pot hat.
Devo founding members Mark and Robert “Bob” Mothersbaugh and Gerald Casale are interviewed and quite open about their story. The other two members of Devo, Bob Casale and Alan Meyer had passed.
One thing I’ve read about from some who have commented on various sites have criticized this documentary for ending after their initial success, and not mentioning how the band has regrouped and toured in recent years and even released new music. Devo is on their farewell tour that began in 2025.
I guess the story is the first decade or so, even though what Devo tapped into, the replication of the past to make tomorrow better, and how that pursuit replicates more problems than solutions. In the film, a political ad airs with Ronald Reagan voicing wanting to make America great again. We’ve had that phrase crammed down our throats for ten years now and many people still don’t get it.
Everyone who cares about America should see this film. That’s not a political message, it’s about realizing we’re all in this fight together.
And now for the lighter side of the news. Walter…
The Devo film soundtrack encouraged me to listen to the Devo anthology, 50 Years of De-Evolution 1973-2023. These guys were New Wave before New Wave. The goofy hats and look-alike costumes conveyed a definite message. Beneath the silliness and the industrial sound of their punkish music, are some very creative ideas, and don’t forget their commentary on society.
If you believe Devo were a one-idea costume band, you haven’t really listened to this band’s music. Their songs hold some creative catchphrases and grooves, “Whip It”, for example that wiggle their way into your brain. While the overall production might have been minimalist, many of the songs didn’t need a lot of embellishment. Direct, repetitive and engaging. Their stage performances and promotional films were more elaborate because their ideas were big.
Granted, every band has a shelf life, and Devo was no exception. By 1984 and the release of their fifth album, Shout, the writing was on the wall. The album failed and Warner Bros. dropped them. For the first time, creative differences within the band would cause drummer Alan Myers to leave. He now had a family and the electronic, synth-driven nature of their music let him creatively unfulfilled. Ironically, the 1980s were all about synth, electronic and industrial sounds that lacked much human warmth. Later work with producer Roy Thomas Baker (Queen, The Cars), might seem to be a great match, was a step in the wrong direction.
Devo had made their statement, risen from their Akron, Ohio basement to the studio of 30 Rock, to appearing in a Neil Young film, to constant MTV rotation to successful careers in visual arts and soundtracks.
The CD set leans toward the early and middle part of their work.
By the time you’re done listening, you will be de-evolved.
Besides “Whip It” and “Working in a Coal Mine” which got a lot of airplay, “Jocko Homo”, “Come Back Jonee”, “Secret Agent Man” and “Girl U Want” should also be familiar songs. Other songs that have that Devo energy are “Gates of Steel”, “Gut Feeling”, “That’s Good” and “Beautiful World.”
You might be thinking of their outlandish videos when you hear the beat or riff from a Devo song, and that begs the question – how dependent are the songs with the goofy visuals? Do the songs stand independent from the Devo costumes and video effects? In a sense, it’s like KISS without the makeup and costumes.
Devo was correct, as a society we are well on the way to de-evolution. Unsure? Simply turn on the TV and watch the political ads.
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