Hello, Worldcup report, dark horse Belgium got away with a scare and looking at the Russia-S Korea 1-1 draw tonight they should easily win this group. Watching Brazil zero zero with Mexico tonight it is amazing how uneven the worldcup draw turned out, there's at least 10 top teams in the top half of the draw and just 3 in the bottom half those will cruise thru til the quarter finals whilst f.i. in group A and B 4 top teams will meet in the 1/8th finals and each at that point having already eliminated 1 top team that would likely have cruised thru if they'd been drawn in the bottom half. It's FIFA's doing and they must be so pleased with that Japanese ref that gifted Brazil the win in the opening game, otherwise Brazil would be in serious trouble possibly being eliminated in the first round, now that would be a disaster, that said they might still fail to reach the quarterfinals the way they currently play.
One of new wave's most innovative and (for a time) successful bands, Devo was also perhaps one of its most misunderstood. Formed in Akron, Ohio, in 1972 by Kent State art students Jerry Casale and Mark Mothersbaugh, Devo took its name from their concept of "de-evolution" -- the idea that instead of evolving, mankind has actually regressed, as evidenced by the dysfunction and herd mentality of American society well they sort of proved their point here ....N'joy
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One of new wave's most innovative and (for a time) successful bands, Devo was also perhaps one of its most misunderstood. Formed in Akron, Ohio, in 1972 by Kent State art students Jerry Casale and Mark Mothersbaugh, Devo took its name from their concept of "de-evolution" -- the idea that instead of evolving, mankind has actually regressed, as evidenced by the dysfunction and herd mentality of American society. Their music echoed this view of society as rigid, repressive, and mechanical, with appropriate touches -- jerky, robotic rhythms; an obsession with technology and electronics (the group was among the first non-prog rock bands to make the synthesizer a core element); often atonal melodies and chord progressions -- all of which were filtered through the perspectives of geeky misfits. Devo became a cult sensation, helped in part by their concurrent emphasis on highly stylized visuals, and briefly broke through to the mainstream with the smash single "Whip It," whose accompanying video was made a staple by the fledgling MTV network. Sometimes resembling a less forbidding version of the Residents, Devo's simple, basic electronic pop sound proved very influential, but it was also somewhat limited, and as other bands began expanding on the group's ideas, Devo seemed unable to keep pace. After a series of largely uninteresting albums, the band called it quits early in the '90s, and Casale and Mothersbaugh concentrated on other projects.
Casale and Mark Mothersbaugh both attended art school at Kent State University at the outset of the '70s. With friend Bob Lewis, who joined an early version of Devo and later became their manager, the theory of de-evolution was developed with the aid of a book entitled The Beginning Was the End: Knowledge Can Be Eaten, which held that mankind had evolved from mutant, brain-eating apes. The trio adapted the theory to fit their view of American society as a rigid, dichotomized instrument of repression which ensured that its members behaved like clones, marching through life with mechanical, assembly-line precision and no tolerance for ambiguity. The whole concept was treated as an elaborate joke until Casale witnessed the infamous National Guard killings of student protesters at the university; suddenly there seemed to be a legitimate point to be made. The first incarnation of Devo was formed in earnest in 1972, with Casale (bass), Mark Mothersbaugh (vocals), and Mark's brothers Bob (lead guitar) and Jim, who played homemade electronic drums. Jerry's brother Bob joined as an additional guitarist, and Jim left the band to be replaced by Alan Myers. The group honed its sound and approach for several years (a period chronicled on Rykodisc's Hardcore compilations of home recordings), releasing a few singles on its own Booji Boy label and inventing more bizarre concepts: Mothersbaugh dressed in a baby-faced mask as Booji Boy (pronounced "boogie boy"), a symbol of infantile regression; there were recurring images of the potato as a lowly vegetable without individuality; the band's costumes presented them as identical clones with processed hair; and all sorts of sonic experiments were performed on records, using real and homemade synthesizers as well as toys, space heaters, toasters, and other objects. Devo's big break came with its score for the short film The Truth About De-Evolution, which won a prize at the 1976 Ann Arbor Film Festival; when the film was seen by David Bowie and Iggy Pop, they were impressed enough to secure the group a contract with Warner Bros.
Recorded under the auspices of pioneering producer Brian Eno, Q: Are We Not Men? A: We Are Devo! was seen as a call to arms by some and became an underground hit. Others found Devo's sound, imagery, and material threatening; Rolling Stone, for example, called the group fascists. But such criticism missed the point: Devo dramatized conformity, emotional repression, and dehumanization in order to attack them, not to pay tribute to them.
While 1979's Duty Now for the Future was another strong effort, the band broke through to the mainstream with 1980's Freedom of Choice, which contained the gold-selling single "Whip It" and represented a peak in their sometimes erratic songwriting. The video for "Whip It" became an MTV smash, juxtaposing the band's low-budget futuristic look against a down-home farm setting and hints of S&M. However, Devo's commercial success proved to be short-lived. 1981's New Traditionalists was darker and more serious, not what the public wanted from a band widely perceived as a novelty act, and Devo somehow seemed to be running out of new ideas. Problems plagued the band as well: Bob Lewis successfully sued for theft of intellectual property after a tape of Mothersbaugh was found acknowledging Lewis' role in creating de-evolution philosophy, and the sessions for 1982's Oh, No! It's Devo were marred by an ill-considered attempt to use poetry written by would-be Ronald Reagan assassin John Hinckley, Jr. as lyrical material.
As the '80s wore on, Devo found itself relegated to cult status and critical indifference, not at all helped by the lower quality of albums like 1984's Shout and 1988's Total Devo. With the band's shift toward electronic drums, Alan Myers departed in 1986, to be replaced by ex-Sparks and Gleaming Spires drummer David Kendrick. Devo recorded another album of new material, Smooth Noodle Maps, in 1990, after which its members began to concentrate on other projects. Mark Mothersbaugh moved into composing for commercials and soundtracks, writing theme music for MTV's Liquid Television, Nickelodeon's Rugrats, Pee-Wee's Playhouse, and the Jonathan Winters sitcom Davis Rules. He also played keyboards with the Rolling Stones, programmed synthesizers for Sheena Easton, and sang backup with Debbie Harry. Buoyed by this success, Mothersbaugh opened a profitable production company called Mutato Muzika, which employed his fellow Devo bandmates. Jerry Casale, meanwhile, who directed most of the band's videos, directed video clips for the Foo Fighters' "I'll Stick Around" and Soundgarden's "Blow Up the Outside World." No reunions were expected, but as Devo's legend grew and other bands acknowledged their influence (Nirvana covered "Turnaround," while "Girl U Want" has been recorded by Soundgarden, Superchunk, and even Robert Palmer), their minimalistic electro-pop was finally given new exposure on six dates of the 1996 Lollapalooza tour, to enthusiastic fan response.
The following year, Devo released a CD-ROM game (The Adventures of the Smart Patrol) and accompanying music soundtrack, in addition to playing selected dates on the Lollapalooza tour. 2000 saw the release of a pair of double-disc Devo anthologies: the first was the half-hits/half-rarities Pioneers Who Got Scalped: The Anthology (on Rhino), while the second was the limited-edition mail-order release Recombo DNA (on Rhino's Handmade label), the latter of which was comprised solely of previously unreleased demos. In 2001, the Mothersbaugh and Casale brothers reunited under the name the Wipeouters for a one-off surf release, P'Twaaang!!! Casale would introduce his Jihad Jerry & the Evildoers solo project with the 2006 album Mine Is Not a Holy War. It was that same year that the band teamed with Disney for Dev2.0, a band/project/album that involved a set of preteens re-recording classic Devo tracks, although some lyrics were adjusted to be more "family friendly." Devo got back to releasing their own material in 2007 with the downloadable single "Watch Us Work It," but a new, promised album failed to materialize. In 2008 they returned to Akron for a rare show and in support of Barack Obama's presidential campaign with all proceeds going toward the Summit County Democratic Party. After deluxe 2009 reissues of Q: Are We Not Men? A: We Are Devo! and Freedom of Choice sent the band back on the road to play said albums live in their entirety, work resumed on a new album. By the end of the year, it was announced that the band had once again signed with Warner for an album originally titled "Fresh." An Internet campaign where fans got to choose the full-length's 12 tracks inspired the 2010 effort, Something for Everybody. Sadly, Bob Casale died suddenly and unexpectedly from heart failure on February 17, 2014; he was 61 years old.
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Devo followed up their platinum-selling pop breakthrough in typically perverse fashion: New Traditionalists presents a band seemingly aghast at being pegged as a novelty act by some of their own satirical targets. Apparently deciding -- admittedly, not without reason -- that America's comprehension of irony was sorely lacking, Devo largely abandons its sense of absurdity on New Traditionalists, explicitly stating their cultural views and at times calling attention (as with the otherwise terrific single "Beautiful World") to their already obvious sarcasm, in case anyone missed the point. The problem was, Devo's cult wasn't missing the point, and with all their quirky trappings, the band was hardly likely to reach most of their newfound pop audience by making their message more straightforward. Still, despite some heavy-handedness, New Traditionalists is hardly a total failure. The opener "Through Being Cool" actually benefits from the new outlook, making for a clear and effective statement of purpose. It sets the stage for some of Devo's angriest, most embittered songs, which often function as connections between new wave and the punk attitudes that were so crucial in its creation. Devo might have pulled it off if their songwriting hadn't also begun to slip -- too many tracks end up flat-out unmemorable. They try a couple new things arrangement-wise (adding more electronic percussion), but nothing that drastically overhauls their minimalist synth-pop, and that lack of variety is more glaring when paired with the melodic deficiencies. New Traditionalists' repetition of musical and lyrical ideas foreshadows the band's decline, but really, at least half of the album is worthwhile. It just doesn't quite recapture the inventiveness or pointed humor of its predecessors.
Devo - New Traditionalists ( flac 244mb)
01 Through Being Cool 3:15
02 Jerkin' Back 'N' Forth 3:05
03 Pity You 2:48
04 Soft Things 3:28
05 Going Under 3:31
06 Race Of Doom 3:44
07 Love Without Anger 2:37
08 The Super Thing 4:21
09 Beautiful World 3:35
10 Enough Said 3:34
11 Working In The Coal Mine 2:53
12 Mecha-Mania Boy 2:48
13 Nu-tra Speaks (New Traditionalist Man) 1:39
Devo - New Traditionalists (ogg 86mb)
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New Traditionalists seemed to indicate that Devo saw their audience as having shifted to the mainstream, and Oh, No! It's Devo slides further in that direction. For their first non-self-produced album since the debut, the band brings in Cars producer Roy Thomas Baker, who smooths out any remaining edges in the band's sound, and employs colder-sounding digital synths more often. As a result, it's hard to differentiate Devo from all the other new wave synth-pop acts following the trail they'd originally blazed. Topping off their increasingly generic sound is a reliance on thudding electronic percussion, which contributes heavily to the album's overall feeling of bloodlessness. Still, Oh, No! It's Devo is only about as uneven as New Traditionalists, which means that there are several quality singles, and some barely memorable album tracks. There's also a bit more novelty material, perhaps in hopes of scoring another hit on the level of "Whip It."
Devo - oh, no! it's DEVO (flac 236mb)
01 Time Out For Fun 2:48
02 Peek•A•Boo! 3:01
03 Out Of Sync 3:34
04 Explosions 3:01
05 That's Good 3:23
06 Patterns 2:57
07 Big Mess 2:42
08 Speed Racer 2:38
09 What I Must Do 2:34
10 I Desire 3:13
11 Deep Sleep 3:24
Devo - oh, no! it's DEVO (ogg 91mb)
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Shout was Devo's sixth studio album, and the last they would record before a five-year layoff, and while it's pure speculation if the making of this disc had anything to do with that decision, from a creative standpoint this represents the low point of the group's first era. While the herky-jerky push-and-pull between homemade electronics and cheap guitars was a large part of what made Devo's first few albums so exciting, Shout is so slick and glossy one could fry an egg on its surfaces, and that isn't a good thing -- with the exception of "Puppet Boy" and "Please Please," this music is carefully processed synth pop with all human surfaces stripped away, and possessing no more personality or edge than what Howard Jones or Orchestral Manoeuvres in the Dark were doing around the same time (and, for that matter, with far less vision or daring than what Prince was starting to do with electronics). It might have helped if the group had come up with a batch of interesting songs, but that sure wasn't the case, and it's hard to believe that Shout was made by the same people who wrote "Girl U Want," "Gates of Steel" or "Big Mess" just a few years earlier. Shout holds the distinction of being Devo's least album.
Devo - Shout (flac 235mb)
01 Shout 3:15
02 The Satisfied Mind 3:07
03 Don't Rescue Me 3:06
04 The 4th Dimension 4:23
05 C'Mon 3:16
06 Here To Go 3:16
07 Jurisdiction Of Love 2:59
08 Puppet Boy 3:09
09 Please Please 3:04
10 Are You Experienced? 3:09
Devo - Shout (ogg 80mb)
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DEV-O LIVE is a live EP (and later live album) by the New Wave band Devo. It was recorded during the Freedom of Choice tour of 1980, at The Fox Warfield Theatre. Issued just after "Whip It" became one of the early '80s' most popular new wave hits, 1981's DEV-O Live was issued by Warner Brothers to cash in on Devo-mania. The six-track EP was recorded live at San Francisco's Warfield Theater on August 16, 1980 -- officially released as a 16-track promo-only release, "Warner Brothers Music Show", Warner edited down the song list and decided to issue it domestically as DEV-O Live. Mixing favorites ("Whip It," "Girl U Want") with rarities ("Be Stiff"), album cuts ("Gates of Steel," "Planet Earth"), and a song reconstructed for the stage ("Freedom of Choice Theme Song"), DEV-O Live shows that the spazzy quintet was a fun live act.
Initially only six songs from the show were released on an EP in 1981, intended for airplay use (largely for the King Biscuit Flower Hour). It featured the otherwise-unreleased "Freedom of Choice Theme Song" and a reworked version of "Be Stiff".
Although DEV-O Live went out of print shortly after its release, it turned up again on a British two-fer CD with their debut, Q: Are We Not Men, in 1994. In 1999, Rhino Handmade re-released DEV-O LIVE on a full album including the entire Warfield show, with the exception of "Pink Pussycat" (played after "Secret Agent Man"), "Satisfaction" (played after "Blockhead"), "Freedom of Choice" and "Jocko Homo" (both played after "Gates of Steel"), all of them appearing on audience recordings of the show.
Devo - Live (flac 515mb)
01 Freedom Of Choice Theme Song 2:45
02 Whip It 2:52
03 Girl U Want 2:56
04 Gates Of Steel 3:27
05 Be Stiff 2:55
06 Planet Earth 2:46
07 Freedom Of Choice Theme Song 2:52
08 Whip It 2:45
09 Snowball 2:50
10 It's Not Right 2:25
11 Girl U Want 3:01
12 Planet Earth 2:36
13 S.I.B. (Swelling Itching Brain) 4:06
14 Secret Agent Man 3:25
15 Blockhead 3:26
16 Uncontrollable Urge 3:17
17 Mongoloid 3:29
18 Be Stiff 3:00
19 Gates Of Steel 3:28
20 Smart Patrol / Mr. DNA 7:20
21 Gut Feeling / (Slap Your Mammy) 4:31
22 Come Back Jonee 3:40
Devo - Live (ogg 182mb)
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One of new wave's most innovative and (for a time) successful bands, Devo was also perhaps one of its most misunderstood. Formed in Akron, Ohio, in 1972 by Kent State art students Jerry Casale and Mark Mothersbaugh, Devo took its name from their concept of "de-evolution" -- the idea that instead of evolving, mankind has actually regressed, as evidenced by the dysfunction and herd mentality of American society well they sort of proved their point here ....N'joy
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One of new wave's most innovative and (for a time) successful bands, Devo was also perhaps one of its most misunderstood. Formed in Akron, Ohio, in 1972 by Kent State art students Jerry Casale and Mark Mothersbaugh, Devo took its name from their concept of "de-evolution" -- the idea that instead of evolving, mankind has actually regressed, as evidenced by the dysfunction and herd mentality of American society. Their music echoed this view of society as rigid, repressive, and mechanical, with appropriate touches -- jerky, robotic rhythms; an obsession with technology and electronics (the group was among the first non-prog rock bands to make the synthesizer a core element); often atonal melodies and chord progressions -- all of which were filtered through the perspectives of geeky misfits. Devo became a cult sensation, helped in part by their concurrent emphasis on highly stylized visuals, and briefly broke through to the mainstream with the smash single "Whip It," whose accompanying video was made a staple by the fledgling MTV network. Sometimes resembling a less forbidding version of the Residents, Devo's simple, basic electronic pop sound proved very influential, but it was also somewhat limited, and as other bands began expanding on the group's ideas, Devo seemed unable to keep pace. After a series of largely uninteresting albums, the band called it quits early in the '90s, and Casale and Mothersbaugh concentrated on other projects.
Casale and Mark Mothersbaugh both attended art school at Kent State University at the outset of the '70s. With friend Bob Lewis, who joined an early version of Devo and later became their manager, the theory of de-evolution was developed with the aid of a book entitled The Beginning Was the End: Knowledge Can Be Eaten, which held that mankind had evolved from mutant, brain-eating apes. The trio adapted the theory to fit their view of American society as a rigid, dichotomized instrument of repression which ensured that its members behaved like clones, marching through life with mechanical, assembly-line precision and no tolerance for ambiguity. The whole concept was treated as an elaborate joke until Casale witnessed the infamous National Guard killings of student protesters at the university; suddenly there seemed to be a legitimate point to be made. The first incarnation of Devo was formed in earnest in 1972, with Casale (bass), Mark Mothersbaugh (vocals), and Mark's brothers Bob (lead guitar) and Jim, who played homemade electronic drums. Jerry's brother Bob joined as an additional guitarist, and Jim left the band to be replaced by Alan Myers. The group honed its sound and approach for several years (a period chronicled on Rykodisc's Hardcore compilations of home recordings), releasing a few singles on its own Booji Boy label and inventing more bizarre concepts: Mothersbaugh dressed in a baby-faced mask as Booji Boy (pronounced "boogie boy"), a symbol of infantile regression; there were recurring images of the potato as a lowly vegetable without individuality; the band's costumes presented them as identical clones with processed hair; and all sorts of sonic experiments were performed on records, using real and homemade synthesizers as well as toys, space heaters, toasters, and other objects. Devo's big break came with its score for the short film The Truth About De-Evolution, which won a prize at the 1976 Ann Arbor Film Festival; when the film was seen by David Bowie and Iggy Pop, they were impressed enough to secure the group a contract with Warner Bros.
Recorded under the auspices of pioneering producer Brian Eno, Q: Are We Not Men? A: We Are Devo! was seen as a call to arms by some and became an underground hit. Others found Devo's sound, imagery, and material threatening; Rolling Stone, for example, called the group fascists. But such criticism missed the point: Devo dramatized conformity, emotional repression, and dehumanization in order to attack them, not to pay tribute to them.
While 1979's Duty Now for the Future was another strong effort, the band broke through to the mainstream with 1980's Freedom of Choice, which contained the gold-selling single "Whip It" and represented a peak in their sometimes erratic songwriting. The video for "Whip It" became an MTV smash, juxtaposing the band's low-budget futuristic look against a down-home farm setting and hints of S&M. However, Devo's commercial success proved to be short-lived. 1981's New Traditionalists was darker and more serious, not what the public wanted from a band widely perceived as a novelty act, and Devo somehow seemed to be running out of new ideas. Problems plagued the band as well: Bob Lewis successfully sued for theft of intellectual property after a tape of Mothersbaugh was found acknowledging Lewis' role in creating de-evolution philosophy, and the sessions for 1982's Oh, No! It's Devo were marred by an ill-considered attempt to use poetry written by would-be Ronald Reagan assassin John Hinckley, Jr. as lyrical material.
As the '80s wore on, Devo found itself relegated to cult status and critical indifference, not at all helped by the lower quality of albums like 1984's Shout and 1988's Total Devo. With the band's shift toward electronic drums, Alan Myers departed in 1986, to be replaced by ex-Sparks and Gleaming Spires drummer David Kendrick. Devo recorded another album of new material, Smooth Noodle Maps, in 1990, after which its members began to concentrate on other projects. Mark Mothersbaugh moved into composing for commercials and soundtracks, writing theme music for MTV's Liquid Television, Nickelodeon's Rugrats, Pee-Wee's Playhouse, and the Jonathan Winters sitcom Davis Rules. He also played keyboards with the Rolling Stones, programmed synthesizers for Sheena Easton, and sang backup with Debbie Harry. Buoyed by this success, Mothersbaugh opened a profitable production company called Mutato Muzika, which employed his fellow Devo bandmates. Jerry Casale, meanwhile, who directed most of the band's videos, directed video clips for the Foo Fighters' "I'll Stick Around" and Soundgarden's "Blow Up the Outside World." No reunions were expected, but as Devo's legend grew and other bands acknowledged their influence (Nirvana covered "Turnaround," while "Girl U Want" has been recorded by Soundgarden, Superchunk, and even Robert Palmer), their minimalistic electro-pop was finally given new exposure on six dates of the 1996 Lollapalooza tour, to enthusiastic fan response.
The following year, Devo released a CD-ROM game (The Adventures of the Smart Patrol) and accompanying music soundtrack, in addition to playing selected dates on the Lollapalooza tour. 2000 saw the release of a pair of double-disc Devo anthologies: the first was the half-hits/half-rarities Pioneers Who Got Scalped: The Anthology (on Rhino), while the second was the limited-edition mail-order release Recombo DNA (on Rhino's Handmade label), the latter of which was comprised solely of previously unreleased demos. In 2001, the Mothersbaugh and Casale brothers reunited under the name the Wipeouters for a one-off surf release, P'Twaaang!!! Casale would introduce his Jihad Jerry & the Evildoers solo project with the 2006 album Mine Is Not a Holy War. It was that same year that the band teamed with Disney for Dev2.0, a band/project/album that involved a set of preteens re-recording classic Devo tracks, although some lyrics were adjusted to be more "family friendly." Devo got back to releasing their own material in 2007 with the downloadable single "Watch Us Work It," but a new, promised album failed to materialize. In 2008 they returned to Akron for a rare show and in support of Barack Obama's presidential campaign with all proceeds going toward the Summit County Democratic Party. After deluxe 2009 reissues of Q: Are We Not Men? A: We Are Devo! and Freedom of Choice sent the band back on the road to play said albums live in their entirety, work resumed on a new album. By the end of the year, it was announced that the band had once again signed with Warner for an album originally titled "Fresh." An Internet campaign where fans got to choose the full-length's 12 tracks inspired the 2010 effort, Something for Everybody. Sadly, Bob Casale died suddenly and unexpectedly from heart failure on February 17, 2014; he was 61 years old.
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Devo followed up their platinum-selling pop breakthrough in typically perverse fashion: New Traditionalists presents a band seemingly aghast at being pegged as a novelty act by some of their own satirical targets. Apparently deciding -- admittedly, not without reason -- that America's comprehension of irony was sorely lacking, Devo largely abandons its sense of absurdity on New Traditionalists, explicitly stating their cultural views and at times calling attention (as with the otherwise terrific single "Beautiful World") to their already obvious sarcasm, in case anyone missed the point. The problem was, Devo's cult wasn't missing the point, and with all their quirky trappings, the band was hardly likely to reach most of their newfound pop audience by making their message more straightforward. Still, despite some heavy-handedness, New Traditionalists is hardly a total failure. The opener "Through Being Cool" actually benefits from the new outlook, making for a clear and effective statement of purpose. It sets the stage for some of Devo's angriest, most embittered songs, which often function as connections between new wave and the punk attitudes that were so crucial in its creation. Devo might have pulled it off if their songwriting hadn't also begun to slip -- too many tracks end up flat-out unmemorable. They try a couple new things arrangement-wise (adding more electronic percussion), but nothing that drastically overhauls their minimalist synth-pop, and that lack of variety is more glaring when paired with the melodic deficiencies. New Traditionalists' repetition of musical and lyrical ideas foreshadows the band's decline, but really, at least half of the album is worthwhile. It just doesn't quite recapture the inventiveness or pointed humor of its predecessors.
Devo - New Traditionalists ( flac 244mb)
01 Through Being Cool 3:15
02 Jerkin' Back 'N' Forth 3:05
03 Pity You 2:48
04 Soft Things 3:28
05 Going Under 3:31
06 Race Of Doom 3:44
07 Love Without Anger 2:37
08 The Super Thing 4:21
09 Beautiful World 3:35
10 Enough Said 3:34
11 Working In The Coal Mine 2:53
12 Mecha-Mania Boy 2:48
13 Nu-tra Speaks (New Traditionalist Man) 1:39
Devo - New Traditionalists (ogg 86mb)
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New Traditionalists seemed to indicate that Devo saw their audience as having shifted to the mainstream, and Oh, No! It's Devo slides further in that direction. For their first non-self-produced album since the debut, the band brings in Cars producer Roy Thomas Baker, who smooths out any remaining edges in the band's sound, and employs colder-sounding digital synths more often. As a result, it's hard to differentiate Devo from all the other new wave synth-pop acts following the trail they'd originally blazed. Topping off their increasingly generic sound is a reliance on thudding electronic percussion, which contributes heavily to the album's overall feeling of bloodlessness. Still, Oh, No! It's Devo is only about as uneven as New Traditionalists, which means that there are several quality singles, and some barely memorable album tracks. There's also a bit more novelty material, perhaps in hopes of scoring another hit on the level of "Whip It."
Devo - oh, no! it's DEVO (flac 236mb)
01 Time Out For Fun 2:48
02 Peek•A•Boo! 3:01
03 Out Of Sync 3:34
04 Explosions 3:01
05 That's Good 3:23
06 Patterns 2:57
07 Big Mess 2:42
08 Speed Racer 2:38
09 What I Must Do 2:34
10 I Desire 3:13
11 Deep Sleep 3:24
Devo - oh, no! it's DEVO (ogg 91mb)
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Shout was Devo's sixth studio album, and the last they would record before a five-year layoff, and while it's pure speculation if the making of this disc had anything to do with that decision, from a creative standpoint this represents the low point of the group's first era. While the herky-jerky push-and-pull between homemade electronics and cheap guitars was a large part of what made Devo's first few albums so exciting, Shout is so slick and glossy one could fry an egg on its surfaces, and that isn't a good thing -- with the exception of "Puppet Boy" and "Please Please," this music is carefully processed synth pop with all human surfaces stripped away, and possessing no more personality or edge than what Howard Jones or Orchestral Manoeuvres in the Dark were doing around the same time (and, for that matter, with far less vision or daring than what Prince was starting to do with electronics). It might have helped if the group had come up with a batch of interesting songs, but that sure wasn't the case, and it's hard to believe that Shout was made by the same people who wrote "Girl U Want," "Gates of Steel" or "Big Mess" just a few years earlier. Shout holds the distinction of being Devo's least album.
Devo - Shout (flac 235mb)
01 Shout 3:15
02 The Satisfied Mind 3:07
03 Don't Rescue Me 3:06
04 The 4th Dimension 4:23
05 C'Mon 3:16
06 Here To Go 3:16
07 Jurisdiction Of Love 2:59
08 Puppet Boy 3:09
09 Please Please 3:04
10 Are You Experienced? 3:09
Devo - Shout (ogg 80mb)
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DEV-O LIVE is a live EP (and later live album) by the New Wave band Devo. It was recorded during the Freedom of Choice tour of 1980, at The Fox Warfield Theatre. Issued just after "Whip It" became one of the early '80s' most popular new wave hits, 1981's DEV-O Live was issued by Warner Brothers to cash in on Devo-mania. The six-track EP was recorded live at San Francisco's Warfield Theater on August 16, 1980 -- officially released as a 16-track promo-only release, "Warner Brothers Music Show", Warner edited down the song list and decided to issue it domestically as DEV-O Live. Mixing favorites ("Whip It," "Girl U Want") with rarities ("Be Stiff"), album cuts ("Gates of Steel," "Planet Earth"), and a song reconstructed for the stage ("Freedom of Choice Theme Song"), DEV-O Live shows that the spazzy quintet was a fun live act.
Initially only six songs from the show were released on an EP in 1981, intended for airplay use (largely for the King Biscuit Flower Hour). It featured the otherwise-unreleased "Freedom of Choice Theme Song" and a reworked version of "Be Stiff".
Although DEV-O Live went out of print shortly after its release, it turned up again on a British two-fer CD with their debut, Q: Are We Not Men, in 1994. In 1999, Rhino Handmade re-released DEV-O LIVE on a full album including the entire Warfield show, with the exception of "Pink Pussycat" (played after "Secret Agent Man"), "Satisfaction" (played after "Blockhead"), "Freedom of Choice" and "Jocko Homo" (both played after "Gates of Steel"), all of them appearing on audience recordings of the show.
Devo - Live (flac 515mb)
01 Freedom Of Choice Theme Song 2:45
02 Whip It 2:52
03 Girl U Want 2:56
04 Gates Of Steel 3:27
05 Be Stiff 2:55
06 Planet Earth 2:46
07 Freedom Of Choice Theme Song 2:52
08 Whip It 2:45
09 Snowball 2:50
10 It's Not Right 2:25
11 Girl U Want 3:01
12 Planet Earth 2:36
13 S.I.B. (Swelling Itching Brain) 4:06
14 Secret Agent Man 3:25
15 Blockhead 3:26
16 Uncontrollable Urge 3:17
17 Mongoloid 3:29
18 Be Stiff 3:00
19 Gates Of Steel 3:28
20 Smart Patrol / Mr. DNA 7:20
21 Gut Feeling / (Slap Your Mammy) 4:31
22 Come Back Jonee 3:40
Devo - Live (ogg 182mb)
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2 comments:
For Oh No It's Devo, that's the tracklist for Duty Now For The Future - the correct listing is:
1."Time Out for Fun" – 2:48
2."Peek-a-Boo!" – 3:01
3."Out of Sync" – 3:34
4."Explosions" – 3:01
5."That's Good" – 3:23
6."Patterns" – 2:57
7."Big Mess" – 2:42
8."Speed Racer"– 2:38
9."What I Must Do" – 2:34
10."I Desire" – 3:13
11."Deep Sleep" – 3:24
Well Thanks Anon it happens when one uses paste copy, meanwhile the correct tracklist is up.
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