There’s something about having a badge that just makes you feel so official. – Gloria Reuben
Where would rock be without the leather jacket? And where would the leather jacket be without at least a few badges conveying the wearer’s passions?
This set of four 1″ badges (or straight-back buttons) was a website exclusive, now discontinued. Released during the ‘Echoes and Rhythms’ period, the header art harkens back to the band’s earliest ‘Lazy’ years in terms of style and color.
The true genius shudders at incompleteness, and usually prefers silence to saying something which is not everything it should be. – Edgar Allan Poe
It’s my hope that- if nothing else- this blog will occasionally provide a service, bringing music to the attention of those that may have inadvertently overlooked a real gem. This is one of those gems…
The Devo 2.0 project was straightforward in concept- Take a bunch of kids, give them Devo songs to cover, throw a bunch of Disney’s money at it, and watch the whole mess crash and burn under its own ridiculous weight.
Simple, right? Except something went horribly wrong… or horribly right, depending on your point of view. The music is actually GOOD. Well produced and executed, the vocals are more than competent. The songs are catchy, family friendly (gasp), with a generous spattering of delicious subversive irony that old school Devo fans require.
Speaking of the older hardcore fans- where were they when all this was going down? You’d think they’d be all over this shit like Oprah on a honey baked ham! Yet I never hear Devo 2.0’s named mentioned; looking at Amazon there’s a scant FIVE reviews of this album. I don’t get it.
Maybe people thought this was a joke, or at best Devo sticking it to ‘the man’ by working hand-in-hand with Disney and churning out dumbed down mainstream swill suitable only for tween radio filler in the process? Ironically they would be right… but that’s only half the equation. Admittedly I haven’t delved deeply into the copious amounts of interview footage on disc two where Devo (the original) wax poetic and get all conceptual. For the purposes of this review I don’t find it necessary. I get it.
Devo 2.0 are a delicious, bubbly, extremely listenable slap in the face to pretentious music snobs everywhere. Perhaps calling it a ‘challenge’ would be more accurate- if you embraced the heady conceptualism of the Devo treatise back in the day, then Devo 2.0 must be welcomed as well. Their mere existence taunts you with a catch-22 that demands your participation and questions your very integrity as a Devo fan.
Coming back down to earth…
It was touted at the time that the music was actually performed by the kids themselves, but even then it seemed highly implausible. The original Devo provide the actual music with the exception of vocalist Nicole Stoehr. The lyrics of the classic Devo songs were changed often and freely. This was done to make some of the more ‘adult’ themes of the classics more family friendly, but to me the unique lyrics are an amusing alternative and a cute breath of fresh air to songs I’ve been listening to for twenty plus years.
Disc one is audio:
That’s Good
Peek A Boo
Whip It
Boy U Want
Uncontrollable Urge
Cyclops
The Winner
Big Mess
Jerkin’ Back ‘N Forth
Through Being Cool
Freedom Of Choice
Beautiful Choice
Disc two is video:
That’s Good
Big Mess
Whip It
Freedom of Choice
Uncontrollable Urge
Peek A Boo
Cyclops
Beautiful World
Boy U Want
Plus DVD bonus features:
DEV2.0 Interviews
DEV2.0 Photo Gallery
Why DEV2.0?
Original De-evolutionists
DEV2.0 Animations
Singers Mark Mothersbaugh and Nicole Stoehr discuss the craft
So you get an audio disc, a DVD with nine full videos, probably close to an hour’s worth of bonus interviews (many with original Devo), still galleries, and an ‘animation’ section which features all of the slick animated backgrounds used in the videos. The videos themselves (see example above) are bright, colorful, and a real joy to watch, bringing an extra layer of infantile subversion to the proceedings. Graphically the package design itself is a work of art, staying true to the Devo design aesthetic while updating it for this most special mutation.
Considering this set can be had on Amazon used for about four bucks there’s no excuse not to get one. If, after picking one up, you fail to see the brilliance here you clearly have no sense of humor nor irony… or just don’t grasp what Devo was all about in the first place.
Fun Fact– Devo 2.0’s keyboardist was Jacqueline Emerson, better known as Foxface from ‘The Hunger Games.’
Fun Fact 2– Supposedly this album concept- with cutsie kids taking the reins of a well-established pop group- was meant to be an ongoing Disney project. The Go-Go’s were the next band slated to get the tweeny treatment, but alas it appears this never came to fruition…
And your lips are sweet and slippery like a cherub’s bare wet ass
‘Supernova’ was the first single to be released from Phair’s second album, 1994’s ‘Whip-Smart.’ It reached #6 on the US Alternative chart, #78 on the Billboard Hot 100, and remains her highest-charting song to date. It was nominated for ‘Best Female Rock Vocal Performance’ in the 37th Annual Grammy Awards, but she lost out to Sheryl Crow.
The sleeve design is colorful and adequately sparkly, but unremarkable in a generic way- not atypical of many indie sleeves of the period. The vinyl, being electric blue, bumps the cool factor up considerably however.
Should I say yes I match his best then I would be a liar
Symphonies that sooth the rage
When lover’s hearts catch fire
‘When Smokey Sings’ is from ABC’s fourth album ‘Alphabet City.’ It reached number 11 on the UK singles chart and went all the way to number 1 on the US Billboard Billboard Dance/Club Chart.
This release features ‘The Miami Mix’ and ‘The Detroit Mix’ of the song, plus ‘Chicago: Parts 1 and 2’ on the B-side.
The song is a tribute to Smokey Robinson. Smokey himself was in the charts at the time (with ‘One Heartbeat’, #10 on the Billboard hot 100) marking a rare occasion where both an artist and a song about that artist shared top ten charts simultaneously.
The sleeve was designed by Keith Breeden and Mike Owen. Both have extensive back catalogs in music design- Breeden has designed for such bands as The Cult, Pink Floyd, and many other ABC projects while Owen has worked with Lene Lovich, Fun Boy 3, and Duran Duran. Not surprising then that the artwork is a classy and effortless affair.
Well I saw you today boy Walking with the gay boys God it hurt me so Now I gotta know Johnny are you queer?
It’s hard to imagine today just how subversive and radio unfriendly this song was at the time of release. Needless to say it failed to chart, but was fairly well known in the 80’s due to its inclusion in the ‘Valley Girl’ soundtrack. Back then I found it marginally sexist, but ultimately all in good fun as a modern take on the ‘girl pining for love’ theme popular in the fifties and sixties.
Josie has had somewhat of a resurgence of late, in no small part due to the gay community, where this song is seen as somewhat of an anthem. Not meant as a lifestyle judgement in any way, but personally I prefer the original sardonic wistfulness over the new patina of irony coupled with gay pride that the song seems to have acquired through modern reinterpretation.
This is the Elektra reissue, previously released on Bomp! Records the year before. The artwork is nearly identical on both, but in either case it’s simply brilliant. Not the best cartooning skills but an eye-catching, colorful masterpiece nonetheless. The cover design was done by Diane Zincavage (aka D. Zincavage aka D.Z., DeeZee aka Zincavage) who did art direction for west coast bands such as The Nuns, Pandoras, Agent Orange, T.S.O.L. and many others.
“Big Daddy, a popular 1950’s rock ‘n’ roll combo, has recently returned home after being held captive for more than two decades by Communist Revolutionaries in North Laos…”
One of the major themes of American eighties pop culture was an obsession with all things 1950’s. I’m no sociologist, but I’m thinking the tensions of the Cold War coupled with Reagan’s ‘Morning in America’ attitude sent people scrambling for the security of a (mostly idolized) period in America’s history where stability and prosperity shone brightly. Everything from fashion, movies such as ‘Back to the Future’, and of course music, resonated with mid-century modernisms.
Big Daddy took this trend a step further, taking musical styles such as Doo-wop and mutating 80’s hits through their anachronistic prism with humorous results. Sort of like if Shanana and Weird Al had a baby.
Track listing:
I Write the Songs
Bette Davis Eyes
Super Freak
Star Wars
Whip It
Ebony and Ivory
You Don’t Bring Me Flowers
Hit Me with Your Best Shot
The Rose
Just What I Needed
Hotel California
Eye of the Tiger
‘Big Daddy… What Really Happened to the Band of ’59’ was the band’s first album. Admittedly the concept grows a tad thin quickly, but God bless ’em Big Daddy have been at it for well over a quarter century. They’ve released six studio albums to date, a ‘best of’ CD, and an EP. I was only familiar with the 80’s records, but they barreled through the 90s and released an LP as late as last year.
The sleeve design is typical of most early Rhino releases- unremarkable, but it gets the job done.
This is the captain of your ship, your heart speaking
We’ve run into a little storm, the boat’s leaking
And if you haven’t guessed, this is an S.O.S.
If you still love me answer yes
Post Deaf School but pre-‘Rhythm Breaks the Ice‘ Bette released a pair of singles with an interim band consisting of Glen Matlock (ex-Sex Pistol), Henry Priestman (formerly of The Yachts), and Rusty Egan (of Visage.)
Both were covers of 60’s girl group songs. The first was ‘My Boyfriend’s Back.’ This was the second, a cover of a 1968 Reparata and the Delrons tune.
The sleeve art is wonderfully corny. The pink and lime green color palette would become somewhat of a New Wave stereotype in later years, but here it seems fresh and new as the genre wrestled free from its grim and rather drab punk roots. Bette’s weird garb looks very similar to the low-cut dress she modeled on the previous year’s Deaf School album ‘English Boys/Working Girls‘… only worn backwards with the family-friendly addition of a matching bikini top.
Malcolm Garrett, the sleeve’s designer, worked on many covers for artists of the time including Buzzcocks (including the sublime ‘Orgasm Addict’), Richard Hell, and Duran Duran (including the ‘Rio’ LP.)
My perspective might be askew, but I seem to remember most radio stations of the day treated a great deal of New Wave music with little respect. It was seen as novelty music, quickly dropped out of rotation once the ‘fad had passed. I suppose that’s only proper… as very few songs/bands go on to be considered ‘classics.’
A select few US bands were immune to this marginalization, and can still be heard on what I’d consider rather conservative ‘classic rock’ stations to this day. Huey Lewis, Pat Benatar, and The Police are considered worthy to sit at the feet of Pink Floyd and Rush in the Great Pantheon of Rock. The Cars fit into this group.
‘Shake It Up’ is the band’s fourth studio album it reached #9 on US Billboard’s Pop Albums chart and went double-platinum. It spawned five top 50 singles:
‘Shake it Up’- #2 Billboard Mainstream Rock
‘Cruiser’ – #37 Billboard Mainstream Rock
‘Since You’re Gone’- #24 Billboard Mainstream Rock
‘Think it Over’- #41 Billboard Mainstream Rock
‘Victim of Love’- #39 Billboard Mainstream Rock
If you’ve been reading this blog for a while you’ll know it’s no secret that I have a fondness for female vocal groups from the UK. The next tier of devotion would be the heavily electronic/conceptual groups such as OMD and Devo.
That being said, most of the attraction I’d have The Cars would be classified as nostalgic and academic in nature. I can appreciate their contributions to the New Wave, and find many of their tunes catchy, but I’d hardly call myself a fan. Not sure why I felt the need to draw that line in the sand here…
That being said, I’d be lying if I said my decision to purchase this LP wasn’t due in large part to the cover. The fetching young lass Ann Walsh targeted in a field of black must certainly be one of the most iconic covers of the period…
Sure can’t beat rocking with the Tactile House Band
Rock it now Ted
Rip it Ted
_
Vindaloo were a minor label sandwiched in time between early 80’s New Wave and late 80’s Britpop. They weren’t around for long and, with the exception of one artist, never saw much mainstream chart success. God bless them.
This compilation packs together pretty much everyone that appeared on the label.
Track listing:
Rockin’ with Rita- Vindaloo Summer Special
Let’s Surf- The Nightingales
XX Sex- We’ve Got a Fuzzbox and We’re Gonna Use It
Open Up, She Said- Bumbites
Driving Down the Road- Ted Chippington
Down in the Dumps- The Nightingales
AAARRRGGGHHH- Fuzzbox, etc.
Keep Lying, I Love It- Bob’n’Vi
She Loves You- Ted Chippington
Buck Up- Bumbites
Fever- (intro stuff) Fuzzbox (and the rest)
At the End of the Day- The Nightingales
Rockin’ with Rita- Ted Chippington
The ‘Vindaloo Summer Special’ was a UK promotional tour consisting of, not surprisingly, Vindaloo artists. ‘Rockin’ with Rita’ (written by Chippington) reached number 56 on the UK charts.
Ted Chippington was (and is) a standup comedian. Known for his deadpan brand of ‘anti-humour’, Ted had minor success as an acoustic performer with his cover of the Beatles’ ‘She Loves You.’
The Nightingales were a post-punk indie band from Birmingham. They also appeared on the labels Rough Trade and Cherry Red for some of their earlier recordings. Around since 1979, the band broke up the year this compilation was released. Like just about every other 80’s band they reformed in the early 21st century.
Fuzzbox are covered heavily on this blog elsewhere. They had three top-100 UK hits while on the Vindaloo label, including ‘XX Sex’ which appears here. ‘Fever’ is a hilarious yet competent cover of the old Eddie Cooley and Otis Blackwell song, most famously sung by Peggy Lee.
The sleeve art is a delightful riot of flying Jewish stars, although I’m sure any religious allusions are unintentional. Stylistically it’s meant to simulate older vinyl compilations of the 50s and 60s; this is most clearly evident on the text-heavy backside which sports paragraphs of texts waxing poetic on the significance of each track.
‘Listen’ is A Flock of Seagulls’ second LP, and although not as chock full of hits as their debut LP, still sluiced off a respectable number of singles including ‘(It’s Not Me) Talking’, ‘Nightmares’, ‘Transfer Affection’, and ‘Wishing (I Had a Photograph of You)’. It reached number 16 on both the US and UK charts, going all the way to number 5 in New Zealand.
Producer Mike Howlett worked with many other New Wave acts including OMD, Martha and the Muffins, and Gang of Four.
I was a bit dismissive of the band when reviewing their ‘Telecommunication’ EP; I must say I like this LP much better. Although it’s still a tad more ethereal/vaporous than I like the band is much tighter and focused. Good stuff.
The cover art is rich and juicy, consisting primarily of jarring reds and greens. The juxtaposition of ‘man and technology’ is hardly a unique visual concept, but handled deftly. The face is that of the band’s drummer Ali Score. The backside is rather cheesy, however.
