Greg Bartalos: February 26, 2006

1. Devo “Uncontrollable Urge”
   “Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah!” And so starts Devo’s triumphant debut Q: Are We Not Men? A: We are Devo. Having just watched the excellent DVD of Devo – Live 1980 I thought this was an ideal time to assemble a Top 10 list of my favorite Devo songs. The Akron, Ohio-based band’s name was taken from the idea that evolution had reached its limits and that humans now were in a continual process of de-evolution. World events over the past 30 years lend some credence to Devo’s claims, but as great as the band’s music was for many years, the quality of their own music began to devolve after 1981’s solid New Traditionalists and only got worse, which is why this list is comprised exclusively of tracks from 1977 to 1981.
2. Devo “Gut Feeling/Slap Your Mammy”
   An epic Devo anthem that masterfully builds momentum. Features some of their most accomplished guitar playing too.
3. Devo “Clockout”
   This wind-up should have opened the stellar Duty Now for the Future instead of the soporific “Devo Corporate Anthem.”
4. Devo “S.I.B. (Swelling Itching Brain)
   This song, like many on Duty Now for the Future, shows Devo melding guitar and keyboard more effectively than on any other album.
5. Devo “Smart Patrol/Mr. DNA”
   Essentially two songs pulled together, this shows Devo at its most adventurous.
6. Devo “Blockhead”
   The militant “Blockhead!” chant/chorus remains compelling 27 years on.
7. Devo “Gates of Steel”
   Devo at its commercial peak exhibiting a more serious side rarely seen up to then.
8. Devo “Freedom of Choice”
   Another solid and less absurdist effort.
9. Devo “Going Under”
   Devo delivers a great sound here leaning heavily on keyboards without sacrificing emotion.
10. Devo “Beautiful World”
    The lyrics are sunny enough: “It’s a beautiful world we live in, a sweet romantic place. Beautiful people everywhere the way they show they care makes me want to say it’s a beautiful world.” And so the song bounces along merrily—until the end when we hear “It’s not for me.” The video is far more powerful beginning with several clips of happy people, icons of Americana etc., until it suddenly starts flashing footage of the Ku Klux Klan, bursting atomic bombs and starving people. Though Devo’s legacy is not one of “seriousness,” it never was more powerful than it was here.