I've always found the idea that anybody could have a single all-time favourite music artist a little weird, but if pressed I'd have to say mine were Devo in so much as that whilst there have been months, perhaps even years, without them being much of a presence in my headphones, there has never been a time when I've stuck on a Devo record and found I wasn't really in the mood for it. Setting aside a pre-pubescent fixation with the Beatles, Devo were probably the first group I really got into as a teenager, and got into with sufficient fervour as to get me buying the records. They scared the living shit out of me when I first heard that debut album, a red vinyl copy lent to me by my best friend Graham, but once I got past my suspicion of this music as something weird, unwholesome and mutated - which of course it was - I was hooked, and apparently for life.
A couple of years later I was hanging out with a former Cravat and we were talking about Crass, of whom we were both fans. Ideally, we concluded, Crass should make records which sounded like the Human League or Roxy Music by which to smuggle their message into the hit parade and reach people who might genuinely benefit from their perspective on society; at which point of the conversation I realised it had already happened, and that's what Devo were. Of course, whilst Devo may not actually have much to say about anarcho-syndicalism, like Crass, they've never been shy in pointing out everything which is wrong with our society and our forever needing daddy to tell us what to do. The main difference is that you can dance to the Devo version because it's fundamentally stupid and fun, and even though it was born from Gerald Casale's outrage at witnessing cops shooting kids at Kent State, musically it's the Monster Mash as envisioned for a future designed by John Waters and Hugo Gernsback; and it's like this because it's a satire on culture, not something removed from it and living by its own laws in Epping Forest - which isn't a criticism of Crass, by the way, simply an acknowledgement of different strategies.
Something For Everybody will probably remain the final new Devo album given the passing of a Bob, and a couple of those left behind supposedly no longer on the greatest of terms. Continuing Devo's taking the piss out of society, the music industry, and themselves, the album was supposedly written by focus group in response to questionnaires asking what consumers would like to hear from Devo. I remember filling in one online, and that's supposedly why we have the blue energy dome on the cover, as opposed to any other hue of headgear. We also got to pick which tracks made it onto this album which, tellingly, makes for much better listening than the collection of rejects and leftovers which was later issued as Something Else For Everybody. I say much better listening, but what I actually probably mean to say is that this is an unequivocally perfect album, illustrating as it does why there can never be a musical institution greater than Devo.
Yes, I know, and I don't care. There are people who don't get Devo. I've met them on internet forums sniggering about how Devo is like totally gay LOL before returning to the thread discussing which Judas Priest albums rocked the hardest, which sort of proves that Devo were right about a few things.
With Devo, each song is a puzzle in so much as that there is either a directly progressive message, or one otherwise implicit in the form, and it's usually communicated in terms which combine the novelty of the Archies with the mind-expanding strangeness of the Residents; and unscrambling that puzzle, you arrive at a place wherein it becomes impossible to sustain ridiculous devolved ideas, or so my theory goes. What this means, or what I think it means, is that if you get Devo, then you're probably doing something right; and you've probably never stood outside Planned Parenthood wearing an NRA t-shirt and holding up a crucifix; and you almost certainly didn't vote for the Annoying Orange. The music of Devo improves our world by making us better people, and if you need proof - next time you get your heart broken, eschew the usual soundtrack of miserable fuckers in favour of almost anything by Devo. I promise, you'll notice the difference in a very short time.
So yes, this will most likely be the final Devo album, which is a shame but - Lord - what a finale! Musically it's almost a summary of their entire career - the sharp, irresistible pop of Freedom of Choice, the synthetic grandeur of Shout, and the faintly disturbing mutant novelty of their weird primal phase - Fountain of Filth, Buttered Beauties and the rest, not even omitting the occasional Popeye-style ethnic caricature switched on its head as happens with Cameo. Something For Everybody rocks hard and dresses like the Jetsons whilst still managing to squeeze out a tear of more genuine feeling than anything Sting ever did in a rain forest.
In the bigger scheme of things
We haven't been around here more than a moment.
And yet too many, it seems,
Believe we are creating a brand new world around us.
We are creating a brand new world without us.
Maybe it really is okay.
Although we're digging our own graves,
At this moment.
I could write about how no-one really took them seriously because they were scared of the truth about de-evolution, namely that it was never a marketing gimmick like Adam Ant pretending to be a pirate or whatever; but some of us did take them seriously, and I guess we've been proven right because we're now living in the world described in Don't Shoot (I'm a Man).
This might be our very last chance. Let's not fuck it up.