Discussion:
old bio thread
(too old to reply)
Bob 3
2005-03-03 05:03:18 UTC
Permalink
Looking for bio info and ran across this thread

http://groups-beta.google.com/group/alt.fan.devo/browse_frm/thread/3dbedce000f78f2c/8f16aa6ae1cd1f6c?q=Jerry&_done=%2Fgroup%2Falt.fan.devo%2Fsearch%3Fgroup%3Dalt.fan.devo%26q%3DJerry%26qt_g%3D1%26searchnow%3DSearch+this+group%26&_doneTitle=Back+to+Search&&d#8f16aa6ae1cd1f6c

Interesting excerpt:

9. All the money they ever made from DEVO is long gone, what little
there was. Jerry said that most people don't understand that bands
are the last people to make money from their work, that they are
labor owned by a company. A prime example of this was a world tour of
theirs that grossed over $2 million. Each member of DEVO got a check
for $16K.


10. They lost a lot of money from the Club DEVO fan club and mailorder,

and ended up having to sue the people in charge of it.


11. Nothing is left of the DEVO paraphernelia (energy domes, yellow
suits, plastic hair, etc). Mark rented storage space to keep a copy of

everything they ever made, but Jerry has given away pretty much
everything he had kept.


....


Wow, the tale of DEVO is a sad one. One of my friends in high school
had literally hundreds of dollars of spud gear, demo albums and the
like. Too bad the spuds never saw any of that money...

I'd like more info. Is the bio by Dellinger & Giffels 1) accurate and
2) worth reading? (Reviews on amazon are mixed.) Also any news on an
official bio?
Boom
2005-03-03 11:45:14 UTC
Permalink
Post by Bob 3
Looking for bio info and ran across this thread
http://groups-beta.google.com/group/alt.fan.devo/browse_frm/thread/3dbedce000f78f2c/8f16aa6ae1cd1f6c?q=Jerry&_done=%2Fgroup%2Falt.fan.devo%2Fsearch%3Fgroup%3Dalt.fan.devo%26q%3DJerry%26qt_g%3D1%26searchnow%3DSearch+this+group%26&_doneTitle=Back+to+Search&&d#8f16aa6ae1cd1f6c
9. All the money they ever made from DEVO is long gone, what little
there was. Jerry said that most people don't understand that bands
are the last people to make money from their work, that they are
labor owned by a company. A prime example of this was a world tour of
theirs that grossed over $2 million. Each member of DEVO got a check
for $16K.
Because they spent all that money building gigantic sets and shooting
video for every single song they did. I'll admit to enjoying the
giant sets as much as anyone, but it was clearly a case of champagne
tastes and a beer pocketbook. You don't build KISS-level sets when
you're playing 2000 seat auditoriums. There's a quote in the Devo
book where Mark said they lost 50 cents per album sold on one of their
albums because they perforated the back cover so you could make a
stand out of it and display the album like artwork. Well yeah, if
you're going to do stuff like that, you're going to lose money. And
it was all for naught because I don't know of anyone who stood the
album up like that.
Post by Bob 3
10. They lost a lot of money from the Club DEVO fan club and mailorder,
and ended up having to sue the people in charge of it.
Devo merch is fun, but they completely overdid it back then. Sure,
sell the energy domes and yellow suits, but they overestimated the
marketplace for that stuff. Devo was considered a punk band by the
general public, and the punk audience was anti-merch. So yeah, I can
see how they lost money on it.
Post by Bob 3
Wow, the tale of DEVO is a sad one. One of my friends in high school
had literally hundreds of dollars of spud gear, demo albums and the
like. Too bad the spuds never saw any of that money...
I don't think it's a sad tale as much as a cautionary tale. Devo made
a lot of mistakes and self-inflicted a lot of the damage they
suffered. Which was a shame because their audience would have
remained the same size with or without the sets. We liked the big
shows, but we would have gone to see them even if they just came out
to a bare stage with average lighting and played. Rule number one of
being in a band is don't spend money you don't have. They violated
that rule every chance they got. And now when they play, they come
out to a bare stage with average lighting, and everybody loves it just
as much and they can actually make money on shows.
Post by Bob 3
I'd like more info. Is the bio by Dellinger & Giffels 1) accurate and
2) worth reading? (Reviews on amazon are mixed.) Also any news on an
official bio?
Worth reading, yes. Accuracy is debatable, though. Jerry claims it's
highly inaccurate, but the authors pretty much throw him under the bus
and make him look like the bad guy at every turn, so he would say
that. I wasn't there so I don't know, but they interview a lot of
people who were there. Personally, I thought it was short on info
from the Nutra period till now but the stuff before they got signed
was extensive and pretty interesting.

Yeah, it would have been nice to see them make money. Devo worked
very hard and gave audiences a hell of a show. But when they start
talking about how much money they lost and how they got screwed by the
record companies, then I have to say that they're blaming the wrong
people...they got screwed by their own dicks.
Gary Childs
2005-03-03 15:23:11 UTC
Permalink
Post by Boom
Because they spent all that money building gigantic sets
It's true they spent a lot of money on the Freedom Of Choice, and New
Traditionalists tours sets, but I don't think the sets were gigantic by
rock-n-roll industry standards. They were pretty big though.
Post by Boom
and shooting video for every single song they did.
They didn't shoot video for every song they did.
Post by Boom
it was clearly a case of champagne
tastes and a beer pocketbook. You don't build KISS-level sets when
you're playing 2000 seat auditoriums.
I think they believed that the success of Freedom Of Choice would continue.
They also wanted to live out all their creative desires, and really do a
super show. They figured that quality would sell. That's not always true.
Post by Boom
Mark said they lost 50 cents per album sold on one of their
albums because they perforated the back cover so you could make a
stand out of it and display the album like artwork. Well yeah, if
you're going to do stuff like that, you're going to lose money. And
it was all for naught because I don't know of anyone who stood the
album up like that.
Yeah, it probably wasn't the best use of their money, but the real thing
that killed them was lack of radio support. Without more hit songs, a group
will fade out, and if people don't hear your songs, they won't buy them.
Post by Boom
Devo merch is fun, but they completely overdid it back then. Sure,
sell the energy domes and yellow suits, but they overestimated the
marketplace for that stuff.
You're way off on that one. They would have made money on the merchandise,
but the people who ran the Club Devo mail order ripped them off.
Post by Boom
Devo was considered a punk band by the
general public, and the punk audience was anti-merch. So yeah, I can
see how they lost money on it.
Devo had to sell their gear, because if they didn't, people who wanted it
would steal it off the stage. There was a demand for it.
There's always a hunger for band merchandise. That's why there's a bootleg
market. You can go to eBay now and there's lots of bootleg Devo merchandise
still being made. Punks always covered themselves with band logo stuff. I
saw Devo in 1981. When I arrived with a friend, we were the only ones
wearing Energy Domes, but by the end of the show, lots of the audience had
bought them. They sold them like crazy.
Post by Boom
Post by Bob 3
Wow, the tale of DEVO is a sad one.
It's a typical tale of the music industry. Bands are labor owned by a
corporation. They chew up and spit out acts every day.
Post by Boom
One of my friends in high school
Post by Bob 3
had literally hundreds of dollars of spud gear, demo albums and the
like. Too bad the spuds never saw any of that money...
Well, they saw some of it, but not all that they should have.
Post by Boom
I don't think it's a sad tale as much as a cautionary tale. Devo made
a lot of mistakes and self-inflicted a lot of the damage they
suffered.
The record sales weren't there. As long as you sell records you can stay in
the game. It's the same for any band. Look at all the hair-metal bands that
died after the wake of Nirvana. Did they make mistakes and do self-inflicted
damage? Their sin was not moving units. It's simple economics.
Post by Boom
Which was a shame because their audience would have
remained the same size with or without the sets.
Part of the Devo audience were people who wanted to see a band that made hit
singles. These fickle souls left when no new hits were produced. Big stage
sets didn't kill Devo. It was lack of fan support.
Post by Boom
We liked the big
shows, but we would have gone to see them even if they just came out
to a bare stage with average lighting and played.
Well, they did tour like that, and few showed up. That's why the Smooth
Noodle Maps tour was cancelled. Lack of ticket sales.
Post by Boom
Rule number one of
being in a band is don't spend money you don't have.
They violated
that rule every chance they got.
Yeah, but you can't make money unless you spend money. They didn't know that
sales would plummet, they didn't know that radio would ignore them, they
didn't know that Warners would turn their back on them. You make them sound
like a bunch of clueless idiots. It all comes down to what the public buys,
and who can predict that?

"No one ever went broke underestimating the intelligence of the American
public."
-- Henry Mencken
Post by Boom
And now when they play, they come
out to a bare stage with average lighting, and everybody loves it just
as much and they can actually make money on shows.
Now is a different time. People didn't show up then. Devo went away, and
people started to miss them. They finally started getting the credit they
deserved when alternative bands started listing the as an influence. They
downscaled the shows after Oh No! It's Devo, but the crowds got thinner with
every album that didn't sell.
Post by Boom
But when they start
talking about how much money they lost and how they got screwed by the
record companies
So you're saying that record companies didn't screw their acts?
That's how the industry works.

"The music business is a cruel and shallow money trench, a long plastic
hallway where thieves and pimps run free, and good men die like dogs.
There's also a negative side." - Hunter S. Thompson
Post by Boom
I have to say that they're blaming the wrong
people...they got screwed by their own dicks.
If you don't put asses on seats, you go way.
There's a list a mile long of bands that don't exist anymore. You either
make money or you don't. The hardcore Devo audience for Devo is very small.

"It's just supply and demand" - Devo
Boom
2005-03-03 16:25:32 UTC
Permalink
On Thu, 3 Mar 2005 10:23:11 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
Because they spent all that money building gigantic sets
It's true they spent a lot of money on the Freedom Of Choice, and New
Traditionalists tours sets, but I don't think the sets were gigantic by
rock-n-roll industry standards. They were pretty big though.
No, FOC wasn't big, but NuTra sure was. A giant temple set with lots
of flashing lights built into it that tore down into a big metal
industrial park-looking thing. And of course, 3 treadmills. And the
staff to assemble all that stuff. Riggers don't come cheap.
Post by Gary Childs
Post by Boom
and shooting video for every single song they did.
They didn't shoot video for every song they did.
They did on the Oh No It's Devo tour.
Post by Gary Childs
Post by Boom
it was clearly a case of champagne
tastes and a beer pocketbook. You don't build KISS-level sets when
you're playing 2000 seat auditoriums.
I think they believed that the success of Freedom Of Choice would continue.
They also wanted to live out all their creative desires, and really do a
super show. They figured that quality would sell. That's not always true.
Well I'd like to live out my creative desires too, but I can't afford
it either.
Post by Gary Childs
Yeah, it probably wasn't the best use of their money, but the real thing
that killed them was lack of radio support. Without more hit songs, a group
will fade out, and if people don't hear your songs, they won't buy them.
But here's the thing...to get on the radio costs anywhere from a
million to 2 million per song in payoffs. So you're screwed either
way. And quite frankly, I don't blame the record company for not
pushing Devo after NuTra. The only truly great song that came off Oh
No and Shout was "That's Good." The rest ranged in quality from "Eh,
not bad" to "Oh No It's Devo!"
Post by Gary Childs
Post by Boom
Devo merch is fun, but they completely overdid it back then. Sure,
sell the energy domes and yellow suits, but they overestimated the
marketplace for that stuff.
You're way off on that one. They would have made money on the merchandise,
but the people who ran the Club Devo mail order ripped them off.
I don't doubt it, but their swag list was just over the top.
Post by Gary Childs
Devo had to sell their gear, because if they didn't, people who wanted it
would steal it off the stage. There was a demand for it.
There's always a hunger for band merchandise. That's why there's a bootleg
market. You can go to eBay now and there's lots of bootleg Devo merchandise
still being made. Punks always covered themselves with band logo stuff. I
saw Devo in 1981. When I arrived with a friend, we were the only ones
wearing Energy Domes, but by the end of the show, lots of the audience had
bought them. They sold them like crazy.
True, but they went overboard. Then again, I thought KISS went
overboard too, but I guess they sold plenty of KISS trash cans and
transistor radios.
Post by Gary Childs
The record sales weren't there. As long as you sell records you can stay in
the game. It's the same for any band. Look at all the hair-metal bands that
died after the wake of Nirvana. Did they make mistakes and do self-inflicted
damage? Their sin was not moving units. It's simple economics.
Devo's sin was spending more than they made. They sold enough to keep
afloat had they not wasted a lot of money. That is, until the last
two Warners albums. But we're not talking about what killed them in
the marketplace. We're talking about why they went home with $16,000
each after a tour that grossed $2 million. At least I was.
Post by Gary Childs
Part of the Devo audience were people who wanted to see a band that made hit
singles. These fickle souls left when no new hits were produced. Big stage
sets didn't kill Devo. It was lack of fan support.
There was no lack of fan support until it was obvious they were going
to keep on programming their songs and not play guitars.
Post by Gary Childs
Well, they did tour like that, and few showed up. That's why the Smooth
Noodle Maps tour was cancelled. Lack of ticket sales.
They sure had a huge audience at the Total Devo show I saw and the SNM
show they did at Pleasure Island. But the small scale of the shows
isn't what killed them. Lack of planning at Enigma (and putting
albums that just weren't all that good) is what killed them. Why do
you think they stick with material from the first 3 albums nowadays?
Post by Gary Childs
Post by Boom
Rule number one of
being in a band is don't spend money you don't have.
They violated
that rule every chance they got.
Yeah, but you can't make money unless you spend money. They didn't know that
sales would plummet, they didn't know that radio would ignore them, they
didn't know that Warners would turn their back on them. You make them sound
like a bunch of clueless idiots. It all comes down to what the public buys,
and who can predict that?
That's where it comes down to planning for the future, doesn't it?
Devo are very smart guys, but smart doesn't always mean wise. Face
it, Devo got cocky and after FOC they thought they were bulletproof.
Meanwhile, they told everyone they were going to get sucked up into
the big corporate machine, and just like every self-fulfilling
prophecy, it came true, but they had no clue when and where it was
going to happen. They thought it was going to happen later but it
happened sooner.
Post by Gary Childs
Post by Boom
But when they start
talking about how much money they lost and how they got screwed by the
record companies
So you're saying that record companies didn't screw their acts?
That's how the industry works.
Sure it is, but you don't have to assist them at every turn!
Post by Gary Childs
"The music business is a cruel and shallow money trench, a long plastic
hallway where thieves and pimps run free, and good men die like dogs.
There's also a negative side." - Hunter S. Thompson
I love that quote!
Post by Gary Childs
Post by Boom
I have to say that they're blaming the wrong
people...they got screwed by their own dicks.
If you don't put asses on seats, you go way.
And why weren't they putting asses in seats? Because the quality of
their work just was not as good after FOC. They had a few great
moments, but people got really turned off by all the programming and
disco beats.
Post by Gary Childs
There's a list a mile long of bands that don't exist anymore. You either
make money or you don't. The hardcore Devo audience for Devo is very small.
Yes it is, but it's workable if you give them what they want. I'm
sure they see that now. That's why their shows are mostly stuff from
the first 3 albums.

My whole point is if you're in a business that you know you're going
to have to fight and claw for every cent you make, then maybe you
should keep a tighter rein on how it's being spent and not make it
easy for the vultures to pick at your carcass. I love Devo as much as
anyone but the fact is they were smart about a lot of things except
money. You can bet your ass they're smart now, though!
Gary Childs
2005-03-04 03:31:27 UTC
Permalink
Post by Boom
No, FOC wasn't big, but NuTra sure was. A giant temple set with lots
of flashing lights built into it that tore down into a big metal
industrial park-looking thing. And of course, 3 treadmills. And the
staff to assemble all that stuff. Riggers don't come cheap.
The set for NuTra was actually the set they used for the FOC tour, with new
front pieces, and the treadmills added. The lighting cages were the same.
That's an example of Devo being clever with spending money.
Post by Boom
Post by Gary Childs
They didn't shoot video for every song they did.
They did on the Oh No It's Devo tour.
Using a back screen was an comparatively cheaper, and very innovative way to
do a show. They deserve credit for coming up with a great idea, and doing so
on a budget. That's another example of being clever with spending money.
They even got a great deal on the computer graphics in the videos, because
they were done by a fan.
Post by Boom
Well I'd like to live out my creative desires too, but I can't afford
it either.
They could afford to put some money back into their art because of the
success of FOC. Maybe they would have spent less if they knew what the
future was to bring, but they wanted to innovate, and take chances. That's
what made what they did special.
Post by Boom
The only truly great song that came off Oh
No and Shout was "That's Good." The rest ranged in quality from "Eh,
not bad" to "Oh No It's Devo!"
That's purely your personal opinion. I disagree about Oh No. I think it's a
great record. It came out ahead of FOC, and tied with NuTra in an online
poll of fans. I like it better than NuTra. I also think "That's Good" is not
the strongest song on the album.
Post by Boom
I don't doubt it, but their swag list was just over the top.
The folks that did the mail order business pocketed the money. They were
total theives.
Post by Boom
True, but they went overboard.
I never thought that the original Club Devo had that much merchandise. It
was all fun, cheap stuff.
Post by Boom
Then again, I thought KISS went
overboard too, but I guess they sold plenty of KISS trash cans and
transistor radios.

Yeah, and the Kiss coffin. That's overboard, but all good capitalism is.
Post by Boom
Devo's sin was spending more than they made. They sold enough to keep
afloat had they not wasted a lot of money.
They couldn't keep making records and touring if few people were buying. The
FOC and NuTra money would only stretch so far. Nothing sold after NuTra.
They quit because most of the audience quit. They ran out of money. Maybe
they could have put out a couple more albums that no one would have bought,
if they had not spent so much on the FOC, NuTra, and Oh No tours, but no one
would have bought them anyway.
Post by Boom
We're talking about why they went home with $16,000
each after a tour that grossed $2 million.
Touring is expensive. A lot of bigger, more experienced groups have lost
money on tours. Why did they go home with 16k after a 2 million dollar tour?
Maybe they got screwed by the record company. Maybe they signed a bad
contract. Maybe the tour didn't make as much money as expected.
Post by Boom
There was no lack of fan support until it was obvious they were going
to keep on programming their songs and not play guitars.
So music that's programmed dosen't sell? They always had guitar on their
records anyway. It was never phased out. Nutra was done with a programmed
drum machine. Maybe you lost interest when they programmed their songs, but
I didn't. I bought all the later records. I thought some of the
technology-based stuff they did was interesting. Of course the songwriting
wasn't as good as the earlier stuff, but every well runs dry eventually.
Post by Boom
They sure had a huge audience at the Total Devo show I saw and the SNM
show they did at Pleasure Island.
"The reason Devo never toured the US for smoothnoodlemaps is that they lost
big money on their first few shows, so they cancelled the tour."

- The DEVO Faq http://cluefree.org/devo/Jerry.shtml
Post by Boom
Lack of planning at Enigma (and putting
albums that just weren't all that good) is what killed them.
Enigma was definitely a nail in their coffin. On No! didn't sell even though
(according to most Devo fans) it was a great record.
I think they felt weakened after the failure of Oh No!, and it shows on
Shout. The later records weren't as good as the earlier ones, but they are
still worthwhile. When Devo was bad they were still pretty decent. If you
compare Devo to all those bands that out two good songs on an entire album,
you'll see that Devo was still pretty good. I like stuff on the later
records. They didn't deserve to be completely ignored. The public is fickle,
the public is stupid. It's the nature of the bell curve of humanity. Don't
blame Devo for the public's poor taste. Look what they bought instead of
Devo! Crap...crap...crap.
Post by Boom
That's where it comes down to planning for the future, doesn't it?
"Well it's a random turn
on a game show wheel.
Unpredictable
but it stops somewhere"

- Devo "Happy Guy"

Devo couldn't plan on people not buying their albums. There's some great
songs on those records. They really aren't that bad.
If I had to pick between the intelligence of Devo, and that of the general
public, I'd go with Devo.
Post by Boom
Devo are very smart guys, but smart doesn't always mean wise.
They made mistakes, but there was no rock-star 101 course that told you how
not to get screwed.
Post by Boom
Devo got cocky and after FOC they thought they were bulletproof.
They expected that at least some of the people who bought FOC would buy
their other stuff. They were right when it came to me, but most people
didn't. All I can say is those people suck, and I'd love to look at their
record collections and explain why they have crappy taste in music.
Post by Boom
Meanwhile, they told everyone they were going to get sucked up into
the big corporate machine, and just like every self-fulfilling
prophecy, it came true, but they had no clue when and where it was
going to happen. They thought it was going to happen later but it
happened sooner.

"Rebellion is obsolete - change things from the inside working
- Mark Mothersbaugh

At least they knew what was coming. There's some future planning!
I think they made a difference. Isn't that why we're here?
Post by Boom
Post by Gary Childs
So you're saying that record companies didn't screw their acts?
That's how the industry works.
Sure it is, but you don't have to assist them at every turn!
It was out of their control. Keeping more guitars on the records or doing
smaller tours wouldn't have saved them. It was a total fluke that they ever
got as far as they did. They were only meant for a select market.
Post by Boom
And why weren't they putting asses in seats?
Ask the boneheads who didn't show up. Maybe these people were busy buying
Milli Vanilli and Poison albums.
Post by Boom
Because the quality of
their work just was not as good after FOC.

Quality does not equal sales. People will buy crap, and often do. Devo's
later records were far better than much of the garbage that outsold them.
Post by Boom
They had a few great
moments, but people got really turned off by all the programming and
disco beats.

I guess you were. I don't have a problem with music that has a danceable
beat. Devo was never disco. Which song by the Bee Gees would you say sounds
like Devo? Even "Disco Dancer" is probably too fast for disco.
Post by Boom
Post by Gary Childs
The hardcore Devo audience for Devo is very small.
Yes it is, but it's workable if you give them what they want.
A group can't make a living off of a couple thousand fans who want them to
be 25 years old forever.
Post by Boom
I'm sure they see that now. That's why their shows are mostly stuff from
the first 3 albums.

It's the same set they always played. They would just add in new songs from
their new albums in old days.
Post by Boom
My whole point is if you're in a business that you know you're going
to have to fight and claw for every cent you make, then maybe you
should keep a tighter rein on how it's being spent and not make it
easy for the vultures to pick at your carcass.

Easier said than done. (See the Hunter S. Thompson quote)
Post by Boom
the fact is they were smart about a lot of things except
money.

There are lots of groups out there who did it all for the money, but would
you really want to listen to them?
Post by Boom
You can bet your ass they're smart now, though!
Being smart dosen't necessarily mean being rich. Maybe they could have been
wealthier if they put on cheap, shoddy shows, and kept the same exact sound
as on the first album, but that dosen't sound like the key to longevity
either.
Boom
2005-03-04 06:00:29 UTC
Permalink
On Thu, 3 Mar 2005 22:31:27 -0500, "Gary Childs"
Post by Gary Childs
The set for NuTra was actually the set they used for the FOC tour, with new
front pieces, and the treadmills added. The lighting cages were the same.
That's an example of Devo being clever with spending money.
How could that be? They had 5 big light boxes behind them as a set
for FOC. Nutra was a giant elaborate temple. Even if they used the
light boxes, they still built a buttload of stuff around them. Plus
they probably needed 3-4 guys just to put up that set.
Post by Gary Childs
Post by Boom
Post by Gary Childs
They didn't shoot video for every song they did.
They did on the Oh No It's Devo tour.
Using a back screen was an comparatively cheaper, and very innovative way to
do a show. They deserve credit for coming up with a great idea, and doing so
on a budget. That's another example of being clever with spending money.
They even got a great deal on the computer graphics in the videos, because
they were done by a fan.
Still, setting up a couple amps on a bare stage is a lot cheaper.
Post by Gary Childs
They could afford to put some money back into their art because of the
success of FOC. Maybe they would have spent less if they knew what the
future was to bring, but they wanted to innovate, and take chances. That's
what made what they did special.
I don't know...I would have just as soon seen them with a bunch of
amps as a backdrop. I went to see them for the music and the
showmanship, not the lights. I'll go see a laser show if I want to
look at fancy lights.
Post by Gary Childs
Post by Boom
The only truly great song that came off Oh
No and Shout was "That's Good." The rest ranged in quality from "Eh,
not bad" to "Oh No It's Devo!"
That's purely your personal opinion. I disagree about Oh No. I think it's a
great record. It came out ahead of FOC, and tied with NuTra in an online
poll of fans. I like it better than NuTra. I also think "That's Good" is not
the strongest song on the album.
"Deep Sleep" is probably right up there, and yeah, they definitely had
a couple songs on each album that made the album worth it. "Shout,"
"Baby Doll," and "Devo Has Feelings Too" come to mind off the top of
my head. And Smooth Noodle Maps sounded like there could possibly be
hope for them heading back into more guitar-oriented stuff.
Post by Gary Childs
Post by Boom
Devo's sin was spending more than they made. They sold enough to keep
afloat had they not wasted a lot of money.
They couldn't keep making records and touring if few people were buying. The
FOC and NuTra money would only stretch so far. Nothing sold after NuTra.
They quit because most of the audience quit. They ran out of money. Maybe
they could have put out a couple more albums that no one would have bought,
if they had not spent so much on the FOC, NuTra, and Oh No tours, but no one
would have bought them anyway.
That's not true. Hell, I know tons of acts that don't sell any albums
at all anymore and make good money touring with a $5,000 per show
budget or less. Devo apparently wanted to compete with bands like
KISS and Genesis for production values. Which is fine if your albums
sell millions one after the other and you're selling out 10,000 seat
arenas, but not when you're doing small theaters. Hey, hats off to
them for wanting to give fans their money's worth, but it just wasn't
practical. Maybe instead of costly sets, a couple guitar techs, a
drum tech, a sound and lighting guy, a couple merch guys, and hiring
several local riggers to help put it together, you ditch the sets,
bring a sound guy, a light guy, one merch guy, and let the promoter
hire out the sound and lights, and you shlep your gear yourself in a
mid-size bus and trailer. It's what they're doing now, except they
fly in and use rented backline. Which is also a cost effective way to
do it.
Post by Gary Childs
Post by Boom
There was no lack of fan support until it was obvious they were going
to keep on programming their songs and not play guitars.
So music that's programmed dosen't sell? They always had guitar on their
records anyway.
Just barely, and only because Bob 1 didn't play keyboards. I don't
think Bob 2 ever played guitar on anything after the 3rd album.
Post by Gary Childs
It was never phased out. Nutra was done with a programmed
drum machine. Maybe you lost interest when they programmed their songs, but
I didn't. I bought all the later records. I thought some of the
technology-based stuff they did was interesting. Of course the songwriting
wasn't as good as the earlier stuff, but every well runs dry eventually.
Maybe if the songwriting backed up the programming. It was
interesting, and even good at times, but it never measured up to the
earlier stuff.
Post by Gary Childs
still worthwhile. When Devo was bad they were still pretty decent. If you
compare Devo to all those bands that out two good songs on an entire album,
you'll see that Devo was still pretty good. I like stuff on the later
I would agree with that. The people who were their core fan base did
like their later albums but they liked the earlier stuff better. But
they lost a lot of fans after the music became programmed. Alan was
right. The music was a lot more real when they were people pretending
to be robots instead of letting the robots do the work. I think they
see that now.
Post by Gary Childs
Post by Boom
Devo are very smart guys, but smart doesn't always mean wise.
They made mistakes, but there was no rock-star 101 course that told you how
not to get screwed.
Common sense says don't spend money you don't have.
Post by Gary Childs
Post by Boom
Devo got cocky and after FOC they thought they were bulletproof.
They expected that at least some of the people who bought FOC would buy
their other stuff. They were right when it came to me, but most people
didn't. All I can say is those people suck, and I'd love to look at their
record collections and explain why they have crappy taste in music.
You know, a lot of people say stuff like that about the general
public, but Devo had a pretty big core audience going that they mostly
alienated with the machines. It's fine for some rap act or some bimbo
like Ashlee Simpson, but not for a band known as humans playing music
like robots.
Post by Gary Childs
Post by Boom
Sure it is, but you don't have to assist them at every turn!
It was out of their control. Keeping more guitars on the records or doing
smaller tours wouldn't have saved them. It was a total fluke that they ever
got as far as they did. They were only meant for a select market.
It sounds like you're trying to counter what I was saying, but you
just made my whole case for me.
Post by Gary Childs
Post by Boom
Because the quality of
their work just was not as good after FOC.
Quality does not equal sales. People will buy crap, and often do. Devo's
later records were far better than much of the garbage that outsold them.
Not really. Was it better than the Police? Or the Clash?
Post by Gary Childs
I guess you were. I don't have a problem with music that has a danceable
beat. Devo was never disco. Which song by the Bee Gees would you say sounds
like Devo? Even "Disco Dancer" is probably too fast for disco.
It wasn't totally the dance beats. FOC was full of dance beats and
people loved it. It was the takeover by the machines and the lack of
quality songwriting that it brought. It's alright for the Human
League to program beats because they were lame musicians. But Devo
was cool and they had some really good musicians, especially Mark and
Alan. So why program?
Post by Gary Childs
Post by Boom
Post by Gary Childs
The hardcore Devo audience for Devo is very small.
Yes it is, but it's workable if you give them what they want.
A group can't make a living off of a couple thousand fans who want them to
be 25 years old forever.
Oh really? Please allow me to introduce you to Fabian. Fabian still
makes big bucks off of a few thousand old ladies who thought he was
cute when he was a teenager. He can't sing and his songs are lame.
Yet they still come out for him.
Post by Gary Childs
Post by Boom
I'm sure they see that now. That's why their shows are mostly stuff from
the first 3 albums.
It's the same set they always played. They would just add in new songs from
their new albums in old days.
Nope, sorry. Every show was about 40 minutes of new stuff and a
smattering of songs from the older albums. For the Oh No tour, Devo
did 8 songs from that album, and dropped lots of favorite stuff like
Blockhead and Mongoloid.
Post by Gary Childs
Post by Boom
the fact is they were smart about a lot of things except
money.
There are lots of groups out there who did it all for the money, but would
you really want to listen to them?
Sure. I love KISS.
Post by Gary Childs
Post by Boom
You can bet your ass they're smart now, though!
Being smart dosen't necessarily mean being rich. Maybe they could have been
wealthier if they put on cheap, shoddy shows, and kept the same exact sound
as on the first album, but that dosen't sound like the key to longevity
either.
Seems to be working now. And I wouldn't call having no sets "shoddy."
Devo didn't need sets. They were excellent entertainers. And I'm not
saying keep the sound on the first album exactly. But make it real.
Devo was real at first and let it slip away.
Stiiv
2005-03-04 13:58:21 UTC
Permalink
Post by Boom
Sure. I love KISS.
Know what? Aside from all the bombast, they wrote good, tight little
rock'n'roll songs. (1st 3 albums, especially.)

Stiiv
http://www.stiiv.com
Boom
2005-03-04 14:06:53 UTC
Permalink
On Fri, 04 Mar 2005 13:58:21 GMT, Stiiv
Post by Stiiv
Post by Boom
Sure. I love KISS.
Know what? Aside from all the bombast, they wrote good, tight little
rock'n'roll songs. (1st 3 albums, especially.)
They certainly did. They lost me after Dynasty, but those first few
albums hold up amazingly well after 30 years.
Gary Childs
2005-03-04 16:11:10 UTC
Permalink
Post by Boom
How could that be? They had 5 big light boxes behind them as a set
for FOC. Nutra was a giant elaborate temple. Even if they used the
light boxes, they still built a buttload of stuff around them.
It wasn't made of marble. The light boxes were the pillars. It was painted
pieces of wood attached to the front. It's not that elaborate.
Post by Boom
they probably needed 3-4 guys just to put up that set.
Yeah, but this was a major tour of a Warner Brothers act.
Post by Boom
Still, setting up a couple amps on a bare stage is a lot cheaper.
Yeah, but they wanted to go beyond the normal thing. They didn't want to be
like every other band.
Post by Boom
I don't know...I would have just as soon seen them with a bunch of
amps as a backdrop.
I'd prefer a show with an interesting set, instead of a generic rock band
set.
Post by Boom
I went to see them for the music and the
showmanship, not the lights. I'll go see a laser show if I want to
look at fancy lights.
The set was part of the show. The whole presentation was great. It has
nothing to do with just fancy lights. That's exactly what they wanted to get
away from. If you think the Nutra tour was about "fancy lights" then you
probably didn't see the tour. It was the greatest show they ever did, and
maybe one of the greatest shows any band ever did.
Post by Boom
Hell, I know tons of acts that don't sell any albums
at all anymore and make good money touring with a $5,000 per show
budget or less.
Devo can't make a living just being Devo. It's basicly a side hobby for them
which yields them some pocket change.
Post by Boom
Devo apparently wanted to compete with bands like
KISS and Genesis for production values.
They deserved to have a bigger audience then that bogus crap. Devo had
interesting ideas and concepts. They wanted you to think, and that was their
sin. The public wants to be spoon fed vauous pablum
Post by Boom
Which is fine if your albums
sell millions one after the other
Again, they delivered quality albums and tours and expected that they would
be rewarded for that.
Post by Boom
but it just wasn't practical.
If they were practical they would have just conformed to the same standards
as everyone else. They paid the price for being unique.
Post by Boom
you ditch the sets,
bring a sound guy, a light guy, one merch guy, and let the promoter
hire out the sound and lights, and you shlep your gear yourself in a
mid-size bus and trailer. It's what they're doing now, except they
fly in and use rented backline. Which is also a cost effective way to
do it.
I saw the New Traditionalists tour, and I saw them in Central Park last
year. Guess which show was better? Every penny they spent back then was
worth it. They delivered quality, and they did it their way.
Post by Boom
Just barely, and only because Bob 1 didn't play keyboards. I don't
think Bob 2 ever played guitar on anything after the 3rd album.

"Whip It" was their biggest hit, and it had as many guitars on it as any of
the later songs on the last few records. There is no correlation between
using guitars and selling records. FOC and Nutra outsold the first two
records, and the first two had more guitars.
Post by Boom
Maybe if the songwriting backed up the programming. It was
interesting, and even good at times, but it never measured up to the
earlier stuff.
Of course not, but most groups earlier songs are better than their later
work. It was still better than what most groups were delivering.
Post by Boom
they lost a lot of fans after the music became programmed.
They got very little promotion. Oh No! would have sold, but Warners turned
it's back on them. The music was never entirely programmed. It was a mix. If
a song is good it will be good programmed or not.
Post by Boom
Alan was
right. The music was a lot more real when they were people pretending
to be robots instead of letting the robots do the work.
There is more than one way to create. You can be creative with programmed
music. There's no rule that says only a guitar band is good. Wall Of Voodoo
and Kraftwerk used drum machines and they were incredibly creative. It's the
ideas that are important, not the equipment. Devo wanted to get away from
the sameness of every rock band in the world. they wanted to use technology
together with human interaction. Kraftwerk and Wall Of Voodoo were a lot
more creative than Kiss who always used a real drummer. Kiss did lots of bad
records with a real drummer and no programming. It has nothing to do with
it.
Post by Boom
I think they see that now.
Not really. They play only occasional short shows. If they put out a record
tomorrow, and did a major tour they would still lose money. They still have
a small fan base. You seem to believe they blew it somehow, but really it's
about the fact that only a limited amount of people are going to understand
what they are trying to get across.
Post by Boom
Common sense says don't spend money you don't have.
They had the money. People chose to spend their money on crappy groups, with
worse records, who did cliched tours with fancy lights.
Post by Boom
You know, a lot of people say stuff like that about the general
public, but Devo had a pretty big core audience going that they mostly
alienated with the machines.
No, they had a hit song that attracted people who only go to see acts that
have a hit song. Very few were ever going to be long term fans. The hit song
buzz fades with every album that dosen't have a hit on it. It had nothing to
do with "machines".
Post by Boom
It's fine for some rap act or some bimbo
like Ashlee Simpson, but not for a band known as humans playing music
like robots.
If music with "machines" sells so well, then why didn't Devo's later albums
sell? Which is it? Does a real drummer mean sales, or does a drum machine
mean sales? Ashlee Simpson is making money. She has a real drummer. He's
the one who started the wrong lip sync tape. A drum machine is a great tool
for a band trying to sound like a machine. I could kick Peter Criss' ass
with my drum machine. I can program in time signatures he never dreamed of.
It's not the tools - it's how you use them.
Post by Boom
Post by Gary Childs
It was out of their control. Keeping more guitars on the records or doing
smaller tours wouldn't have saved them. It was a total fluke that they ever
got as far as they did. They were only meant for a select market.
It sounds like you're trying to counter what I was saying, but you
just made my whole case for me.
Not at all. You think Devo flopped commercially because of less guitars, bad
records, and expensive tours. As I proved, it wasn't lack of guitars because
"Whip It" had only one guitar. It wasn't bad records, because their albums
were still better than the competition's albums. The tours weren't as
insanely expensive as most rock acts, and the money they spent was justified
for the kind of attention and money that was coming in at the time. It's
funny that you think that they were blowing all this money, when critics at
the time said that they were greedy, and were ripping off the public with
all their merchandise. When the audiences got smaller, Devo spent less money
on stage sets. They were never careless witn money. They did what they
wanted to do, but they did it on a budget, and gave good value for a dollar.
Post by Boom
Post by Gary Childs
Quality does not equal sales. People will buy crap, and often do. Devo's
later records were far better than much of the garbage that outsold them.
Not really. Was it better than the Police?
Yes really. The Police only did 5 albums, then broke up. So, it's not a good
comparison. If The Police had stayed together they would have put out bad
records, because Sting was becoming a pretentious, pompous ass. Devo's first
5 were good, and so were the Police's (I'd give Devo the edge, because the
Police used a lot of filler on their records). Ashlee Simpson sells - is she
good?
Post by Boom
Or the Clash?
I don't know much about The Clash so I can't comment.
Post by Boom
It was the takeover by the machines and the lack of
quality songwriting that it brought.

Programmed music can sell. Bad records can sell if promoted. Devo's later
records were better than other albums that made lots of money in the late
1980's.
Post by Boom
It's alright for the Human
League to program beats because they were lame musicians.

You have an obvious bias towards guitar based music. It's not the equipment
that makes good music, it's the ideas. The Human League made better songs
than hundreds of bands with guitars and real drummers. What's lame is being
another generic rock band that looks and sounds like everyone else. If you
take the makeup off Kiss, all they were was another cliched rock band.
Post by Boom
So why program?
It was a new way to create music. Devo wanted to use new technology. If you
listen to the things they programmed you'll notice some interesting sounds
that guitars can't make.
Post by Boom
Oh really? Please allow me to introduce you to Fabian. Fabian still
makes big bucks off of a few thousand old ladies who thought he was
cute when he was a teenager. He can't sing and his songs are lame.
Yet they still come out for him.
That's pretty sad. So that's what you want Devo to be? Fabian is one guy
with a backup band. How can you compare Fabian to Devo? It's ridiculous.
Devo deserved to be more than to be an oldies act.
Post by Boom
Nope, sorry. Every show was about 40 minutes of new stuff and a
smattering of songs from the older albums.
That's what they do now. Just the "smattering" part.
Post by Boom
For the Oh No tour, Devo
did 8 songs from that album, and dropped lots of favorite stuff like
Blockhead and Mongoloid.
And it was a better show than what they do now.
Post by Boom
Post by Gary Childs
There are lots of groups out there who did it all for the money, but would
you really want to listen to them?
Sure. I love KISS.
Well I don't.
Post by Boom
Seems to be working now.
They are an oldies act now. I don't call that working. It's existing. I'm
glad they are still around, but I wish they had the economic power to do
much more.
Post by Boom
And I wouldn't call having no sets "shoddy."
Devo didn't need sets. They were excellent entertainers.

The sets enhanced their shows. They interacted with them.
If you could go back in time would you go back to 1980 and see their show,
or back to last year and see their show?
Post by Boom
But make it real.
Devo was real at first and let it slip away.

So only guitars are real? You are prejudiced against electronic music. You
wanted Devo to be a guitar band forever, but they had to move forward and
explore technology. They didn't let anything slip away. The audience slipped
away because they lacked imagination. They wanted the same old guitar hero,
while Devo was showing them the future.
Boom
2005-03-05 04:52:48 UTC
Permalink
On Fri, 4 Mar 2005 11:11:10 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
they probably needed 3-4 guys just to put up that set.
Yeah, but this was a major tour of a Warner Brothers act.
Well, I guess at the time, everyone was caught up in the "make your
show bigger" thing.
Post by Gary Childs
Post by Boom
I don't know...I would have just as soon seen them with a bunch of
amps as a backdrop.
I'd prefer a show with an interesting set, instead of a generic rock band
set.
Well, I've been to tons of shows with elaborate staging and pyro and
all that, and the one thing I've discovered is that it's the musicians
who make the show compelling or not. Genesis had one of the biggest,
most state-of-the-art light shows in history, and other than Phil
Collins they were dullards on the stage and I couldn't wait to leave.
Post by Gary Childs
The set was part of the show. The whole presentation was great. It has
nothing to do with just fancy lights. That's exactly what they wanted to get
away from. If you think the Nutra tour was about "fancy lights" then you
probably didn't see the tour. It was the greatest show they ever did, and
maybe one of the greatest shows any band ever did.
Actually I DID see the NuTra show at Tampa Jai-Alai Fronton. And it
wasn't all about fancy lights. It was also all about big sets. But,
and this was a very important but, it was also about the gritty
showmanship of 5 guys who knew how to work a crowd and generate
excitement. I don't share the same feeling about that show as you do.
I thought the FOC show was much better. There was more stuff from the
first two albums on that show, I thought Booji Boy singing "Beautiful
World" was hideous (though I've gotten to like it over time), and they
played for 70 minutes, well below the 90 they played during FOC.
Actually, other than Alan not being there, I probably enjoyed the
Total Devo show the most because they had to rely on their showmanship
and not fancy dazzling scenery. Hell, I wish I could have seen them
in their yellow suit days much more than those other tours.
Post by Gary Childs
Post by Boom
Devo apparently wanted to compete with bands like
KISS and Genesis for production values.
They deserved to have a bigger audience then that bogus crap. Devo had
interesting ideas and concepts. They wanted you to think, and that was their
sin. The public wants to be spoon fed vauous pablum
You know what? People say the same thing to us because we like Devo.
Who is right? I can't stand that "my music can beat up your music"
bullshit. Who are you or anyone to say that other people have shitty
taste in music? You can believe your tastes are miles above anyone
else's, but they believe the same thing about their tastes and they
think your tastes suck just as much as you think theirs do. How about
a little respect?
Post by Gary Childs
I saw the New Traditionalists tour, and I saw them in Central Park last
year. Guess which show was better? Every penny they spent back then was
worth it. They delivered quality, and they did it their way.
There's three reasons the Central Park show wasn't as good. 1.
They're all well into their 50's and simply can't move with the energy
they had in 1980. 2. They played incredibly sloppy. 3. They only
played 60 minutes as opposed to the 70 for NuTra. Had theiy tightened
up their sound a little better and added 5 more songs, it would have
been every bit as good as NuTra to me.
Post by Gary Childs
There is no correlation between
using guitars and selling records. FOC and Nutra outsold the first two
records, and the first two had more guitars.
Ask Devo fans which sound they favor. I guarantee you the majority
will say the first two albums. They were innovative, they were fun,
they were exciting and challenging. They weren't perfect but they
were human. Meanwhole Shout is about as perfectly produced as any
album of its genre and it's a lifeless shell.
Post by Gary Childs
They got very little promotion. Oh No! would have sold, but Warners turned
it's back on them. The music was never entirely programmed. It was a mix. If
a song is good it will be good programmed or not.
You are believing Devo revisionist history. Oh No got just as much of
a chance in the marketplace as any of their albums. "Peek-A-Boo!" was
heavily pushed as a single for a few weeks. I heard it numerous times
on the radio and saw the video on TV a lot. They even did it on Solid
Gold! But the public wasn't buying it because it was a dumb song with
nursery rhymes for lyrics. Then and only then did WB give up on it.
And it killed any possible chance that a great song like "That's Good"
or "Deep Sleep" could have had.

Devo loves to say that they died because the record company gave up on
them. But "Working In The Coalmine" had just been a minor hit and got
tons of airplay and WB was willing to work with them. And they pushed
Devo as much as they could for Oh No, but how much money should they
have spent on an album that was clearly stiffing in the marketplace?
Record companies are under no obligation to push anyone.
Post by Gary Childs
There is more than one way to create. You can be creative with programmed
music. There's no rule that says only a guitar band is good. Wall Of Voodoo
and Kraftwerk used drum machines and they were incredibly creative. It's the
ideas that are important, not the equipment. Devo wanted to get away from
the sameness of every rock band in the world. they wanted to use technology
together with human interaction. Kraftwerk and Wall Of Voodoo were a lot
more creative than Kiss who always used a real drummer. Kiss did lots of bad
records with a real drummer and no programming. It has nothing to do with
it.
That's your opinion and you're entitled to it. To this day I still
can't listen to a Kraftwerk song all the way through without turning
it off.
Post by Gary Childs
Post by Boom
Common sense says don't spend money you don't have.
They had the money. People chose to spend their money on crappy groups, with
worse records, who did cliched tours with fancy lights.
Hey, if the music touches a nerve with the public, then it sells to
them.
Post by Gary Childs
Post by Boom
It's fine for some rap act or some bimbo
like Ashlee Simpson, but not for a band known as humans playing music
like robots.
If music with "machines" sells so well, then why didn't Devo's later albums
sell? Which is it? Does a real drummer mean sales, or does a drum machine
mean sales? Ashlee Simpson is making money. She has a real drummer. He's
the one who started the wrong lip sync tape. A drum machine is a great tool
for a band trying to sound like a machine. I could kick Peter Criss' ass
with my drum machine. I can program in time signatures he never dreamed of.
It's not the tools - it's how you use them.
But the mere fact that someone is more creative and innovative doesn't
mean their music is more compelling. KISS still sells out arenas.
There were lots of acts more popular and better than KISS in the 70's
that can't sell out a 1000 seater club. So that means their music
must have had something on the ball. Just because you don't like it
doesn't make it bad.
Post by Gary Childs
Post by Boom
Post by Gary Childs
Quality does not equal sales. People will buy crap, and often do. Devo's
later records were far better than much of the garbage that outsold them.
Not really. Was it better than the Police?
Yes really. The Police only did 5 albums, then broke up. So, it's not a good
comparison. If The Police had stayed together they would have put out bad
records, because Sting was becoming a pretentious, pompous ass.
I don't disagree with that assessment of Sting. And I will say that
people will indeed buy crap. But a lot of times that crap is marketed
to 12 year old girls so they unfairly skew the process.
Post by Gary Childs
Post by Boom
It was the takeover by the machines and the lack of
quality songwriting that it brought.
Programmed music can sell. Bad records can sell if promoted. Devo's later
records were better than other albums that made lots of money in the late
1980's.
Not really.
Post by Gary Childs
Post by Boom
It's alright for the Human
League to program beats because they were lame musicians.
You have an obvious bias towards guitar based music. It's not the equipment
that makes good music, it's the ideas. The Human League made better songs
than hundreds of bands with guitars and real drummers. What's lame is being
another generic rock band that looks and sounds like everyone else. If you
take the makeup off Kiss, all they were was another cliched rock band.
Is that why KISS took off the makeup and had one of the best selling
albums of their career afterward and still sold out arenas?
Post by Gary Childs
Post by Boom
So why program?
It was a new way to create music. Devo wanted to use new technology. If you
listen to the things they programmed you'll notice some interesting sounds
that guitars can't make.
Yeah, and they were going to make guitars obsolete.
Post by Gary Childs
Post by Boom
Oh really? Please allow me to introduce you to Fabian. Fabian still
makes big bucks off of a few thousand old ladies who thought he was
cute when he was a teenager. He can't sing and his songs are lame.
Yet they still come out for him.
That's pretty sad. So that's what you want Devo to be? Fabian is one guy
with a backup band. How can you compare Fabian to Devo? It's ridiculous.
Devo deserved to be more than to be an oldies act.
No band deserves to be anything. You either earn it or you don't.
Post by Gary Childs
Post by Boom
For the Oh No tour, Devo
did 8 songs from that album, and dropped lots of favorite stuff like
Blockhead and Mongoloid.
And it was a better show than what they do now.
Well if they rehearsed a little harder it wouldn't have been.
Post by Gary Childs
Post by Boom
And I wouldn't call having no sets "shoddy."
Devo didn't need sets. They were excellent entertainers.
The sets enhanced their shows. They interacted with them.
If you could go back in time would you go back to 1980 and see their show,
or back to last year and see their show?
Neither. I would go back to 1978 and see their show.
Post by Gary Childs
Post by Boom
But make it real.
Devo was real at first and let it slip away.
So only guitars are real? You are prejudiced against electronic music. You
wanted Devo to be a guitar band forever, but they had to move forward and
explore technology. They didn't let anything slip away. The audience slipped
away because they lacked imagination. They wanted the same old guitar hero,
while Devo was showing them the future.
Blaming the audience for the failure of a band is lame. All bands
that fail think, "Man, the public is so lame because they don't buy
our stuff." Wrong! It's a failure of the band to connect with the
audience. And if Devo was showing us the future, then why are there
so few rock bands that program drums and keyboards now? You'd be
hard-pressed to even find a keyboard player in rock bands. And why
are Devo concentrating on their guitar based stuff now if their
electronic stuff was so good? Making guitars and cheap keyboards
sound like electronica is creative. Programming drum machines and
keyboards then hitting the PLAY button isn't. Now if you take a drum
machine and program it to sound like a real drummer, that's really
something!.

Yes, I am indeed prejudiced against some electronic music. If it's
electronic music done with heart, as was FOC, then it's great. If
it's done as soulless as the majority of Devo's later stuff was (and
the majority of programmed music), then it sucks.
Savage Lizard
2005-03-05 06:37:36 UTC
Permalink
Post by Boom
You know what? People say the same thing to us because we like Devo.
Who is right? I can't stand that "my music can beat up your music"
bullshit. Who are you or anyone to say that other people have shitty
taste in music? You can believe your tastes are miles above anyone
else's, but they believe the same thing about their tastes and they
think your tastes suck just as much as you think theirs do. How about
a little respect?
Well, some people listen to country :-)

Savage Lizard
Boom
2005-03-05 06:54:57 UTC
Permalink
On Fri, 4 Mar 2005 22:37:36 -0800, "Savage Lizard"
Post by Savage Lizard
Post by Boom
You know what? People say the same thing to us because we like Devo.
Who is right? I can't stand that "my music can beat up your music"
bullshit. Who are you or anyone to say that other people have shitty
taste in music? You can believe your tastes are miles above anyone
else's, but they believe the same thing about their tastes and they
think your tastes suck just as much as you think theirs do. How about
a little respect?
Well, some people listen to country :-)
I love country music! Not that prefab shit that's on the radio now,
but the oldtime stuff like Hank WIlliams Sr., Webb Pierce, Buck Owens,
Patsy Cline, and the like.
Gary Childs
2005-03-05 16:21:31 UTC
Permalink
Post by Boom
I love country music! Not that prefab shit that's on the radio now,
but the oldtime stuff like Hank WIlliams Sr., Webb Pierce, Buck Owens,
Patsy Cline, and the like.
I agree with you there. I used to love "Tiger By The Tail" by Buck Owens
when I was a kid, and Johnny Cash was a genius.
Rev. Richard Skull
2005-03-05 16:28:02 UTC
Permalink
<<I love country music! Not that prefab shit that's on the radio now,
but the oldtime stuff like Hank WIlliams Sr., Webb Pierce, Buck Owens,
Patsy Cline, and the like<<

Have you ever heard the group "Calexico"? They are an alternative
"country-western" band.
Boom
2005-03-06 10:22:25 UTC
Permalink
Post by Rev. Richard Skull
<<I love country music! Not that prefab shit that's on the radio now,
but the oldtime stuff like Hank WIlliams Sr., Webb Pierce, Buck Owens,
Patsy Cline, and the like<<
Have you ever heard the group "Calexico"? They are an alternative
"country-western" band.
Name sounds familiar, never heard the band. I shall try to find them
on Soulseek later today. Thanks for the tip, Rev!
Gary Childs
2005-03-05 16:17:35 UTC
Permalink
Post by Boom
Well, I've been to tons of shows with elaborate staging and pyro and
all that, and the one thing I've discovered is that it's the musicians
who make the show compelling or not.
The Temple Of Devo was an original concept that had nothing to do with the
typical flashpots and generic lighting that most bands used. Of course it's
the musicians that are the center of the show, but a great part of the Devo
pallet are visual concepts, and the set was a great, original, visual
concept. If the money was there they'd still be doing things like that.
Post by Boom
I probably enjoyed the
Total Devo show the most because they had to rely on their showmanship
and not fancy dazzling scenery.
I prefer Devo when they can have total artistic control, and they don't have
to compromise their unique vision because of lack of funds.
Post by Boom
Who are you or anyone to say that other people have shitty
taste in music?
I'm someone who prefers artists with original ideas and concepts. I respect
musicians who have something original to say, instead of the same "I wanna
party all night long", "let's make love all night long" generic, bankrupt
cliches.
Post by Boom
Had they tightened
up their sound a little better and added 5 more songs, it would have
been every bit as good as NuTra to me.
Not for me. I wish they had to means to be able to generate new material,
and be able to present it in a visual format that befits their level of
creativity. It's sad that they can only be an oldies band.
Post by Boom
Ask Devo fans which sound they favor. I guarantee you the majority
will say the first two albums. They were innovative, they were fun,
they were exciting and challenging.
I was refering to what sells, not what hardcore fans prefer. Fans usually
prefer a group's earlier work to their later work.
Post by Boom
They weren't perfect but they
were human.
A guitar isn't human. It's a device like a synthesizer, or a drum machine.
It really depends on what you do with it. A lot more crappy music has been
done with guitars than with electronics over the course of the history of
music.
Post by Boom
Meanwhole Shout is about as perfectly produced as any
album of its genre and it's a lifeless shell.

The song material just wasn't as strong as the earlier records.
Post by Boom
You are believing Devo revisionist history. Oh No got just as much of
a chance in the marketplace as any of their albums.
No, New Traditionalists got a lot heavier promotion. Oh No! got a lot less,
and Shout got almost nothing.
Post by Boom
"Peek-A-Boo!" was
heavily pushed as a single for a few weeks. I heard it numerous times
on the radio and saw the video on TV a lot.
I'm not so sure about how heavily it was pushed, but not every song will
fly.
Post by Boom
But the public wasn't buying it because it was a dumb song with
nursery rhymes for lyrics.
How about "step on a crack, break your momma's back"?
That sounds kind of childish, dosen't it?
How about "Matty told Hatty about a thing she saw"?
How about "my milkshake is better than yours"?
How about "you make my want to la la"?
Dumb songs with nursery rhyme lyrics sell.
It's always good to check a personal theory against reality.
Post by Boom
Then and only then did WB give up on it.
You certainly side with the big WB. I don't. They have screwed a lot of
artists. They let Shout rot on the vine. Their own product, and they didn't
bother to even let fans know it came out.
Post by Boom
Devo loves to say that they died because the record company gave up on
them.
It's the truth. There was bad blood between Devo and WB. Warners said "fuck
those guys".
Post by Boom
Record companies are under no obligation to push anyone.
If they want to sell records, then they promote them.
Post by Boom
That's your opinion and you're entitled to it. To this day I still
can't listen to a Kraftwerk song all the way through without turning
it off.
I don't worship at the temple of rock-n-roll. I like musicians who defy the
rock formulas.
Post by Boom
Hey, if the music touches a nerve with the public, then it sells to
them.

Yeah, but they have to know it's there. Out of sight, out of mind.
Post by Boom
But the mere fact that someone is more creative and innovative doesn't
mean their music is more compelling.
I think it does. If someone is simply apes what everyone one else is doing,
and dosen't have an original concept; then they are being completely
redundent. They contribute to all the sameness in the world.
Post by Boom
KISS still sells out arenas.
There were lots of acts more popular and better than KISS in the 70's
that can't sell out a 1000 seater club.
There's no accounting for what the public will buy.
Post by Boom
So that means their music
must have had something on the ball.
So if something sells, it must be good? I disagree.
Post by Boom
Just because you don't like it
doesn't make it bad.
It's a matter of taste. I happen to prefer music that pushes the envelope,
rather than music that conforms to a standard that will give it mass appeal
with the public.
Post by Boom
And I will say that
people will indeed buy crap.
Exactly. If you build it (up), they will come (& buy it).
Post by Boom
But a lot of times that crap is marketed
to 12 year old girls so they unfairly skew the process.
The music market is geared towards teens/pre-teens. I was a teen when I got
into Devo. I was never impressed by all the "bad boy" images that most rock
bands used. I liked the whole Devo aesthetic because it ran contrary to what
most bands were doing. No Jack Daniels, giant drum kits, or flashpot
lightshows.
Post by Boom
Post by Gary Childs
Programmed music can sell. Bad records can sell if promoted. Devo's later
records were better than other albums that made lots of money in the late
1980's.
Not really.
Do you have any idea how many songs on the radio today are cut and pasted
together and digitally programmed?
Have you ever looked at all the crappy groups that made millions in the late
1980's with terrible records?
You think people stopped liking Devo because their records sucked, but
people didn't even get to hear their records to find out if they sucked.
They were buried in the marketplace and not promoted.
Post by Boom
Is that why KISS took off the makeup and had one of the best selling
albums of their career afterward and still sold out arenas?
Kiss always had a bigger audience than Devo. They delivered more of the same
classic rock band sound. The whole "bad boy" image sells like hotcakes.
Ask 50 Cent.
Post by Boom
Yeah, and they were going to make guitars obsolete.
That wouldn't happen.
Post by Boom
No band deserves to be anything. You either earn it or you don't.
Yeah, and you either innovate or immitate. You can challenge an audience's
expectations, or pander to them.
Lay a thousand eggs or give birth to one.
Post by Boom
Post by Gary Childs
And it was a better show than what they do now.
Well if they rehearsed a little harder it wouldn't have been.
Back then they were productive, now it's just pure nostalgia.
Post by Boom
Blaming the audience for the failure of a band is lame. All bands
that fail think, "Man, the public is so lame because they don't buy
our stuff." Wrong! It's a failure of the band to connect with the
audience.
Devo connects with a small audience because of the content of what they
provide.
Cast not your pearls before swine.
Post by Boom
And if Devo was showing us the future, then why are there
so few rock bands that program drums and keyboards now?

Very few songs on the radio are not digital monstrosities created with a
computer.
Post by Boom
You'd be
hard-pressed to even find a keyboard player in rock bands.
Not from what I've seen. You also have to consider trends in guitar based
music.
Post by Boom
And why
are Devo concentrating on their guitar based stuff now if their
electronic stuff was so good?

It's the earlier, more popular songs. It's easier to play live. You need
less specialized equipment.
Post by Boom
Making guitars and cheap keyboards
sound like electronica is creative. Programming drum machines and
keyboards then hitting the PLAY button isn't.
That's not true at all. It's not the equipment - it's what you do with it.
It takes a lot of work to program really good drum parts.
Post by Boom
Now if you take a drum
machine and program it to sound like a real drummer, that's really
something!.
I spend hours doing that. It was so much easier to have a real drummer bang
away.
Post by Boom
Yes, I am indeed prejudiced against some electronic music. If it's
electronic music done with heart.
Devo was always more about brain than heart.
Post by Boom
it's done as soulless as the majority of Devo's later stuff was (and
the majority of programmed music), then it sucks.
Devo was always trying for a certain robotic stiffness in their sound. Maybe
the later stuff was just too stiff. I think it has more to do with the
songwriting, and the lack of inspiration on the later records. After years
of putting out records, maybe they were a little burned out. It's the
natural entropy of all musical acts.
Boom
2005-03-06 10:21:39 UTC
Permalink
On Sat, 5 Mar 2005 11:17:35 -0500, "Gary Childs"
Post by Gary Childs
The Temple Of Devo was an original concept that had nothing to do with the
typical flashpots and generic lighting that most bands used. Of course it's
the musicians that are the center of the show, but a great part of the Devo
pallet are visual concepts, and the set was a great, original, visual
concept. If the money was there they'd still be doing things like that.
Well Mark probably makes a couple million a year, and the other guys
probably make 6 figure incomes as well. They could fund it if they
wanted to.
Post by Gary Childs
Post by Boom
I probably enjoyed the
Total Devo show the most because they had to rely on their showmanship
and not fancy dazzling scenery.
I prefer Devo when they can have total artistic control, and they don't have
to compromise their unique vision because of lack of funds.
Fair enough.
Post by Gary Childs
Post by Boom
Who are you or anyone to say that other people have shitty
taste in music?
I'm someone who prefers artists with original ideas and concepts. I respect
musicians who have something original to say, instead of the same "I wanna
party all night long", "let's make love all night long" generic, bankrupt
cliches.
This is where you and I differ. I like original ideas and concepts,
but I don't think you necessarily have to reinvent the wheel to get
them.
Post by Gary Childs
Post by Boom
Had they tightened
up their sound a little better and added 5 more songs, it would have
been every bit as good as NuTra to me.
Not for me. I wish they had to means to be able to generate new material,
and be able to present it in a visual format that befits their level of
creativity. It's sad that they can only be an oldies band.
Well you can thank Mark for that. Everyone else is gung ho to do
another Devo album, especially Jerry.
Post by Gary Childs
Post by Boom
Ask Devo fans which sound they favor. I guarantee you the majority
will say the first two albums. They were innovative, they were fun,
they were exciting and challenging.
I was refering to what sells, not what hardcore fans prefer. Fans usually
prefer a group's earlier work to their later work.
Well the hardcore fans are who sticks by you through everything, and
they're the ones who will come to the shows by and large. Although
seeing 10,000 people in Central Park come to see them tells me they
still have a lot of viability.
Post by Gary Childs
Post by Boom
They weren't perfect but they
were human.
A guitar isn't human. It's a device like a synthesizer, or a drum machine.
It really depends on what you do with it. A lot more crappy music has been
done with guitars than with electronics over the course of the history of
music.
I disagree, and even if I did agree, a lot more crappy music has been
done with violins than guitars over the course of history. Your
point?
Post by Gary Childs
Post by Boom
You are believing Devo revisionist history. Oh No got just as much of
a chance in the marketplace as any of their albums.
No, New Traditionalists got a lot heavier promotion. Oh No! got a lot less,
and Shout got almost nothing.
You don't get on David Letterman and Solid Gold without the record
company working for you. Oh No was given a fair chance.
Post by Gary Childs
Post by Boom
"Peek-A-Boo!" was
heavily pushed as a single for a few weeks. I heard it numerous times
on the radio and saw the video on TV a lot.
I'm not so sure about how heavily it was pushed, but not every song will
fly.
But if you're a band on the brink like Devo was, it better fly.
Post by Gary Childs
Post by Boom
But the public wasn't buying it because it was a dumb song with
nursery rhymes for lyrics.
How about "step on a crack, break your momma's back"?
That sounds kind of childish, dosen't it?
How about "Matty told Hatty about a thing she saw"?
How about "my milkshake is better than yours"?
How about "you make my want to la la"?
Dumb songs with nursery rhyme lyrics sell.
It's always good to check a personal theory against reality.
Damn you and reality!
Post by Gary Childs
Post by Boom
Then and only then did WB give up on it.
You certainly side with the big WB. I don't. They have screwed a lot of
artists. They let Shout rot on the vine. Their own product, and they didn't
bother to even let fans know it came out.
Well while Devo was losing their shirts, WB (who had fronted a lot of
the money for their experiments) was losing money with them as well.
Post by Gary Childs
Post by Boom
Devo loves to say that they died because the record company gave up on
them.
It's the truth. There was bad blood between Devo and WB. Warners said "fuck
those guys".
Is that why they still signed them even though they broke a verbal
agreement and signed with Virgin? Or pushed them after they got
royally sued by Bob Lewis? Or pushed them after Duty Now sold half as
much as Q/A? It's really easy to blame record companies and make them
the fall guy (and a lot of the time they deserve it), but I thought WB
treated Devo extremely fairly, regardless of what Devo thinks. They
weren't exactly an easy band to deal with.
Post by Gary Childs
Post by Boom
Record companies are under no obligation to push anyone.
If they want to sell records, then they promote them.
Record companies don't care or have to care. If a band doesn't sell,
they write it off and collect the big money from the bands that do
sell.
Post by Gary Childs
Post by Boom
But the mere fact that someone is more creative and innovative doesn't
mean their music is more compelling.
I think it does. If someone is simply apes what everyone one else is doing,
and dosen't have an original concept; then they are being completely
redundent. They contribute to all the sameness in the world.
It all depends. I like a combination of form and function. Devo did
it very well in the beginning and gradually became all form and no
function.
Post by Gary Childs
Post by Boom
So that means their music
must have had something on the ball.
So if something sells, it must be good? I disagree.
Well you don't have to like it, but it's very easy to make music that
doesn't sell, and very hard to make music that does.
Post by Gary Childs
Do you have any idea how many songs on the radio today are cut and pasted
together and digitally programmed?
Of course I do. I'm a career musician. Do you have any idea how much
music is on the radio that is NOT cut and pasted together and
digitally programmed? Besides, cutting and pasting was going on long
before computers. It was done with razors and splicing tape.
Post by Gary Childs
Have you ever looked at all the crappy groups that made millions in the late
1980's with terrible records?
You think people stopped liking Devo because their records sucked, but
people didn't even get to hear their records to find out if they sucked.
They were buried in the marketplace and not promoted.
No they weren't. Why do you think that? Devo had every opportunity
to sell, probably more than they deserved because they were very
difficult to work with and delighted in biting the hand that fed them.
Post by Gary Childs
Post by Boom
Blaming the audience for the failure of a band is lame. All bands
that fail think, "Man, the public is so lame because they don't buy
our stuff." Wrong! It's a failure of the band to connect with the
audience.
Devo connects with a small audience because of the content of what they
provide.
Well then don't blame the record company or the public. Hey, John
Cage was probably a million times more innovative than anyone. But
his music was perceived as artistic crap by the record-buying public.
You pays your money, you takes your chances.
Post by Gary Childs
Post by Boom
And if Devo was showing us the future, then why are there
so few rock bands that program drums and keyboards now?
Very few songs on the radio are not digital monstrosities created with a
computer.
Maybe in rap or 12 year old girl pop music. But not so much in rock.
Post by Gary Childs
Post by Boom
And why
are Devo concentrating on their guitar based stuff now if their
electronic stuff was so good?
It's the earlier, more popular songs. It's easier to play live. You need
less specialized equipment.
Bullcrap. All you need is a computer. Parts of Devo's latest
performances were pre-recorded. If Devo wanted to, they could have
easily done Shout live. Just record the synths into the computer and
press play.
Post by Gary Childs
Post by Boom
Making guitars and cheap keyboards
sound like electronica is creative. Programming drum machines and
keyboards then hitting the PLAY button isn't.
That's not true at all. It's not the equipment - it's what you do with it.
It takes a lot of work to program really good drum parts.
Well since I do program drum parts at home, I will agree with you, but
you only need to do it once. And if you fuck up, you just erase it
and start over. Playing live requires doing it over and over and
over.
Post by Gary Childs
Post by Boom
Yes, I am indeed prejudiced against some electronic music. If it's
electronic music done with heart.
Devo was always more about brain than heart.
Yes but their music still had heart.
Post by Gary Childs
Post by Boom
it's done as soulless as the majority of Devo's later stuff was (and
the majority of programmed music), then it sucks.
Devo was always trying for a certain robotic stiffness in their sound. Maybe
the later stuff was just too stiff. I think it has more to do with the
songwriting, and the lack of inspiration on the later records. After years
of putting out records, maybe they were a little burned out. It's the
natural entropy of all musical acts.
That robotic stiffness was ultra-cool when they pretended to be
robots. But having robots actually doing it turned out to be a lot
less cool than they thought it would be.
Gary Childs
2005-03-06 14:41:10 UTC
Permalink
Post by Boom
Well Mark probably makes a couple million a year, and the other guys
probably make 6 figure incomes as well. They could fund it if they
wanted to.
It has to be able to pay for itself. They did enough charity work in the mid
to late 1980's.
Post by Boom
This is where you and I differ. I like original ideas and concepts,
but I don't think you necessarily have to reinvent the wheel to get
them.
A few are shepherds, and the rest are sheep.
Post by Boom
Well you can thank Mark for that. Everyone else is gung ho to do
another Devo album, especially Jerry.
I think Devo's lean years changed Mark's priorities.
Post by Boom
seeing 10,000 people in Central Park come to see them tells me they
still have a lot of viability.
Central Park was packed, but Recombo DNA didn't sell even 5000 copies.
Post by Boom
I disagree, and even if I did agree, a lot more crappy music has been
done with violins than guitars over the course of history. Your
point?
My point was that guitars or real drums don't ensure quality. It's the
inspiration behind the tools.
Post by Boom
You don't get on David Letterman and Solid Gold without the record
company working for you. Oh No was given a fair chance.
Maybe, but Shout wasn't.
Post by Boom
But if you're a band on the brink like Devo was, it better fly.
They weren't on the brink. New Traditionalists did very well. Shout was the
brink album.
Post by Boom
Well while Devo was losing their shirts, WB (who had fronted a lot of
the money for their experiments) was losing money with them as well.
WB made money on Devo too. They abandoned them after on sluggish selling
record (Oh No!).
The last two albums sold.
Post by Boom
Is that why they still signed them even though they broke a verbal
agreement and signed with Virgin?
A verbal agreement isn't worth the paper it's written on.
Post by Boom
Or pushed them after they got
royally sued by Bob Lewis?
That was part of the reason WB had bitterness toward Devo. Right out of the
gate there was a problem.
Post by Boom
Or pushed them after Duty Now sold half as
much as Q/A?
It wasn't expected to be a smash hit. Devo was more like an R & D experiment
for the WB.
"Whip It" was a fluke, but in it's wake the WB wanted more & more units
sold.
Post by Boom
I thought WB
treated Devo extremely fairly, regardless of what Devo thinks.
The record company didn't know what to do with them. They just didn't get
it.
Post by Boom
Record companies don't care or have to care. If a band doesn't sell,
they write it off and collect the big money from the bands that do
sell.
That's why we get endless clones of bands that sell. That's why the radio is
so bad.
Post by Boom
It all depends. I like a combination of form and function. Devo did
it very well in the beginning and gradually became all form and no
function.
I never had a problem with Devo changing it's sound from album to album.
Lack of inspiration behind the songs was the problem.
Post by Boom
Well you don't have to like it, but it's very easy to make music that
doesn't sell, and very hard to make music that does.
The most difficult thing is to be original and sell. It's all to easy to be
a copy of a copy. Look at all the endless Britney Spears clones (not that
she was original in the first place), or the endless generic so-called
alternative bands, or the huge amount of money made by following hip-hop
formulas. It's real easy to make money by not taking chances. In the late
1980's there were endless look-alike, sound-alike hair-metal bands, and what
Devo was doing in the late 1980's was more interesting than anything these
cookie-cutter groups were doing.
Post by Boom
Do you have any idea how much
music is on the radio that is NOT cut and pasted together and
digitally programmed?

Not much. A band plays a riff once, and it's cut-and-pasted and pieced
together and repeated into an entire song.
Post by Boom
Besides, cutting and pasting was going on long
before computers. It was done with razors and splicing tape.

Not to the degree it's done today.
Post by Boom
Devo had every opportunity
to sell, probably more than they deserved because they were very
difficult to work with and delighted in biting the hand that fed them.
They were written off after one poor selling album. An album that was
actually good.
Post by Boom
Well then don't blame the record company or the public.
Why not? They deserve it. The record companies keep good music down, and the
public buys whatever crap you shove in it's face. Look at American Idol!
Post by Boom
Hey, John
Cage was probably a million times more innovative than anyone.
That's an extreme example. He was almost like a music scientist.
Post by Boom
But
his music was perceived as artistic crap by the record-buying public.
His music was never perceived by the record-buying public at all. They never
heard of him.
Poeple will eat what they are fed. Most people don't want to go beyond the
normal thing.
Post by Boom
Post by Gary Childs
Very few songs on the radio are not digital monstrosities created with a
computer.
Maybe in rap or 12 year old girl pop music. But not so much in rock.
The same choruses are cut-and-pasted together. Rock is just a tired another
formula. You talk about it with religious fervor.
Post by Boom
If Devo wanted to, they could have
easily done Shout live.
People want the hits. I'd like to hear songs from later albums, personally.
Post by Boom
Playing live requires doing it over and over and
over.

It's the end result that matters. You can play crap over & over by hand and
it dosen't improve it.
Post by Boom
Yes but their music still had heart.
They never completely programmed everything. It was always a mix. Even the
first album had a song which used a sequencer. They always used a real
drummer live.
Post by Boom
But having robots actually doing it turned out to be a lot
less cool than they thought it would be.
Having robots play music would be awesome. I'd like to see that!
Boom
2005-03-06 23:30:33 UTC
Permalink
On Sun, 6 Mar 2005 09:41:10 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
seeing 10,000 people in Central Park come to see them tells me they
still have a lot of viability.
Central Park was packed, but Recombo DNA didn't sell even 5000 copies.
Recombo DNA was a niche product with no new songs, unavailable in
stores. Not a fair comparison.
Post by Gary Childs
Post by Boom
I disagree, and even if I did agree, a lot more crappy music has been
done with violins than guitars over the course of history. Your
point?
My point was that guitars or real drums don't ensure quality. It's the
inspiration behind the tools.
Fair enough.
Post by Gary Childs
Post by Boom
You don't get on David Letterman and Solid Gold without the record
company working for you. Oh No was given a fair chance.
Maybe, but Shout wasn't.
The damage was done. When you fall into a hole, it's up to you to try
to get out.
Post by Gary Childs
The last two albums sold.
Sold well for albums on a crummy indie label, I suppose.
Post by Gary Childs
Post by Boom
Is that why they still signed them even though they broke a verbal
agreement and signed with Virgin?
A verbal agreement isn't worth the paper it's written on.
A verbal agreement holds up in court for everything except real
estate.
Post by Gary Childs
Post by Boom
I thought WB
treated Devo extremely fairly, regardless of what Devo thinks.
The record company didn't know what to do with them. They just didn't get
it.
The book explains that. In order to like Devo, you had to buy into a
complicated theory of de-evolution. You couldn't just buy a Devo
album and say, "Wow, cool jamz!" You had to work at being a Devo fan,
which runs totally counter to everything that had ever come out
before.
Post by Gary Childs
Post by Boom
Record companies don't care or have to care. If a band doesn't sell,
they write it off and collect the big money from the bands that do
sell.
That's why we get endless clones of bands that sell. That's why the radio is
so bad.
Agreed but everyone complains about the weather but nobody does
anything.
Post by Gary Childs
Post by Boom
Well you don't have to like it, but it's very easy to make music that
doesn't sell, and very hard to make music that does.
The most difficult thing is to be original and sell. It's all to easy to be
a copy of a copy. Look at all the endless Britney Spears clones (not that
she was original in the first place), or the endless generic so-called
alternative bands, or the huge amount of money made by following hip-hop
formulas. It's real easy to make money by not taking chances. In the late
I can speak on that as an expert, and let me tell you, it's not easy
to make money in the music business doing ANYTHING!
Post by Gary Childs
Post by Boom
Devo had every opportunity
to sell, probably more than they deserved because they were very
difficult to work with and delighted in biting the hand that fed them.
They were written off after one poor selling album. An album that was
actually good.
Your opinion and fine. My opinion was there were 2, maybe 3 decent
songs.
Post by Gary Childs
Post by Boom
Well then don't blame the record company or the public.
Why not? They deserve it. The record companies keep good music down, and the
public buys whatever crap you shove in it's face. Look at American Idol!
This is a sore spot with me because I love American Idol. Whether or
not you think Kelly or Clay or Ruben make good music, there is no
question of their immense singing talents. Sure, their music isn't
exactly breaking records for creativity, but there's no lack of
talent. And let me tell you, if the American public was buying
Coltrane and Kraftwerk and Devo and albums by far-reaching artists
like they bought Beatles and Stones albums, then you could rest
assured that they would put more effort into developing experimental
music. The record companies give the people what they think they
want, and if you run a business, you have to do it that way or you
won't survive. You can run a little niche record company and be
successful with it, but those are few and far between, and you have to
run it on a fraction of the money of what a company like WB runs.
Post by Gary Childs
Post by Boom
Maybe in rap or 12 year old girl pop music. But not so much in rock.
The same choruses are cut-and-pasted together. Rock is just a tired another
formula. You talk about it with religious fervor.
Actually I don't. I believe that, other than the occasional
exception, rock is dead. But still, it's a more natural recording
process than you're giving it credit.
Post by Gary Childs
Post by Boom
But having robots actually doing it turned out to be a lot
less cool than they thought it would be.
Having robots play music would be awesome. I'd like to see that!
GIGO, my friend.
Gary Childs
2005-03-07 04:47:37 UTC
Permalink
Post by Boom
Recombo DNA was a niche product
Yeah, but consider other Rhino Handmade releases that have sold out their
5000 copy runs:

Television - Live At The Old Waldorf, San Francisco
The Fugs - Electromagnetic Steamboat: The Reprise Recordings
Josie And The Pussycats - Stop Look And Listen: The Capitol Recordings
Captain Beefheart And The Magic Band - I'm Going To Do What I Wanna Do: Live
at My Father's Place 1978
Loudon Wainwright III - The Atlantic Recordings

These aren't exactly supergroups, and they outsold Devo!
(Jesus - I can't believe Captain Beefheart outsold Devo!)
Post by Boom
with no new songs
There were unreleased songs on Recombo DNA, so they were new to the public.
Post by Boom
unavailable in
stores. Not a fair comparison.

Those other obscure acts were also not available in stores, and they sold
out, so you can compare Devo's sales to them.
Post by Boom
The damage was done. When you fall into a hole, it's up to you to try
to get out.

The WB intentionally let Shout die. They wanted Devo out.
Post by Boom
Post by Gary Childs
The last two albums sold.
Sold well for albums on a crummy indie label, I suppose.
No, I meant the last two before Oh No!, namely FOC, and NewTra.
Post by Boom
The book explains that. In order to like Devo, you had to buy into a
complicated theory of de-evolution. You couldn't just buy a Devo
album and say, "Wow, cool jamz!" You had to work at being a Devo fan,
which runs totally counter to everything that had ever come out
before.
Not necessarily. You could buy it just because you liked the music, because
you saw the video on MTV, or because you heard the hit song on the radio.
You could enjoy it without understanding it. You can listen to Opera without
understanding Italian.
Post by Boom
I can speak on that as an expert, and let me tell you, it's not easy
to make money in the music business doing ANYTHING!
Yeah, it's brutal, but reverse engineering is easier than pioneering.
Post by Boom
Your opinion and fine. My opinion was there were 2, maybe 3 decent
songs.
If you're not into electronic music I can understand why it wasn't for you.
Post by Boom
This is a sore spot with me because I love American Idol. Whether or
not you think Kelly or Clay or Ruben make good music, there is no
question of their immense singing talents.
I was always more impressed with people that had something original to say,
over people with ability, and with no clue of what to do with it.
Post by Boom
Sure, their music isn't
exactly breaking records for creativity, but there's no lack of
talent.
They have the pipes, but the songs are empty, generic, formula music.
Post by Boom
The record companies give the people what they think they
want
Exactly.
Post by Boom
and if you run a business, you have to do it that way or you
won't survive.

You have to take chances in order to score the next big thing.
Post by Boom
But still, it's a more natural recording
process than you're giving it credit.
There's nothing natural about recording. It's an electronic process.
Technically, all recorded music is electronic.
An electric guitar is on electronic tool. That's what pissed off a lot of
Dylan fans.
Boom
2005-03-07 07:42:44 UTC
Permalink
On Sun, 6 Mar 2005 23:47:37 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
Recombo DNA was a niche product
Yeah, but consider other Rhino Handmade releases that have sold out their
Television - Live At The Old Waldorf, San Francisco
The Fugs - Electromagnetic Steamboat: The Reprise Recordings
Josie And The Pussycats - Stop Look And Listen: The Capitol Recordings
Captain Beefheart And The Magic Band - I'm Going To Do What I Wanna Do: Live
at My Father's Place 1978
Loudon Wainwright III - The Atlantic Recordings
These aren't exactly supergroups, and they outsold Devo!
(Jesus - I can't believe Captain Beefheart outsold Devo!)
I can't either, but really, he's got a lot of fans. Plus he's also
got Zappa's fans who associate him together with Zappa. Now Josie and
the Pussycats...THAT is the one I can't understand.
Post by Gary Childs
Post by Boom
This is a sore spot with me because I love American Idol. Whether or
not you think Kelly or Clay or Ruben make good music, there is no
question of their immense singing talents.
I was always more impressed with people that had something original to say,
over people with ability, and with no clue of what to do with it.
Clay and Kelly know what to do with it. They're selling albums like
hotcakes, even after the initial push that Idol gave them. You may
not like it, but I know a ton of people who do. Our opinions are
irrelevant.
Post by Gary Childs
Post by Boom
and if you run a business, you have to do it that way or you
won't survive.
You have to take chances in order to score the next big thing.
They took a chance with Devo. It worked for a little while then it
didn't work. Such is the business.
Post by Gary Childs
There's nothing natural about recording. It's an electronic process.
Technically, all recorded music is electronic.
An electric guitar is on electronic tool. That's what pissed off a lot of
Dylan fans.
A little hair-splitting there, don't you think? ;)
Gary Childs
2005-03-07 14:41:09 UTC
Permalink
Post by Boom
I can't either, but really, he's got a lot of fans.
Beefheart never had a hit song, or a gold record. He has a very small cult
audience. His music was commercial poison. At least Devo had it's golden
years.
Post by Boom
Plus he's also
got Zappa's fans who associate him together with Zappa.
Even a lot of Zappa fans could care less about him.
Post by Boom
Now Josie and
the Pussycats...THAT is the one I can't understand.
Maybe that stupid movie gave it a boost.
Post by Boom
Clay and Kelly know what to do with it.
They make empty commercial gestures. There's no unique character to what
they do. It's just more product, churned out by faceless studio drones. It's
fluff with no content. Artless muzak.
Post by Boom
They're selling albums like
hotcakes, even after the initial push that Idol gave them.
Yeah, people sure swallow it.
Post by Boom
You may
not like it, but I know a ton of people who do. Our opinions are
irrelevant.
The people have spoken, but our opinions are just as valid.
Post by Boom
They took a chance with Devo. It worked for a little while then it
didn't work. Such is the business.
Yeah, but it seems like they more often support the uncreative over the
creative. That's why the music business stagnates.
Post by Boom
A little hair-splitting there, don't you think? ;)
With all the processors that they use on guitar these days, there's very
little left of the original sound of the guitar anyway.
Michael McDougall
2005-03-09 01:33:44 UTC
Permalink
Post by Gary Childs
Post by Boom
Recombo DNA was a niche product
Yeah, but consider other Rhino Handmade releases that have sold out their
Television - Live At The Old Waldorf, San Francisco
The Fugs - Electromagnetic Steamboat: The Reprise Recordings
Josie And The Pussycats - Stop Look And Listen: The Capitol Recordings
Captain Beefheart And The Magic Band - I'm Going To Do What I Wanna Do: Live
at My Father's Place 1978
Loudon Wainwright III - The Atlantic Recordings
These aren't exactly supergroups, and they outsold Devo!
(Jesus - I can't believe Captain Beefheart outsold Devo!)
Ok, I may be kicked off the group for admitting this but I haven't
bought the Recombo DNA CD yet. It's kind of a lot of money--most of the
CDs you list above are $20-25--much easier to just drop than $40. Plus,
I have most of the songs in at least one version (sometimes 3 or 4)
and demo versions of songs I already have don't get me that excited. The
stuff listed above seems to be mostly live or normal studio
recordings--stuff that the public seems to prefer to demo versions.


Michael
Michael McDougall
2005-03-09 01:38:19 UTC
Permalink
Post by Gary Childs
Post by Boom
Recombo DNA was a niche product
Yeah, but consider other Rhino Handmade releases that have sold out their
Television - Live At The Old Waldorf, San Francisco
The Fugs - Electromagnetic Steamboat: The Reprise Recordings
Josie And The Pussycats - Stop Look And Listen: The Capitol Recordings
Captain Beefheart And The Magic Band - I'm Going To Do What I Wanna Do: Live
at My Father's Place 1978
Loudon Wainwright III - The Atlantic Recordings
These aren't exactly supergroups, and they outsold Devo!
(Jesus - I can't believe Captain Beefheart outsold Devo!)
Ok, I may be kicked off the group for admitting this but I haven't
bought the Recombo DNA CD yet. It's kind of a lot of money--most of the
CDs you list above are $20-25--much easier to just drop than $40. Plus,
I have most of the songs in at least one version (sometimes 3 or 4)
and demo versions of songs I already have don't get me that excited. The
stuff listed above seems to be mostly live or normal studio
recordings--stuff that the public seems to prefer to demo versions.


Michael
Stiiv
2005-03-04 13:54:24 UTC
Permalink
On Thu, 3 Mar 2005 22:31:27 -0500, "Gary Childs"
Post by Boom
Post by Boom
Because the quality of
their work just was not as good after FOC.
Quality does not equal sales. People will buy crap, and often do. Devo's
later records were far better than much of the garbage that outsold them.
One point yez missed is that DEVO's many innovations were gobbled up
whole by "new wave" music, which cannibalized them & spat 'em back out
without any discernable personality or conceptual direction.

The later DEVO records, if done by other groups, would have been
hailed as futuristic breakthroughs....but because we'd been taught to
expect so much more from DEVO, they were abject disappointments, IMHO.

"Disco Dancer" is like a sonic trip to the dentist for me. Ewwwwwwww.

Stiiv
http://www.stiiv.com
Boom
2005-03-04 14:09:31 UTC
Permalink
On Fri, 04 Mar 2005 13:54:24 GMT, Stiiv
Post by Boom
On Thu, 3 Mar 2005 22:31:27 -0500, "Gary Childs"
Post by Boom
Post by Boom
Because the quality of
their work just was not as good after FOC.
Quality does not equal sales. People will buy crap, and often do. Devo's
later records were far better than much of the garbage that outsold them.
One point yez missed is that DEVO's many innovations were gobbled up
whole by "new wave" music, which cannibalized them & spat 'em back out
without any discernable personality or conceptual direction.
The later DEVO records, if done by other groups, would have been
hailed as futuristic breakthroughs....but because we'd been taught to
expect so much more from DEVO, they were abject disappointments, IMHO.
"Disco Dancer" is like a sonic trip to the dentist for me. Ewwwwwwww.
Well there's still the issue of songwriting quality, though. The
bands who ripped Devo's innovations off just applied them to better
songs. A good song is a good song, whether it's being played on
$100,000 worth of state of the art synths and sequencers or a kazoo
through an octave divider.
Gary Childs
2005-03-04 16:44:17 UTC
Permalink
Post by Boom
Well there's still the issue of songwriting quality, though. The
bands who ripped Devo's innovations off just applied them to better
songs.
Really? I don't think so. Name these groups or songs.
Post by Boom
A good song is a good song, whether it's being played on
$100,000 worth of state of the art synths and sequencers or a kazoo
through an octave divider.
I thought you said you had to have a real drummer, and guitars to "keep it
real".
Bob 3
2005-03-04 15:03:09 UTC
Permalink
Post by Stiiv
One point yez missed is that DEVO's many innovations were gobbled up
whole by "new wave" music, which cannibalized them & spat 'em back out
without any discernable personality or conceptual direction.
DEVO was always on the bleeding edge but unfortunately in the 80's that
meant linn drums and digital synthesizers. A lot of bands fell into
that trap. Analog and digital synths are two different tools for two
different jobs.

The great thing about DEVO's early stuff is that they got hold of
analog synths and screwed around with parameters and made wierd noises
in ways things really weren't designed for, sort of like what Hendrix
did to the guitar. On early digital synths pretty much all you could
do was presets + sampling. (I don't know this for a fact but my ear
tells me that's the big difference between Oh No! and Shout.) In
hindsight it's hard to imagine why they switched over, given that that
was such a big part of their schtick.
Post by Stiiv
"Disco Dancer" is like a sonic trip to the dentist for me. Ewwwwwwww.
By that time I think MIDI had reared its ugly head as well. (i.e. push
'play')

IMO the best synths were the early modular types with patch cords, the
technology has been going downhill ever since.
Pink Pussycat
2005-03-04 18:12:24 UTC
Permalink
Post by Bob 3
DEVO was always on the bleeding edge but unfortunately in the 80's that
meant linn drums and digital synthesizers. A lot of bands fell into
that trap. Analog and digital synths are two different tools for two
different jobs.
"Technology is on the rampage..."
Post by Bob 3
The great thing about DEVO's early stuff is that they got hold of
analog synths and screwed around with parameters and made wierd noises
in ways things really weren't designed for, sort of like what Hendrix
did to the guitar.
I agree. Mark had a Minimoog back in 1972, a year or so after they came
out. That synth has played a big part in Devo's sound from the
beginning. Smart Patrol/Mr. DNA owes its sound to the glide feature of
the Minimoog.
Post by Bob 3
On early digital synths pretty much all you could
do was presets + sampling. (I don't know this for a fact but my ear
tells me that's the big difference between Oh No! and Shout.)
I think you're right, but I'll check on that.
Post by Bob 3
In hindsight it's hard to imagine why they switched over, given that
that was such a big part of their schtick.
You also gotta remember, Jim M. was service manager of Roland US in the
early/mid 1980's, which exposed Devo to a lot of early digital gear.
Post by Bob 3
Post by Stiiv
"Disco Dancer" is like a sonic trip to the dentist for me. Ewwwwwwww.
By that time I think MIDI had reared its ugly head as well. (i.e. push
'play')
MIDI is like garlic. If you use too much, it ruins the dish.

BTW, "Total Devo" is my favorite studio album, with Duty Now a very
close second. (My favorite non-studio album is Hardcore 2.)
Post by Bob 3
IMO the best synths were the early modular types with patch cords, the
technology has been going downhill ever since.
Any particular favorite? I think I've seen all of the "vintage" ones:
Moog, Buchla (my favorite), Arp 2500, Emu, Serge, Roland Systems 100m &
700... and a tiny Paia modular. I'm not much of a synthesist or a
keyboard player, but I'm learning. My husband jokes that if there's a
noise source on a synth, I'll find it almost immediately. ;-)


~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Boom
2005-03-05 05:03:47 UTC
Permalink
On Fri, 04 Mar 2005 10:12:24 -0800, Pink Pussycat
Post by Pink Pussycat
I agree. Mark had a Minimoog back in 1972, a year or so after they came
out. That synth has played a big part in Devo's sound from the
beginning. Smart Patrol/Mr. DNA owes its sound to the glide feature of
the Minimoog.
And it worked by a person placing his or her stubby little fingers on
the keys and playing parts. It never made good musicians out of bad
ones.
Post by Pink Pussycat
Post by Bob 3
On early digital synths pretty much all you could
do was presets + sampling. (I don't know this for a fact but my ear
tells me that's the big difference between Oh No! and Shout.)
I think you're right, but I'll check on that.
I'm pretty sure the first digital synths didn't come out until MIDI
was established. I could be wrong but I'm pretty sure the early
Fairlights (the first digital synths) had MIDI.
Post by Pink Pussycat
Post by Bob 3
IMO the best synths were the early modular types with patch cords, the
technology has been going downhill ever since.
Moog, Buchla (my favorite), Arp 2500, Emu, Serge, Roland Systems 100m &
700... and a tiny Paia modular. I'm not much of a synthesist or a
keyboard player, but I'm learning. My husband jokes that if there's a
noise source on a synth, I'll find it almost immediately. ;-)
My favorite was the Sequential Circuits Prophet V. It was probably
the first polyphonic analog synth to work well. You could do all the
Moog tricks as well as play chords with it.
Gary Childs
2005-03-05 17:01:38 UTC
Permalink
Post by Boom
And it worked by a person placing his or her stubby little fingers on
the keys and playing parts. It never made good musicians out of bad
ones.
It's funny you should say that, because when synthesizers first arrived on
the music scene, people said that you didn't even have to have talent to get
good sounds out of them. They said it would put "real musicians" out of
work. It's just a old fashioned way of thinking. Anything new is considered
bad.
Post by Boom
Post by Bob 3
On early digital synths pretty much all you could
do was presets + sampling. (I don't know this for a fact but my ear
tells me that's the big difference between Oh No! and Shout.)
In the early days there were samplers, and there were synths. They didn't
start merging the two till years later.
You could make your own sounds on the early digital synths, but they sounded
like crap compared to the analogs.
Oh No! was more late Roland analog synth heavy, and Shout was more
Fairlight.
Devo's sounds on Oh No! were original, and the samples on Shout they did
themselves.
On Total Devo they started altering presets more.
Post by Boom
I'm pretty sure the first digital synths didn't come out until MIDI
was established. I could be wrong but I'm pretty sure the early
Fairlights (the first digital synths) had MIDI.
The original Fairlight CMI I and II didn't, but the CMI IIx did.
The one they used on Shout had pretty poor resolution, which is why the
basslines sound so weak.
Post by Boom
My favorite was the Sequential Circuits Prophet V. It was probably
the first polyphonic analog synth to work well. You could do all the
Moog tricks as well as play chords with it.
Bite your tongue! Only a Moog sounds like a Moog!
Pink Pussycat
2005-03-05 17:45:42 UTC
Permalink
Post by Gary Childs
Post by Boom
And it worked by a person placing his or her stubby little fingers on
the keys and playing parts. It never made good musicians out of bad
ones.
Never said it did. The Minimoog only sings when it's played by someone
who knows how to play.
Post by Gary Childs
It's funny you should say that, because when synthesizers first arrived on
the music scene, people said that you didn't even have to have talent to get
good sounds out of them. They said it would put "real musicians" out of
work. It's just a old fashioned way of thinking. Anything new is considered
bad.
Good point.
Post by Gary Childs
In the early days there were samplers, and there were synths. They didn't
start merging the two till years later.
You could make your own sounds on the early digital synths, but they sounded
like crap compared to the analogs.
They still sound like crap compared to analogs in some ways. ;-)
Post by Gary Childs
Oh No! was more late Roland analog synth heavy, and Shout was more
Fairlight.
Devo's sounds on Oh No! were original, and the samples on Shout they did
themselves.
On Total Devo they started altering presets more.
Didn't know Fairlight was used on Shout.
Post by Gary Childs
Post by Boom
I'm pretty sure the first digital synths didn't come out until MIDI
was established. I could be wrong but I'm pretty sure the early
Fairlights (the first digital synths) had MIDI.
The original Fairlight CMI I and II didn't, but the CMI IIx did.
The one they used on Shout had pretty poor resolution, which is why the
basslines sound so weak.
The Synclavier also didn't have MIDI.
Post by Gary Childs
Post by Boom
My favorite was the Sequential Circuits Prophet V. It was probably
the first polyphonic analog synth to work well. You could do all the
Moog tricks as well as play chords with it.
Any particular rev you favor?
My first exposure to the Prophet V was the Doobie Brothers. Love the
sound. :-)

As far as polyphonic synths go, I really dig the Jupiter 8 or an
Oberheim 8 voice.
Post by Gary Childs
Bite your tongue! Only a Moog sounds like a Moog!
And not all Moogs sound alike, either.


~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Gary Childs
2005-03-05 22:47:39 UTC
Permalink
Post by Pink Pussycat
They still sound like crap compared to analogs in some ways. ;-)
Yeah, that's for sure. I got a Novation K-Station (a "virtual" analog
synth), and I just couldn't get the sounds I wanted, and you couldn't change
parameters in real time in the way you can with a Moog and get those rich,
fat, screaming, gooey sounds. I ended up buying another Moog.
Post by Pink Pussycat
Didn't know Fairlight was used on Shout.
All those samples of voices, drums, and unfortunately the baselines were
done on a Fairlight. The "Shout" voiceprint logo came off of the Fairlight's
viewscreen (you know the one you can edit with the lightpen). They later
realized that the sampling rate was too low for really fat basslines. I
think of Shout as Devo's sampling album, and some of that carried over to
the next record.
Post by Pink Pussycat
The Synclavier also didn't have MIDI.
It was probably still in development. Jim Mothersbaugh had a hand in the
creation of MIDI.
Post by Pink Pussycat
And not all Moogs sound alike, either.
Yeah, but there's something about the Moog filter that gives all Moogs a
similar feel.
Boom
2005-03-06 10:34:00 UTC
Permalink
Post by Gary Childs
Post by Pink Pussycat
And not all Moogs sound alike, either.
Yeah, but there's something about the Moog filter that gives all Moogs a
similar feel.
Speaking of Moogs, remember at the beginning of "Gates Of Steel" how
Mark played that opening line and the synth he used had all sorts of
octave skipping that wasn't on the version from "Now It Can Be Told"?
What caused that? Was his synth broken in a special way or something?
He's never been able to duplicate that sound since then, even though
he plays the part the same way.
Gary Childs
2005-03-06 14:43:54 UTC
Permalink
Post by Boom
Speaking of Moogs, remember at the beginning of "Gates Of Steel" how
Mark played that opening line and the synth he used had all sorts of
octave skipping that wasn't on the version from "Now It Can Be Told"?
What caused that? Was his synth broken in a special way or something?
He's never been able to duplicate that sound since then, even though
he plays the part the same way.
I think that was just an ARP played through some echo. I think the slap-back
of the delay caused the effect.
Pink Pussycat
2005-03-06 17:11:58 UTC
Permalink
Post by Gary Childs
Post by Boom
Speaking of Moogs, remember at the beginning of "Gates Of Steel" how
Mark played that opening line and the synth he used had all sorts of
octave skipping that wasn't on the version from "Now It Can Be Told"?
What caused that? Was his synth broken in a special way or something?
He's never been able to duplicate that sound since then, even though
he plays the part the same way.
I think that was just an ARP played through some echo. I think the slap-back
of the delay caused the effect.
I have a feeling it was an Odyssey, judging from some pics I've seen of
them from that era.

~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Gary Childs
2005-03-06 21:33:47 UTC
Permalink
Post by Pink Pussycat
I have a feeling it was an Odyssey, judging from some pics I've seen of
them from that era.
Yeah, that's the one.
Pink Pussycat
2005-03-06 17:21:08 UTC
Permalink
Post by Gary Childs
Yeah, that's for sure. I got a Novation K-Station (a "virtual" analog
synth), and I just couldn't get the sounds I wanted, and you couldn't change
parameters in real time in the way you can with a Moog and get those rich,
fat, screaming, gooey sounds. I ended up buying another Moog.
It's hard to move sliders with a mouse.
Post by Gary Childs
All those samples of voices, drums, and unfortunately the baselines were
done on a Fairlight. The "Shout" voiceprint logo came off of the Fairlight's
viewscreen (you know the one you can edit with the lightpen). They later
realized that the sampling rate was too low for really fat basslines. I
think of Shout as Devo's sampling album, and some of that carried over to
the next record.
Cool, thanks for the info. :-)

I really like the album "Shout." "Don't Rescue Me" and "The 4th
Dimension" were my anthems when I ended a bad relationship & started to
live life for me again.
Post by Gary Childs
It was probably still in development. Jim Mothersbaugh had a hand in the
creation of MIDI.
My husband's told me that story before.
Post by Gary Childs
Yeah, but there's something about the Moog filter that gives all Moogs a
similar feel.
True.


~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Gary Childs
2005-03-06 21:45:28 UTC
Permalink
Post by Pink Pussycat
It's hard to move sliders with a mouse.
It's not a softsynth. It has sliders on it, it's a real keyboard synth, but
when you edit the sounds while playing it makes annoying clicks, and it just
sounds pretty thin and sterile compared to an analog. It can play chords
though.
It's still a pretty cool little synth with a retro look, and it's loaded
with effects:
http://www.sonicstate.com/synth/novation_kstation.cfm
Post by Pink Pussycat
I really like the album "Shout." "Don't Rescue Me" and "The 4th
Dimension" were my anthems when I ended a bad relationship & started to
live life for me again.
I didn't like it when it first came out, but it grew on me. Devo had a
clunky, funky way of using samples that gives the album a surreal feel.
There are some good tunes on there. I'd love to see the title track done
live.
Boom
2005-03-06 23:37:59 UTC
Permalink
On Sun, 6 Mar 2005 16:45:28 -0500, "Gary Childs"
Post by Gary Childs
I didn't like it when it first came out, but it grew on me. Devo had a
clunky, funky way of using samples that gives the album a surreal feel.
There are some good tunes on there. I'd love to see the title track done
live.
I saw it...they did it live on the Total and SNM tours as part of the
"Somewhere With Devo" medley. Pre-recorded tracks were used
extensively.
Gary Childs
2005-03-07 04:50:07 UTC
Permalink
Post by Boom
"Somewhere With Devo" medley.
That's not one of my favorite tracks. It almost sounds like they were headed
into Frank Zappa territory.
Pink Pussycat
2005-03-07 17:19:00 UTC
Permalink
Post by Gary Childs
It's not a softsynth. It has sliders on it, it's a real keyboard synth, but
when you edit the sounds while playing it makes annoying clicks, and it just
sounds pretty thin and sterile compared to an analog. It can play chords
though.
It's still a pretty cool little synth with a retro look, and it's loaded
http://www.sonicstate.com/synth/novation_kstation.cfm
Looks interesting.
Post by Gary Childs
I didn't like it when it first came out, but it grew on me. Devo had a
clunky, funky way of using samples that gives the album a surreal feel.
There are some good tunes on there. I'd love to see the title track done
live.
I got "Shout" and "Now It Can Be Told" at the same time (in 1989), so it
was neat to hear "Shout" as part of "Somewhere with Devo." I thought
Devo singing a song from "The West Side Story" was cool, 'cause I grew
up watching that movie & listening to the soundtrack--my folks *love*
that movie.

~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Boom
2005-03-06 10:29:04 UTC
Permalink
On Sat, 05 Mar 2005 09:45:42 -0800, Pink Pussycat
Post by Pink Pussycat
Post by Gary Childs
Post by Boom
And it worked by a person placing his or her stubby little fingers on
the keys and playing parts. It never made good musicians out of bad
ones.
Never said it did. The Minimoog only sings when it's played by someone
who knows how to play.
I know, I was just making a point to Gary ;)
Post by Pink Pussycat
Post by Gary Childs
It's funny you should say that, because when synthesizers first arrived on
the music scene, people said that you didn't even have to have talent to get
good sounds out of them. They said it would put "real musicians" out of
work. It's just a old fashioned way of thinking. Anything new is considered
bad.
Synths DID put a lot of real musicians out of work. Just ask violin
and cello players who used to work on film scores how much work they
lost to synths. The greatest studio bassist in history, Carol Kaye,
was talking about that on her website earlier this week.
Post by Pink Pussycat
Post by Gary Childs
Post by Boom
My favorite was the Sequential Circuits Prophet V. It was probably
the first polyphonic analog synth to work well. You could do all the
Moog tricks as well as play chords with it.
Any particular rev you favor?
Oh Pink, I'm a bass and guitar player and had very little exposure to
synths. I just liked the Prophet V these guys I used to play in a
band with had. Don't know anything about revs.
Post by Pink Pussycat
My first exposure to the Prophet V was the Doobie Brothers. Love the
sound. :-)
Devo and the Doobie Brothers...now that would be a hell of a concert,
especially the bloody fights that would no doubt break out between the
two factions of fans.
Post by Pink Pussycat
As far as polyphonic synths go, I really dig the Jupiter 8 or an
Oberheim 8 voice.
I liked them as well, but the Prophet V was special IMHO. Don't ask
me why...it just was.
Gary Childs
2005-03-06 14:53:03 UTC
Permalink
Post by Boom
Synths DID put a lot of real musicians out of work. Just ask violin
and cello players who used to work on film scores how much work they
lost to synths.
A synth sounds like a violin like a Yamaha DX7 sounds like a Moog. It
dosen't.
There's nothing like the real thing. A synth is played by real musicians.
It's a real instrument. There's still real violins and cello players on film
scores.
Pink Pussycat
2005-03-06 17:03:30 UTC
Permalink
Post by Gary Childs
A synth sounds like a violin like a Yamaha DX7 sounds like a Moog. It
dosen't.
There's nothing like the real thing. A synth is played by real musicians.
It's a real instrument. There's still real violins and cello players on film
scores.
Very true. I know of a film composer (no, not Mark) who didn't like the
orchestra samples his samplers had, so he hired an orchestra and made
his own samples. It gave him a *much* better idea what his music would
sound like once a real orchestra played it.

~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Boom
2005-03-06 23:34:10 UTC
Permalink
On Sun, 6 Mar 2005 09:53:03 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
Synths DID put a lot of real musicians out of work. Just ask violin
and cello players who used to work on film scores how much work they
lost to synths.
A synth sounds like a violin like a Yamaha DX7 sounds like a Moog. It
dosen't.
Close enough for an action flick.
Post by Gary Childs
There's nothing like the real thing. A synth is played by real musicians.
It's a real instrument. There's still real violins and cello players on film
scores.
There is one full-time 32-piece orchestra at work in movie and TV
studios. Alf Clausen, music director of The Simpsons conducts it.
Back in the day every studio had an orchestra, some more than one.
Gary Childs
2005-03-07 04:53:54 UTC
Permalink
Post by Boom
There is one full-time 32-piece orchestra at work in movie and TV
studios. Alf Clausen, music director of The Simpsons conducts it.
Back in the day every studio had an orchestra, some more than one.
Yeah, but don't blame synths and drum machines. Blame movie directors that
use rock songs for soundtracks.
Blame Quentin Tarantino.
Boom
2005-03-07 07:29:39 UTC
Permalink
On Sun, 6 Mar 2005 23:53:54 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
There is one full-time 32-piece orchestra at work in movie and TV
studios. Alf Clausen, music director of The Simpsons conducts it.
Back in the day every studio had an orchestra, some more than one.
Yeah, but don't blame synths and drum machines. Blame movie directors that
use rock songs for soundtracks.
Blame Quentin Tarantino.
He was hardly the first. Actually, the guy who probably caused it was
Keith Emerson. He did the score to that Sylvester Stallone movie
"Nighthawks" and it was the first movie to feature a score done
exclusively on synths. Really, though, can't put the finger on him
either. He was just looking for work like everyoen else, and if it
wasn't him, it would have been someone else.
Gary Childs
2005-03-07 14:51:15 UTC
Permalink
Post by Boom
He was hardly the first.
Yeah, but Tarantino made it very popular. He was widely imitated.
Post by Boom
Actually, the guy who probably caused it was
Keith Emerson. He did the score to that Sylvester Stallone movie
"Nighthawks" and it was the first movie to feature a score done
exclusively on synths.
I didn't think that movie was successful enough to really make any waves.
The whole synthesizer/keyboard trend went out the window with the rebirth of
guitar rock in the early 1990's.
Now it's just another instrument in the band, and not the focus.
Boom
2005-03-08 08:38:14 UTC
Permalink
On Mon, 7 Mar 2005 09:51:15 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
He was hardly the first.
Yeah, but Tarantino made it very popular. He was widely imitated.
Post by Boom
Actually, the guy who probably caused it was
Keith Emerson. He did the score to that Sylvester Stallone movie
"Nighthawks" and it was the first movie to feature a score done
exclusively on synths.
I didn't think that movie was successful enough to really make any waves.
It didn't do horrible but it sure didn't set the world on fire.
However, paying one guy instead of a full orchestra sure seemed to
catch on after it came out.
Post by Gary Childs
The whole synthesizer/keyboard trend went out the window with the rebirth of
guitar rock in the early 1990's.
Now it's just another instrument in the band, and not the focus.
Thank God for that!

Bring back pianos and Hammond organs!
ƒ®@nK panű©©I
2005-03-07 17:19:20 UTC
Permalink
Post by Boom
He was hardly the first. Actually, the guy who probably caused it was
Keith Emerson. He did the score to that Sylvester Stallone movie
"Nighthawks" and it was the first movie to feature a score done
exclusively on synths.
NIGHTHAWKS did make heavy use of synths, although I forget exactly
which. Maybe the Yamaha GX-1 or Fairlight. But, it was hardly done
exclusively on synths. Lots of it - possibly most of it - was done with
the typical "Nelson Riddle TV-style Dirty Harry cop movie" small
orchestra arrangement with some some trademark Emerson chords stuck in.
I went to see NIGHTHAWKS at a $1 theater exclusively because the
soundtrack was done by Emerson.

As far as mainstream movies with all-synth scores, the first movie that
comes to mind is FORBIDDEN PLANET from 1956, scored with only a
Theremin. The second movie I remember with an exclusively electronic
score was TRON by W. Carlos, who earlier did the partially electronic
score for CLOCKWORK ORANGE.

I just scored a copy of the soundtrack to the latest GODZILLA movie by
Emerson - and it's incredible. It has the old-school Godzilla themes
dating as far back as 1954, sounding as if they are played by ELP, and
there are some original compositions that are the best Emerson has
turned out in a while.


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___________________
www.frankpanucci.com
Boom
2005-03-08 08:41:51 UTC
Permalink
Post by ƒ®@nK panű©©I
Post by Boom
He was hardly the first. Actually, the guy who probably caused it was
Keith Emerson. He did the score to that Sylvester Stallone movie
"Nighthawks" and it was the first movie to feature a score done
exclusively on synths.
NIGHTHAWKS did make heavy use of synths, although I forget exactly
which. Maybe the Yamaha GX-1 or Fairlight. But, it was hardly done
exclusively on synths. Lots of it - possibly most of it - was done with
the typical "Nelson Riddle TV-style Dirty Harry cop movie" small
orchestra arrangement with some some trademark Emerson chords stuck in.
I went to see NIGHTHAWKS at a $1 theater exclusively because the
soundtrack was done by Emerson.
Next time it's on TNT or one of those channels that shows it once a
month, I'm going to have to check that out because I thought Keith did
the entire score on synths.
Post by ƒ®@nK panű©©I
As far as mainstream movies with all-synth scores, the first movie that
comes to mind is FORBIDDEN PLANET from 1956, scored with only a
Theremin.
LOL...that must have caused headaches to everyone who heard it.
Post by ƒ®@nK panű©©I
I just scored a copy of the soundtrack to the latest GODZILLA movie by
Emerson - and it's incredible. It has the old-school Godzilla themes
dating as far back as 1954, sounding as if they are played by ELP, and
there are some original compositions that are the best Emerson has
turned out in a while.
That's good...I thought the well went dry when Keith did the first ELP
reunion.
ƒ®@nK panű©©I
2005-03-08 14:12:32 UTC
Permalink
Post by Boom
It has the old-school Godzilla themes... and
there are some original compositions that are the best Emerson has
turned out in a while.
That's good...I thought the well went dry when Keith did the first ELP
reunion.
The well is spurty, increasingly dry and erratic as the years go by.
There's a lot more bio info on ELP and Emerson than there is on DEVO,
and I read it all. It's amazing Emerson writes anything after his
destructive surgeries (which apparently were paid for by his old
bandmates), his loss of everything after blowing his entire fortune and
becoming a pauper, and years of drowning his brain in a bottle. Compare
his nose between 1970 and now - it ain't just normal aging that swells
up a nose like that. On the last ELP tour, Emerson gave in and had
another keyboardist offstage to play the "hard parts", and his current
quietly touring Keith Emerson Band has, in its lineup, a keyboardist
besides Keef himself. The composer Emerson can occasionally still be
roused, but the demon player Emerson is forever smashed into remnants
and echoes of the brain salad surgeon. I just drank too much coffee.

It's interesting to note that, years before Keef's autobio PICTURES OF
AN EXHIBITIONIST was published, a lengthy excerpt from the uncompleted
manuscript appeared in KEYBOARD magazine. This dealt in excruciating
detail with his carpal tunnel surgery. Almost none of that segment was
in the actual finished book.

ELP/DEVO/Zappa is my holy trinity of music. Sometimes I hear traces of
Emerson pop up distantly in DEVO...
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___________________
www.frankpanucci.com
Bob 3
2005-03-08 21:36:23 UTC
Permalink
Post by ƒ®@nK panű©©I
ELP/DEVO/Zappa is my holy trinity of music.
This is probably the wrong forum group for this, but are there any
particular ELP albums would you recommend for the ELP-curious?
Pink Pussycat
2005-03-08 22:06:29 UTC
Permalink
Post by Bob 3
Post by ƒ®@nK panű©©I
ELP/DEVO/Zappa is my holy trinity of music.
This is probably the wrong forum group for this, but are there any
particular ELP albums would you recommend for the ELP-curious?
I know this wasn't addressed to me, but Brain Salad Surgery's pretty
good.

~Pink

(Whose holy trinity of music is Devo/Steely Dan/The Doors)
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Michael McDougall
2005-03-09 01:41:46 UTC
Permalink
Post by Pink Pussycat
Post by Bob 3
Post by ƒ®@nK panű©©I
ELP/DEVO/Zappa is my holy trinity of music.
This is probably the wrong forum group for this, but are there any
particular ELP albums would you recommend for the ELP-curious?
I know this wasn't addressed to me, but Brain Salad Surgery's pretty
good.
~Pink
(Whose holy trinity of music is Devo/Steely Dan/The Doors)
odd. years ago I posted here saying Devo/Steely Dan/Einsturzende
Neubauten were the unholy trinity of music.

Michael
Ronald Cole
2005-03-10 18:34:20 UTC
Permalink
Post by Pink Pussycat
Post by Bob 3
Post by ƒ®@nK panű©©I
ELP/DEVO/Zappa is my holy trinity of music.
This is probably the wrong forum group for this, but are there any
particular ELP albums would you recommend for the ELP-curious?
I know this wasn't addressed to me, but Brain Salad Surgery's pretty
good.
Good God! I was forced to listen to this album ad nauseum by a
college buddy every time we were making homebrew and drinking too
much... which was damn near all the time! Can't stand it, now.
--
Forte International, P.O. Box 1412, Ridgecrest, CA 93556-1412
Ronald Cole <***@forte-intl.com> Phone: (760) 499-9142
President, CEO Fax: (760) 499-9152
My GPG fingerprint: C3AF 4BE9 BEA6 F1C2 B084 4A88 8851 E6C8 69E3 B00B
ƒ®@nK panű©©I
2005-03-10 18:38:57 UTC
Permalink
Post by Ronald Cole
Good God! I was forced to listen to this album ad nauseum by a
college buddy every time we were making homebrew and drinking too
much... which was damn near all the time! Can't stand it, now.
Did he prop your gluzzies open with fancy devices and make you watch
violent movies at the same time?


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___________________
www.frankpanucci.com
Ronald Cole
2005-03-11 23:09:23 UTC
Permalink
"?®@nK
Boom
2005-03-12 00:54:39 UTC
Permalink
On Fri, 11 Mar 2005 15:09:23 -0800, Ronald Cole
Post by ƒ®@nK panű©©I
Post by Ronald Cole
Good God! I was forced to listen to this album ad nauseum by a
college buddy every time we were making homebrew and drinking too
much... which was damn near all the time! Can't stand it, now.
Did he prop your gluzzies open with fancy devices and make you watch
violent movies at the same time?
If you consider Eraserhead a violent movie, then YES!
I consider it a violent movie...violently bad. I consider David Lynch
possibly the most overrated American director in history. Two movies
he's done weren't total shit...Elephant Man and Blue Velvet, and
neither movie was all that good. The rest are complete and total
shit. Incoherence should never be mistaken for great art, but
apparently with David Lynch, it has.
ƒ®@nK panű©©I
2005-03-12 03:29:48 UTC
Permalink
Post by Boom
If you consider Eraserhead a violent movie, then YES!
I consider it a violent movie...violently bad.
Huh. I saw ERASERHEAD, never heard of Lynch at that point, and said
"She it, this is one of the best things ever". It sure clicked with me.
It's the damndest thng. It's man-made! BLUE VELVET, too. TWIN PEAKS
was great until ABC killed it by changing its time slot every half hour
without telling anybody. That thing with Robert Blake as Nosferatu did
suck total ass, though. Lynch's cartoon series DUMBLAND, currently
available online, is hilarious. He animated it and did all the audio
and stuff.

·
___________________
www.frankpanucci.com
Boom
2005-03-12 03:55:07 UTC
Permalink
Post by ƒ®@nK panű©©I
Post by Boom
If you consider Eraserhead a violent movie, then YES!
I consider it a violent movie...violently bad.
Huh. I saw ERASERHEAD, never heard of Lynch at that point, and said
"She it, this is one of the best things ever". It sure clicked with me.
And more power to you, Frank. To me, it looked like a bad student
film with better production values. I like weird, but not just for
the sake of being over people's heads. Maybe it's over my head
because for the life of me I can't tell you anything about the plot of
that movie except Eraserhead is sad and doesn't talk much.
Post by ƒ®@nK panű©©I
It's the damndest thng. It's man-made! BLUE VELVET, too. TWIN PEAKS
was great until ABC killed it by changing its time slot every half hour
without telling anybody. That thing with Robert Blake as Nosferatu did
suck total ass, though. Lynch's cartoon series DUMBLAND, currently
available online, is hilarious. He animated it and did all the audio
and stuff.
I will check that out when I get a chance.
Todd Spango
2005-03-15 15:42:14 UTC
Permalink
Eraserhead is all allegorical and sh*t. I thought it was about a guy
deciding whether to participate in the world or stay lost in his
dreams. The ambivalence of the movie is the perfect tone for the idea,
because the central character is completely ambivalent, which is what
allows him to stay in dreamland.

Brilliant flick. And Lynch has a whole resume full of brilliant, if
difficult work. One of my favorites of his is *not* difficult to catch
on to, although even there, there's a lot going on beneath the surface.
Check out "The Straight Story" if you want to see Lynch working in a
more mainstream vein. The movie was intended as a g-rated Disney
flick, and it is awesome.
Todd Spango
2005-03-16 14:16:28 UTC
Permalink
and hey -- isn't there a Booji Boy version of "In Heaven" out there
somewhere?
ƒ®@nK panű©©I
2005-03-09 01:08:27 UTC
Permalink
Post by Bob 3
Post by ƒ®@nK panű©©I
ELP/DEVO/Zappa is my holy trinity of music.
This is probably the wrong forum group for this, but are there any
particular ELP albums would you recommend for the ELP-curious?
ELP is closely related to DEVO, somehow via Kevin Bacon but I forget the
details.

As PP says in a nearby post, a good start is BRAIN SALAD SURGERY. It's
the definitive ELP album, their fourth. It has the singular distinction
of being the best album in the whole world ever, tied with DUTY NOW FOR
THE FUTURE, which is also the best album in the whole world ever. I
have listened to BRAIN SALAD SURGERY all the way through at least seven
hundred times. I stopped counting many years ago.

Keep in mind that you must not listen to the lyrics of ELP. They were
written, usually, by either Greg Lake or Pete Sinfield in "special"
ultra-banal fetal alcohol syndrome moments that rival the lyric genius
of Ozzy Osbourne. Will he moo-hoove or will-hill he balk. I prefer to
think of ELP lyrics as what Zappa referred to as "pitched mouth noises",
not actually related to a narrative.

Whip out your Kazaa and follow me. The first, eponymous ELP album has
many choice cuts, but they were clearly getting up to speed. Good ones:
The Barbarian
Knife-Edge
The Three Fates
Tank

Second album is TARKUS, side one of which is a twenty minute science
fiction extravaganza. Very cool, best cut being AQUATARKUS. Side two
features the excellent "Bitches Crystal".

Album three is a live adaptation of Mussorgsky's PICTURES AT AN
EXHIBITION. It's a treat, but, as I warned before, ignore the Sinfield
minefield of lyrics. Best cut: BABA YAGA - HUT ON FOWL'S LEGS.

Album four is TRILOGY, which heralds ELP's ascendancy into classic BRAIN
SALAD mode. Of the many spectacular tracks, these stand out:
The Endless Enigma (Part One)
Fugue
The Endless Enigma (Part Two)
Hoedown
Trilogy
Abaddon's Bolero

Album five? BRAIN SALAD SURGERY. You must immediately cherish
everything on it, except the odd and annoying STILL YOU TURN ME ON,
which somehow wandered onto the album in what I must presume was a
drunken moment. The finale of BSS, KARN EVIL NINE IMPRESSION THREE, is
another tale of intergalactic battle that will make your hair stand up
and appropriate tissues engorge.

Album six: Welcome Back My Friends To The Show That Never Ends. Live
album, recaps the earlier material with some great performances. Not
necessarily a good introduction to ELP, but a kick if you know 'em already.

Album seven: Works Volume 1
An uneven mix of "solo" works. Also not a good introduction. The
thirteen-minute PIRATES is sort of okay, but fails to capture the
grandeur of BSS.

Album eight:Works Volume 2
It has the title track to Brain Salad Surgery, which was oddly left off
the album Brain Salad Surgery. Other than that, not too good.

Album nine: Love Beach
This is absolute fucking vomit. I was young when this came out, and I
was depressed and felt betrayed as only the young can. However, there
are two very good short songs among the crap: Canario and Honourable
Company, each about two minutes long. Lousy album.

Skipping a bunch of albums, to 1992...

BLACK MOON is pretty good, worthy of some of the 1970s material by ELP.
Best tracks:
Black Moon
Romeo And Juliet

IN THE HOT SEAT came out in 1994, and was as bad or worse than LOVE
BEACH. What goes through these guys' heads? This album had no good tracks.

There are other ELP discs, but stick to the selections I mentioned above
to get a taste of the best of the band.


___________________
Frank Panucci
www.frankpanucci.com
Boom
2005-03-11 07:49:18 UTC
Permalink
Post by Bob 3
Post by ƒ®@nK panű©©I
ELP/DEVO/Zappa is my holy trinity of music.
This is probably the wrong forum group for this, but are there any
particular ELP albums would you recommend for the ELP-curious?
Welcome Back My Friends To The Show That Never Ends. A live album,
and possibly one of the best live albums ever.
Todd Spango
2005-03-21 23:42:27 UTC
Permalink
Check out the Nice, King Crimson, or Atomic Rooster first.
Bjorn Are
2005-03-09 13:56:37 UTC
Permalink
Post by ƒ®@nK panű©©I
On the last ELP tour, Emerson gave in and had
another keyboardist offstage to play the "hard parts", and his
current
Post by ƒ®@nK panű©©I
quietly touring Keith Emerson Band has, in its lineup, a keyboardist
besides Keef himself. The composer Emerson can occasionally still be
roused, but the demon player Emerson is forever smashed into remnants
and echoes of the brain salad surgeon. I just drank too much coffee.
That's right - too much coffee, far too much.

I've seen Keith twice the last few years and he has absolutely no other
keyboardist helping him. Where on earth did you get that fantasy from?

BTW, there is a wonderfull new ELP 2DVD to be released in a few weeks,
included 44 minutes of Cal Jam 1974.

Regards
Bjorn Are
ƒ®@nK panű©©I
2005-03-09 15:13:08 UTC
Permalink
Post by Bjorn Are
I've seen Keith twice the last few years and he has absolutely no other
keyboardist helping him. Where on earth did you get that fantasy from?
Not sure, and not enough time to dig through the articles in which I may
have seen or misread that. If that's wrong info, I defer to your
authority as a frequent contributor to the ELP digest. I thought Keith
E himslef mentioned the "assistant keyboardist' issue himself somewhere,
but maybe not.

Speaking of the ELP Digest, I haven't gotten one since December 2004...
Post by Bjorn Are
BTW, there is a wonderfull new ELP 2DVD to be released in a few weeks,
included 44 minutes of Cal Jam 1974.
Is that the same footage that's been floating around as a bootleg for a
few years?

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Bjorn Are
2005-03-09 14:41:49 UTC
Permalink
Post by ƒ®@nK panű©©I
On the last ELP tour, Emerson gave in and had
another keyboardist offstage to play the "hard parts", and his
current
Post by ƒ®@nK panű©©I
quietly touring Keith Emerson Band has, in its lineup, a keyboardist
besides Keef himself. The composer Emerson can occasionally still be
roused, but the demon player Emerson is forever smashed into remnants
and echoes of the brain salad surgeon. I just drank too much coffee.
That's right - too much coffee, far too much.

I've seen Keith twice the last few years and he has absolutely no other
keyboardist helping him. Where on earth did you get that fantasy from?

BTW, there is a wonderfull new ELP 2DVD to be released in a few weeks,
included 44 minutes of Cal Jam 1974.

Regards
Bjorn Are
Boom
2005-03-06 10:23:30 UTC
Permalink
On Sat, 5 Mar 2005 12:01:38 -0500, "Gary Childs"
Post by Gary Childs
Post by Boom
My favorite was the Sequential Circuits Prophet V. It was probably
the first polyphonic analog synth to work well. You could do all the
Moog tricks as well as play chords with it.
Bite your tongue! Only a Moog sounds like a Moog!
Well yeah, but the Prophet was a more than reasonable facsimile.
ƒ®@nK panű©©I
2005-03-06 14:15:46 UTC
Permalink
Post by Boom
Post by Gary Childs
Bite your tongue! Only a Moog sounds like a Moog!
Well yeah, but the Prophet was a more than reasonable facsimile.
This is the coolest thread ever for a DEVO history recrap! The trip
down synth memory lane is also fasten-ate-in.

You should try NI's software emulation of the Prophet, called the
Pro-53. It's great, even though those who intimately know the Prophet
will complain it's not a perfect emulation. Whenever I want a "moog-y"
sound, I end up using it rather than a Moog emulator or samples made
from my dusty old actual Moog. It cuts through the phlegm like a
chilled cola beverage. Pro-53 at work:
http://www.mixposure.com/player.swf?mp3_path=mp3/64.1.mp3&stitle=Reperkussionz++0+1+0



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Gary Childs
2005-03-06 14:56:58 UTC
Permalink
Post by Boom
Post by Gary Childs
Bite your tongue! Only a Moog sounds like a Moog!
Well yeah, but the Prophet was a more than reasonable facsimile.
Sort of like a synth taking the place of a violin player.
Nah, it could never do all those sounds that Mark needs to do the early Devo
material like Smart Patrol/Mr. DNA.
That's why he still uses it.
Bob 3
2005-03-05 23:57:45 UTC
Permalink
Post by Pink Pussycat
BTW, "Total Devo" is my favorite studio album, with Duty Now a very
close second. (My favorite non-studio album is Hardcore 2.)
Total DEVO has some good tracks on it, IMO it was a sucessful comeback
album. Between '84 & '88 I had sort of stopped listening to them.
Those were damn lean years, musically speaking. (Anyone remember David
Lee Roth's solo career?)

But the thing I liked best about Devo was the concept of de-evolution,
for me that was as important as the music. Their garage stuff and the
first two albums are all about DE-VO. But they did fully explore that
territory, and y'know, time & gravity, they sorta ran out of forward
thrust. I like their later albums too but I listen to them for a
different reason.

Yes hardcore 2 has some cool stuff on it, I've never heard hardcore 1.
Post by Pink Pussycat
Moog, Buchla (my favorite), Arp 2500, Emu, Serge, Roland Systems 100m &
Didn'T know Buchla was still in business. I checked out their website,
I wouldn't mind one of those 200e's. But I'm an axe man myself - and
on a budget.

BTW it looks like Mark has his share of analog toys these days. Check
out his setup

Loading Image...
Boom
2005-03-06 10:37:14 UTC
Permalink
Post by Bob 3
Post by Pink Pussycat
BTW, "Total Devo" is my favorite studio album, with Duty Now a very
close second. (My favorite non-studio album is Hardcore 2.)
Total DEVO has some good tracks on it,
4 good tracks, to be exact.
Post by Bob 3
IMO it was a sucessful comeback
album.
Smooth Noodle Maps was better. It had 6 good songs ;)
Post by Bob 3
BTW it looks like Mark has his share of analog toys these days. Check
out his setup
There was a time he quit using Minimoogs. Glad he started back.
Can't play "Smart Patrol/Mr. DNA" on a digital synth. They didn't
even try on the Total Devo tour.
Bob 3
2005-03-06 15:22:25 UTC
Permalink
Post by Boom
Post by Bob 3
Total DEVO has some good tracks on it,
4 good tracks, to be exact.
Well, I don't want to go down that path. I was just listening to it the
other day and thinking to myself 'Sexi Luv' would have been a great
track if they had simply used an analog synth (it's good anyway but it
misses that edge). Same goes for Blow Up.
Bob 3
2005-03-06 15:30:21 UTC
Permalink
By which I mean the songwriting was there but the equipment died under
daddy's cap. The content was there but not the delivery.
Gary Childs
2005-03-06 21:49:29 UTC
Permalink
Post by Bob 3
Well, I don't want to go down that path. I was just listening to it the
other day and thinking to myself 'Sexi Luv' would have been a great
track
'Sexi Luv' wasn't on the vinyl release of Shout.
Bob 3
2005-03-07 14:58:32 UTC
Permalink
Post by Gary Childs
Post by Bob 3
Post by Boom
Post by Bob 3
Total DEVO has some good tracks on it,
4 good tracks, to be exact.
Well, I don't want to go down that path. I was just listening to it the
other day and thinking to myself 'Sexi Luv' would have been a great
track
'Sexi Luv' wasn't on the vinyl release of Shout.
Which ties in nicely with the fact that it's on Total DEVO.
Gary Childs
2005-03-07 17:09:42 UTC
Permalink
Post by Bob 3
Which ties in nicely with the fact that it's on Total DEVO.
I meant to say it's not on the vinyl release of Total Devo.
Bob 3
2005-03-07 19:04:50 UTC
Permalink
Post by Gary Childs
I meant to say it's not on the vinyl release of Total Devo.
That's wierd, I've got the cassette. The tape has 11 'digital
cartoons' (tracks) on it, I seem to recall the CD had 13 tracks on it.
What you're telling me is that the LP has yet a different track list.

Being a DEVO fan can be damn expensive when it comes to locating all
the music, recorded by various labels, multiple studio recordings of
the same songs, movie soundtracks, EPs & other rarities released only
to radio stations, and even varying track lists depending on the media.
God what a mess!

Oh yeah, and now most of it's out of print.
Gary Childs
2005-03-07 21:51:37 UTC
Permalink
Post by Bob 3
What you're telling me is that the LP has yet a different track list.
The record album ends at "Blow Up".
Boom
2005-03-08 08:38:55 UTC
Permalink
Post by Bob 3
Post by Gary Childs
I meant to say it's not on the vinyl release of Total Devo.
That's wierd, I've got the cassette. The tape has 11 'digital
cartoons' (tracks) on it, I seem to recall the CD had 13 tracks on it.
What you're telling me is that the LP has yet a different track list.
Being a DEVO fan can be damn expensive when it comes to locating all
the music, recorded by various labels, multiple studio recordings of
the same songs, movie soundtracks, EPs & other rarities released only
to radio stations, and even varying track lists depending on the media.
God what a mess!
Oh yeah, and now most of it's out of print.
That's why there's Soulseek and newsgroups!
ƒ®@nK panű©©I
2005-03-08 14:16:53 UTC
Permalink
Post by Boom
Post by Bob 3
Oh yeah, and now most of it's out of print.
That's why there's Soulseek and newsgroups!
Yeah - look at what's on emule right this instant:

Devo.14.Full.Albums.zip 548.84 MB
or click:
ed2k://|file|Devo.(14.Full.Albums.Presented.by.NoodleMaps).zip|574443591|14218549C459B11F822F341BF9598BC7|/

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Pink Pussycat
2005-03-06 17:09:46 UTC
Permalink
Post by Bob 3
Total DEVO has some good tracks on it, IMO it was a sucessful comeback
album. Between '84 & '88 I had sort of stopped listening to them.
Those were damn lean years, musically speaking. (Anyone remember David
Lee Roth's solo career?)
I do, but that was during my preteen/early teen years. (I'm just under
2 weeks from turning 30.)
Post by Bob 3
But the thing I liked best about Devo was the concept of de-evolution,
for me that was as important as the music. Their garage stuff and the
first two albums are all about DE-VO. But they did fully explore that
territory, and y'know, time & gravity, they sorta ran out of forward
thrust. I like their later albums too but I listen to them for a
different reason.
I started out with the later albums & then listened to the earlier ones.
Post by Bob 3
Yes hardcore 2 has some cool stuff on it, I've never heard hardcore 1.
Hardcore 1 is good. Slightly less perversion, more good bass lines.
Post by Bob 3
Didn'T know Buchla was still in business. I checked out their website,
I wouldn't mind one of those 200e's. But I'm an axe man myself - and
on a budget.
If I was single, I'd do what Suzanne Cianni did... work at Buchla to
save up money to buy one.
Post by Bob 3
BTW it looks like Mark has his share of analog toys these days. Check
out his setup
http://www.rhinohandmade.com/rhip/7712/MM2.jpeg
I thought TONTO went back to its owner a couple years ago.

~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Gary Childs
2005-03-04 16:16:36 UTC
Permalink
Post by Stiiv
One point yez missed is that DEVO's many innovations were gobbled up
whole by "new wave" music, which cannibalized them & spat 'em back out
without any discernable personality or conceptual direction.
That's right. Pioneers Who Got Scalped.
Post by Stiiv
The later DEVO records, if done by other groups, would have been
hailed as futuristic breakthroughs....but because we'd been taught to
expect so much more from DEVO, they were abject disappointments, IMHO.
That pretty much hits the nail on the head.
I still listen to the last few records, and I like them.
Todd Spango
2005-03-22 05:02:02 UTC
Permalink
Post by Boom
On Thu, 3 Mar 2005 22:31:27 -0500, "Gary Childs"
Post by Boom
Post by Boom
Because the quality of
their work just was not as good after FOC.
Quality does not equal sales. People will buy crap, and often do. Devo's
later records were far better than much of the garbage that outsold them.
One point yez missed is that DEVO's many innovations were gobbled up
whole by "new wave" music, which cannibalized them & spat 'em back out
without any discernable personality or conceptual direction.
Yeah "new wave" acts like Kim Carnes and Styx.
Post by Boom
The later DEVO records, if done by other groups, would have been
hailed as futuristic breakthroughs....but because we'd been taught to
expect so much more from DEVO, they were abject disappointments, IMHO.
They were kind of a blueprint for much of what happened in music in the
eighties. Their first three or four things are imo as good as rock 'n'
roll gets. I suggest that every decision they made that turned out to
be bad could also have been a good one, if the cards had fallen a
little differently.

What if the punk revolution had really happened, instead of the
American record industry doing everything it could to snuff it out...
This music was HUGE in much of the rest of the world, but Jimmy Carter
sat down with the heads of the major record labels and said "we gotta
snuff this music out or we're going to lose an entire generation of
kids'" --because I think he really felt that way about it-- and
consequently no punk or "new wave" act had much of a chance. Majors
would sign these bands and then f*ck them over, every single time.
Stick them with the bill for a major label recording and then budget
them nothing for promotion. Send them out on tour into the heartland
of America, while a different branch of the same media conglomerates
are telling people to be afraid of this music and what it could make
their children do (same old story, just like twenty years before, when
another generation was "lost" to rock 'n' roll).

If they'd caught on -- if the punk revolution had actually happened --
This world sure would be different... Instead we got Blondie and
Talking Heads -- the most fern bar-ready punk bands. What if it had
been bands like Pere Ubu, Devo, Captain Beefheart & the Magic Band, the
Dead Boys and the Ramones that had caught on?
Post by Boom
"Disco Dancer" is like a sonic trip to the dentist for me. Ewwwwwwww.
Stiiv
http://www.stiiv.com
--Todd, from Spango

Pink Pussycat
2005-03-03 16:22:24 UTC
Permalink
Post by Boom
Post by Bob 3
I'd like more info. Is the bio by Dellinger & Giffels 1) accurate and
2) worth reading? (Reviews on amazon are mixed.) Also any news on an
official bio?
Worth reading, yes. Accuracy is debatable, though.
I think it's worth reading, but my Spudboy bought my copy. ;-)

The authors admitted in certain parts they weren't sure if the story
they were telling was true. That gave me as much pause as the instant
Lennon/McCartney comparisons.

The biggest blunder they did was getting the name of the song at the end
of "TBWTE" movie wrong. "Believe" is a Cher song. "Because" is a
Beatles song.
Post by Boom
Jerry claims it's
highly inaccurate, but the authors pretty much throw him under the bus
and make him look like the bad guy at every turn, so he would say
that.
I walked away with a greater admiration of Jerry because of that book.
Post by Boom
I wasn't there so I don't know, but they interview a lot of
people who were there. Personally, I thought it was short on info
from the Nutra period till now but the stuff before they got signed
was extensive and pretty interesting.
The reason there was such little info after the Nutra period is because
their sources dried up at that point. It's like someone trying to do a
biography of a person, but only interviewing people they went to
elementary school with, I guess.


~Pink
--
"The enemy is at the gate. And the enemy is the human mind
itself - or lack of it - on this planet." - General Boy
Ronald Cole
2005-03-03 22:46:19 UTC
Permalink
Post by Bob 3
11. Nothing is left of the DEVO paraphernelia (energy domes, yellow
suits, plastic hair, etc). Mark rented storage space to keep a copy
of everything they ever made, but Jerry has given away pretty much
everything he had kept.
Must.... have.... a.... spud ring collar.... Really! Been combing
ebay off and on for years and have never seen one. Anyone got one to
part with? Could Club Devo be persuaded to resurrect it via
mailorder?
--
Forte International, P.O. Box 1412, Ridgecrest, CA 93556-1412
Ronald Cole <***@forte-intl.com> Phone: (760) 499-9142
President, CEO Fax: (760) 499-9152
My GPG fingerprint: C3AF 4BE9 BEA6 F1C2 B084 4A88 8851 E6C8 69E3 B00B
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