Photo: Malcolm Riviera / CC BY-SA (https://creativecommons.org/licenses/by-sa/3.0)
Devo, one of the most unique and influential bands to emerge from the late 1970s, formed with a vision of merging biting social commentary with pioneering new wave soundscapes. The band originated in Akron, Ohio, in 1973, founded by art students and friends Mark Mothersbaugh and Gerald Casale. At the core of Devo’s identity was the concept of “de-evolution,” a satirical theory suggesting that society was regressing rather than advancing. This theme became central to their music and performance style, setting Devo apart from the punk and rock movements of the time. The original lineup included Mothersbaugh on vocals and keyboards, Casale on bass and vocals, Bob Mothersbaugh on guitar, and Bob Casale on guitar and keyboards. Drummer Alan Myers joined in 1976, solidifying the classic Devo lineup that would go on to create some of their most iconic works.
Devo’s early years were marked by their experimental approach to music and performance. The band’s debut single, “Mongoloid”/“Jocko Homo,” released on the independent Booji Boy Records label in 1977, introduced listeners to Devo’s quirky, unsettling style. Both songs tackled themes of conformity, societal breakdown, and human nature, underpinned by the band’s idiosyncratic use of synthesizers, robotic movements, and jerky rhythms. This unconventional approach caught the attention of legendary musician and producer David Bowie, who declared Devo to be the “band of the future.” This endorsement, along with support from Brian Eno, led to Devo recording their first full-length album, Q: Are We Not Men? A: We Are Devo!, in 1978. Produced by Eno, the album received mixed reviews but showcased the band’s creative potential, reaching number seventy-eight on the U.S. Billboard charts and peaking at number twelve in the UK.
Following their debut, Devo continued to refine their sound and expand their reach. Their second album, Duty Now for the Future (1979), saw the band exploring a more polished, synth-driven approach, though it didn’t garner the same commercial success as their later works. Despite its lukewarm reception, the album hinted at Devo’s evolving sound and commitment to subversive social critique. Their breakthrough came with Freedom of Choice in 1980, which featured the hit single “Whip It.” Propelled by a quirky, unforgettable music video, “Whip It” became a pop culture phenomenon, reaching number fourteen on the Billboard Hot 100 and introducing Devo to mainstream audiences. The album itself was a critical and commercial success, blending new wave, punk, and synth-pop in a way that set the tone for the next decade of alternative music.
The success of Freedom of Choice marked a high point in Devo’s career, as the band became known not only for their music but also for their distinctive visual aesthetic. They donned matching outfits and the now-iconic red energy dome hats, which became synonymous with the band’s image. Their next album, New Traditionalists (1981), built on their newfound popularity, featuring a darker, more introspective tone. Though it didn’t achieve the same level of success as Freedom of Choice, the album still contained memorable tracks like “Beautiful World,” which juxtaposed its upbeat melody with bleak commentary on society. New Traditionalists cemented Devo’s reputation as a band unafraid to push boundaries, both musically and thematically.
In 1982, Devo released Oh, No! It’s Devo, an album that leaned heavily into synth-pop and furthered their exploration of dystopian themes. Though met with mixed reviews, it produced the minor hit “Peek-a-Boo!” and showcased the band’s continuing evolution in sound. By this time, however, Devo’s popularity was beginning to wane as the music landscape shifted. The band faced additional challenges with their 1984 album Shout, which was their final release under Warner Bros. Records. Despite experimenting with the Fairlight CMI, an early digital sampling synthesizer, Shout failed to resonate with critics and fans, leading to declining sales and ultimately resulting in Devo being dropped by their label.
After Shout, Devo went on a hiatus, though they reunited in 1987 to release Total Devo under the Enigma Records label. The album, which featured new drummer David Kendrick replacing Alan Myers, was met with a lukewarm response and limited commercial success. Nevertheless, Devo continued to release music, including the 1990 album Smooth Noodle Maps, which was their final album before another long hiatus. During this time, the band members pursued various individual projects, with Mark Mothersbaugh achieving notable success as a composer for television and film.
Despite their commercial decline in the late 1980s, Devo’s influence on music and pop culture remained significant. Their satirical approach and innovative use of technology in music foreshadowed the rise of electronic and alternative music in the 1990s and beyond. In 2010, Devo released Something for Everybody, their first album in two decades, which was met with favorable reviews. The album saw the band return to their roots, blending social commentary with catchy, synth-driven tracks that resonated with both longtime fans and a new generation of listeners.
Throughout their career, Devo received recognition for their pioneering work in music and visual art. Though they were not frequently acknowledged by mainstream awards, they maintained a loyal fanbase and received accolades from the alternative music community. Devo was honored at the Moogfest in 2010, celebrating their contribution to electronic music and the use of synthesizers. Their cultural impact has been substantial, with artists from Nirvana to Arcade Fire citing them as a major influence. In 2018, Devo was nominated for induction into the Rock and Roll Hall of Fame, further cementing their legacy as one of the most innovative and genre-defying bands in rock history.
In addition to their musical output, Devo’s impact on visual culture cannot be overstated. Their music videos, live performances, and even merchandise were extensions of their artistic vision, each aspect reinforcing their critique of conformity and consumerism. Devo’s work explored complex ideas about technology, individualism, and societal de-evolution, themes that remain relevant decades after their inception.
# 10 – Freedom of Choice
Freedom of Choice opens this list of Devo’s top 10 songs with a striking look at one of the band’s core themes: free will and societal manipulation. Released as the title track of Devo’s 1980 album, Freedom of Choice, this song brought the band’s commentary on freedom and conformity into the spotlight. Produced by Robert Margouleff, Freedom of Choice was recorded in Los Angeles, where Devo—led by Mark Mothersbaugh and Gerald Casale—crafted this iconic track that questioned the very nature of free will in modern society. In their characteristic style, they embedded sharp social critiques within catchy, danceable beats and quirky lyrics.
Musically, “Freedom of Choice” is quintessential Devo: built around an infectious synthesizer riff, a driving bassline, and staccato guitars that exemplify the new wave sound they pioneered. The band uses repetition and robotic vocal delivery to create a hypnotic effect, making the listener question the monotony often associated with the idea of “choice.” The song peaked at number eight on the U.S. Hot Dance Club Songs chart, becoming one of their more popular tracks in dance circles, though it never reached the heights of mainstream radio hits. Yet, it remains a standout for fans as a track that embodies Devo’s philosophical underpinnings and unique musical style.
The lyrics to “Freedom of Choice” cleverly explore the paradox of free will with lines that sound both ominous and darkly humorous. The chorus centers on the line, “Freedom of choice is what you got, freedom from choice is what you want,” an ironic statement on how true autonomy can be both liberating and paralyzing. The verse mentioning a dog in ancient Rome illustrates this tension—the dog, paralyzed by the choice between two bones, ends up dead, symbolizing the paralysis that too many choices can bring. Through this narrative, Devo suggests that while choice is inherent to freedom, it can also lead to a kind of self-imposed limitation, a theme that resonates throughout the album and offers listeners a cautionary tale about the dangers of consumer-driven society.
As the lead-off song for this list, “Freedom of Choice” introduces the recurring question of blame and accountability in decision-making that runs through Devo’s music. The song encourages listeners to consider whether they are genuinely making independent choices or merely following societal cues disguised as “freedom.” This theme will recur in various forms as we explore other songs on this list, with Devo setting the tone in this unforgettable track that remains both thought-provoking and timelessly relevant.
# 9 – Puppet Boy
Puppet Boy exemplifies Devo’s satirical take on conformity and control, themes that permeate their 1984 album, Shout. The album marked a critical moment for Devo as they ventured further into synth-pop territory, heavily featuring the Fairlight CMI synthesizer to enhance their already electronically driven sound. Produced by Devo and recorded at their own Mutato Muzika studio in Los Angeles, Shout aimed to push the band’s creative boundaries but ultimately failed to resonate commercially, reaching only number eighty-three on the Billboard 200 and prompting Warner Bros. to end its partnership with the band. “Puppet Boy,” with its rhythmic synth lines and biting lyrics, reflects both Devo’s frustration with industry expectations and their commitment to exploring social critique through music.
In “Puppet Boy,” Devo explores themes of manipulation and obedience, casting the protagonist as a “puppet” controlled by unseen forces. The lyrics serve as a powerful allegory for the pressures placed on individuals to conform, particularly within consumer and corporate structures. Lines like “Wake up, puppet boy / You’ve got a job to do” directly confront the idea of forced conformity, while the refrain “Puppet boy, it’s the little things that count / Little problems, little minds, little points of view” emphasizes how even small compromises can add up to loss of self-identity. The song’s rapid tempo and repetitive, mechanical beats enhance this feeling of being trapped in a cycle, perfectly matching the thematic exploration of a life dictated by outside forces.
Musically, “Puppet Boy” is an engaging fusion of synth-pop and Devo’s classic new wave eccentricity. Its sharp beats and digitally textured rhythms evoke the synthetic atmosphere that defines Shout, but also showcase the group’s mastery of using melody to underscore satire. The upbeat sound belies the song’s dark commentary, a hallmark of Devo’s style, which wraps complex societal critiques in deceptively simple, catchy tunes. Though Shout did not perform well commercially, “Puppet Boy” endures as a notable track from the album, embodying the duality of Devo’s music—captivatingly simple on the surface but brimming with deeper subtext for those willing to look. This song sets the tone for understanding how Devo uses music to challenge norms, an approach shared with the other tracks on this top ten list.
# 8 – Gut Feeling
Gut Feeling is quintessential Devo, encapsulating the disaffected energy and subversive wit that the band brought to their 1978 debut album, Q: Are We Not Men? A: We Are Devo! Produced by Brian Eno, the album was a bold statement in the post-punk and new wave scenes, reaching number twelve on the UK charts and number seventy-eight on Billboard. “Gut Feeling” stands out as one of the album’s most potent tracks, combining Devo’s driving, angular instrumentation with lyrics that tap into a raw sense of frustration and disillusionment, characteristic of their early work. The song reflects Devo’s ability to create something uniquely American that resonates with the post-punk ethos emerging from the UK, drawing comparisons to bands like The Teardrop Explodes and Joy Division.
Musically, “Gut Feeling” builds gradually, starting with a minimal guitar riff that escalates into a powerful groove backed by Alan Myers’ relentless drumming and Mark Mothersbaugh’s staccato guitar lines. This progressive build-up is uncommon in Devo’s catalog, making the track a unique blend of raw rock energy and controlled tension. The production by Eno enhances the song’s stripped-down sound, emphasizing its urgency without overwhelming it with effects, which adds to its lasting impact and has made it a fan favorite. While Devo is often associated with quirky synth riffs and robotic sounds, “Gut Feeling” highlights the band’s rock foundations and instrumental prowess, contributing to its enduring appeal.
Lyrically, “Gut Feeling” digs into the emotions of betrayal and frustration. The lines “I looked for silver linings / But you’re rotten to the core” and “I’ve had just about all I can take / You know I can’t take it no more” convey a feeling of disillusionment, suggesting a deep sense of personal conflict. The phrase “gut feeling” captures a visceral response to dishonesty, echoing the song’s raw instrumentation and directness. This combination of emotional and musical intensity creates a distinct resonance that ties “Gut Feeling” closely to other Devo songs exploring the dissonance between personal ideals and societal expectations. As the opening track in this top ten list, “Gut Feeling” introduces the powerful sense of rebellion and introspection that permeates Devo’s best work, setting a high bar for the songs that follow.
https://www.youtube.com/watch?v=bbbpk9HN_As
# 7 – Theme from Doctor Detroit
Theme from Doctor Detroit by Devo is a unique contribution to their catalog, capturing their idiosyncratic style while aligning with the zany atmosphere of the 1983 comedy Doctor Detroit, starring Dan Aykroyd. Released as an EP by MCA Records, this track, along with “Luv-Luv,” showcased Devo’s ability to blend their distinct synth-driven sound with cinematic flair, adding a playful, yet darkly humorous angle. The EP also included a dance mix of the title track, highlighting its funk-infused beat that made it a club-friendly hit, reaching number 50 on the Billboard Dance/Disco Top 80 and peaking at number 59 on the Billboard Hot 100.
Produced by Devo themselves, the song combines Mark Mothersbaugh’s striking vocal style with a complex mix of synthesizers, driven bass lines by Gerald Casale, and the energetic guitar riffs of Bob Casale and Bob Mothersbaugh. Drummer Alan Myers rounds out the rhythm, delivering Devo’s familiar, tightly syncopated sound. The song was recorded during a period when Devo was experimenting heavily with digital production and synthesizers, aligning with the era’s fascination with new wave and electronic music. “Theme from Doctor Detroit” also solidifies the band’s reputation for crafting memorable hooks, even when working on side projects like a movie soundtrack.
Lyrically, the song embodies Devo’s characteristic blend of irony and humor, as it describes a surreal figure—the “Doctor”—who swoops in to take charge of an absurd situation. With lines like “Now is the time to call the doctor / This is a serious case,” the song mirrors the eccentric and over-the-top nature of the film’s plot while subtly poking fun at the concept of authority figures. The chorus, with its repetitive command to “call the doctor,” becomes a rallying cry, inviting listeners to get swept up in the chaos. Although lighter in tone than other songs in Devo’s catalog, “Theme from Doctor Detroit” maintains the band’s critical, tongue-in-cheek perspective on social norms, a theme that runs through much of their work.
This song’s high-energy production and quirky narrative make it a standout in Devo’s repertoire, showing their versatility and their commitment to experimentation. Unlike more serious songs in their catalog, “Theme from Doctor Detroit” embraces a fun, almost theatrical approach, serving as both a cultural time capsule and a testament to Devo’s role as innovators within new wave. This track’s playful energy offers a contrast to other entries on this list, showcasing Devo’s ability to capture the essence of a film while remaining true to their unmistakable style.
https://www.youtube.com/watch?v=UqvNrzsdtEQ
# 6 – Girl U Want
Girl U Want by Devo, the opening track and first single from their 1980 album Freedom of Choice, is a quintessential example of Devo’s distinctive new wave sound, blending high-energy synths with their satirical, often ironic take on love and desire. Written and composed by Mark Mothersbaugh and Gerald Casale, this song explores the theme of unrequited lust in a manner that feels as detached as it is intense. The song’s pulse, led by a prominent synthesizer riff and fast-paced rhythm guitar, exemplifies Devo’s fascination with technology, presenting human emotions in an almost mechanical, robotic style.
Recorded in Los Angeles in 1980, Girl U Want was produced by Robert Margouleff, who captured Devo’s vision of the alienation within love and desire through a crisp, synthesizer-heavy sound. Interestingly, while some listeners believe the song was inspired by The Knack’s hit “My Sharona” due to its catchy, driving beat, Casale has denied this link. The sound achieved here marks Devo’s continued evolution from punk-rock roots toward a more streamlined, synth-centric style, as seen in the Freedom of Choice album.
The song’s music video cleverly parodies 1960s TV performances, with Devo performing on a faux set that mimics The Ed Sullivan Show, complete with a rapturous audience. The band members, clad in their iconic energy dome headgear and shiny silver suits, perform alongside robotic backup dancers. The absurd imagery escalates as the video reveals bizarre scenes, such as a man on a vibrating exercise machine, alluding to the mindless consumption and empty lust portrayed in the lyrics. With a catchy refrain of “She’s just the girl, the girl you want,” Devo captures the paradox of desire, where the unattainable becomes all-consuming. The satirical edge and pulsating beat of “Girl U Want” made it one of Devo’s most beloved tracks, capturing the sense of isolation and longing that would become a mainstay in their artistic exploration.
https://www.youtube.com/watch?v=g4-2onb62y8
# 5 – Working In A Coal Mine
Working in the Coal Mine by Devo is an energetic cover of the 1966 hit originally performed by Lee Dorsey, written by the legendary Allen Toussaint. Devo’s version was recorded in 1981 during the sessions for their New Traditionalists album and was initially intended as a B-side. However, the track’s driving rhythm and catchy refrain gave it popularity beyond expectation, and it was ultimately featured on the soundtrack of the animated film Heavy Metal (1981). Later, it appeared as a bonus track on the reissue of New Traditionalists, adding a unique flair to the album’s overall synth-driven exploration of alienation and conformity.
Devo’s rendition transforms Toussaint’s original New Orleans R&B track into a distinctive new wave experience. They retained the repetitive structure and rhythm that mimics the monotony of working in the mines, but added a darker, synthetic edge. Mark Mothersbaugh’s vocals emphasize a sense of detachment and irony, which blends well with Devo’s robotic, post-industrial aesthetic. With synths and robotic beats replacing traditional instruments, the track echoes themes of labor and exploitation, fitting seamlessly within Devo’s critical look at modern society. The cover also uses a slower, deliberate beat that underscores the song’s weary lyrics, “Lord, I am so tired / How long can this go on?” with an eerie sense of automation and detachment.
Lyrically, the song’s repetitive and resigned tone reflects the grim reality of menial labor, a theme that resonates with Devo’s broader commentary on dehumanization in industrial society. Devo’s treatment of “Working in the Coal Mine” aligns with the ironic tone in other tracks, such as “Girl U Want,” where emotional experiences are conveyed in mechanized form. While Working in the Coal Mine differs from more upbeat songs like “Whip It” in its contemplative nature, it captures Devo’s unique ability to use music as a lens for exploring societal and psychological struggles, adding a new dimension to Toussaint’s soulful original.
# 4 – Uncontrollable Urge
Uncontrollable Urge launches Devo’s debut album, Q: Are We Not Men? A: We Are Devo!, with relentless energy and intensity. Recorded between October 1977 and February 1978 in Cologne, Germany, with production by Brian Eno, the track exemplifies Devo’s commitment to raw, angular rhythms and their unique take on the emerging new wave sound. The band members—Mark Mothersbaugh on vocals, Bob Mothersbaugh on guitar, Gerald Casale on bass, Bob Casale on rhythm guitar, and Alan Myers on drums—combine jagged guitar riffs, pounding drums, and a driving bassline to mirror the song’s chaotic theme. Devo’s influences from punk rock, combined with their pioneering use of synthesizers and electronic elements, find an outlet in this track that has since become a defining anthem of their catalog.
The lyrics of Uncontrollable Urge are deceptively simple, centered around a frantic, compulsive need that the narrator can’t resist. Lines like “Got an urge, got a surge and it’s out of control” encapsulate a sense of alienation and restlessness that Devo often explored, reflecting the social disarray of the late 1970s. The repetitive chant of “yeah yeah yeah” builds tension, capturing an unfiltered urgency. This theme of uncontrollable impulses is one that Devo presents as inherently human yet unsettling, a characteristic that would come to define much of their music and align with their view on the devolution of human behavior.
In the broader scope of Devo’s work, Uncontrollable Urge offers a stark contrast to more polished tracks like “Girl U Want” from Freedom of Choice but maintains a similar critique of conformity and consumerist desires. The song’s relentless pace and stripped-down structure embody the band’s early post-punk aesthetic, an ethos further amplified by Eno’s production. Uncontrollable Urge stands as a definitive Devo track, illustrating the band’s ability to channel social critique through minimalist lyrics and maximalist energy, earning it a prime spot in this list of top Devo songs.
https://www.youtube.com/watch?v=hYz90zeO3Kk
# 3 – Here We Go
“Here to Go,” featured on Devo’s Shout album released in October 1984, captures the band’s continued evolution into synthetic sounds and digital sampling, showcasing the use of the Fairlight CMI synthesizer. Written by Mark Mothersbaugh and Gerald Casale, the track encapsulates Devo’s distinctive fusion of biting social critique and catchy new wave rhythms, exploring themes of decisiveness and forward momentum amidst societal inertia. Recorded under Warner Bros. Records, Shout marked Devo’s final studio album with the label, and “Here to Go” stands out as a single that captures both the album’s avant-garde synth leanings and its darker thematic undercurrents.
Lyrically, “Here to Go” presents Devo’s critique of indecision, conformity, and society’s frequent refusal to act in the face of obvious challenges. Lyrics like “If you smell the smoke / You don’t need to be told / What you got to do” speak to a sense of urgency, encouraging action over debate. The repeated refrain, “We are here to go,” emphasizes a forward drive, counteracting stagnation with a philosophy that advocates moving past obstacles without hesitation. This message aligns with Devo’s ongoing exploration of themes tied to de-evolution, where societal progress is questioned and complacency critiqued.
Compared to other tracks on this list, such as “Freedom of Choice” and “Uncontrollable Urge,” “Here to Go” shares a thematic continuity that addresses human behavior and decision-making. While “Freedom of Choice” ponders the illusion of choice, “Here to Go” champions the act of decision itself as a necessity for moving forward. Musically, it’s more heavily synthesized than the guitar-driven energy of “Uncontrollable Urge,” showing Devo’s dedication to electronic experimentation during the Shout era. “Here to Go” remains a noteworthy piece that captures Devo’s sharp critique on societal inertia while reinforcing their legacy as pioneers of synthesizer-driven new wave music.
# 2 – I Can’t Get No Satisfaction
Devo’s rendition of “(I Can’t Get No) Satisfaction,” first self-released in 1977 and re-recorded in 1978 with producer Brian Eno for their debut album Q: Are We Not Men? A: We Are Devo!, is an iconic reimagining of the Rolling Stones’ classic. Devo’s approach to the song is radically transformative, replacing the original’s rock swagger with a jarring, robotic energy that reinterprets the song’s frustration as a fragmented, almost mechanized reaction to modern life. The recording, which was approved by Mick Jagger himself, showcases Devo’s unique take on alienation, aligning perfectly with the band’s new wave aesthetic and concept of “de-evolution.”
This version of “Satisfaction” arose out of Devo’s experimental jam sessions, beginning with guitarist Bob Casale’s reworked riff, a steady drumbeat by Alan Myers, and Gerald Casale’s minimalist bass. The band initially considered using the lyrics to the Stones’ “Paint It Black,” but ultimately found that “Satisfaction” was a better match for the disjointed and jittery rhythm they had created. The final product reworks the traditional bluesy riff into a staccato, synth-driven beat, overlaid with Mark Mothersbaugh’s stuttering, detached vocal delivery. Lyrically, Devo’s version maintains the essence of dissatisfaction found in the original but heightens its disillusionment, reflecting the band’s broader commentary on consumerism and dehumanization.
The song received national attention after Devo’s appearance on Saturday Night Live in 1978, which introduced their unconventional style to a broader American audience. The music video, which featured dancer Craig Allen Rothwell (known as Spazz Attack) executing a memorable forward flip, became a staple on MTV, further establishing Devo’s distinct presence in the new wave scene. “Satisfaction” peaked at number forty-one on the UK Singles Chart and charted in Australia as well, though it was ultimately more influential than commercially successful. Comparatively, “I Can’t Get No Satisfaction” aligns well with other songs on this list, such as “Uncontrollable Urge,” in its chaotic energy and its challenge to mainstream musical expectations. Together, these tracks highlight Devo’s dedication to dismantling conventional rock norms while infusing their music with pointed social critique.
# 1 – Whip It
Ending the list of top Devo songs is their iconic 1980 track “Whip It,” which stands as a quintessential example of the band’s unique approach to satire, music, and cultural commentary. Recorded at the Record Plant in Los Angeles and produced by Robert Margouleff, “Whip It” was initially underestimated by Warner Bros. Records. The song’s unconventional rhythm, offbeat lyrics, and layered synthesizer riffs seemed unlikely to resonate widely, yet it ultimately reached number fourteen on the Billboard Hot 100, propelled in part by the persistence of DJ Kal Rudman. This track from Freedom of Choice, Devo’s third studio album, showcases the band’s minimalist yet powerful sound, built on tightly structured synth and guitar riffs, a motorik beat, and vocal performances that alternate between Mark Mothersbaugh’s nasal intonation and Jerry Casale’s cartoonish delivery.
Musically, “Whip It” follows a 4/4 motorik beat that is characteristic of the band’s mechanical, machine-inspired aesthetic. Constructed from a blend of four demo tapes, the song includes both rhythmic synthesizer layers and a guitar riff that subtly nods to Roy Orbison’s “Oh, Pretty Woman.” The use of synthesizers, particularly the Minimoog and Prophet-5, builds an unconventional rock texture, giving the song a unique fusion of synth-pop and new wave that Devo helped pioneer. With lyrics like “go forward, move ahead” and “try to detect it,” the song echoes motivational clichés, adding layers of irony to Devo’s social critique. Casale wrote the lyrics as a satirical take on American optimism, using phrases inspired by political propaganda and Thomas Pynchon’s novel Gravity’s Rainbow, which mocks capitalist ideologies and false heroism.
The music video for “Whip It” reinforced Devo’s bizarre and subversive style, portraying Mothersbaugh on a ranch whipping a woman’s clothing off, which led to controversy and interpretations of misogynistic undertones. However, this visual was as much a parody of “tough love” American attitudes as the song’s lyrics, creating a sensation when it began airing on MTV. Comparatively, “Whip It” takes Devo’s critical approach to societal issues further than tracks like “Girl U Want” and “Uncontrollable Urge” by explicitly confronting the listener with absurdist tropes of self-improvement. It ends the list fittingly, encapsulating Devo’s perspective on the complex dynamics of control, choice, and cultural pressures in a way that became emblematic of their musical legacy.
Top 10 Devo Songs article published on Classic RockHistory.com© 2024
