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Track List
01) Time Out for Fun
02) Peek-a-Boo!
03) Out of Sync
04) Explosions
05) That's Good
06) Patterns
07) Big Mess
08) Speed Racer
09) What I Must Do
10) I Desire
11) Deep Sleep
12) Part of You
13) Find Out
14) Peek-a-Boo (Dance Velocity)
15) Peek-a-boo! (DEVO dub)
16) Here to Go (Go mix version)
17) Here to Go (Here to dub version)
01) Time Out for Fun
02) Peek-a-Boo!
03) Out of Sync
04) Explosions
05) That's Good
06) Patterns
07) Big Mess
08) Speed Racer
09) What I Must Do
10) I Desire
11) Deep Sleep
12) Part of You
13) Find Out
14) Peek-a-Boo (Dance Velocity)
15) Peek-a-boo! (DEVO dub)
16) Here to Go (Go mix version)
17) Here to Go (Here to dub version)
2:47
3:00
3:33
3:03
3:24
2:58
2:43
2:39
2:34
3:14
3:29
2:52
3:24
4:39
5:25
5:34
5:48
Data Complete
60%
Total Rating
60%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1982
New Wave
Political
Rock/Pop
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Album
0 copies
Album Description
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Oh, No! It's Devo is the fifth studio album by Devo. By the time of its 1982 release, Devo were a full-fledged synth-pop act, with guitar-based New Wave sounds pushed more towards the background. Most of the music on Oh, No! was created by electronic means which gave it a much different sound than, for example, their 1978 debut Q: Are We Not Men? A: We Are Devo!, which relied more on guitars than synthesizers. This alienated some fans despite the band stating since at least 1978 that their goal was to "de-emphasize" guitars. The album was produced with prominent producer Roy Thomas Baker, who had famously worked with both Queen and The Cars, among many others.
In recent interviews, Devo's Gerald V. Casale has stated that the album was born out of critical reviews in which the band were alternately described as both "fascists" and "clowns." In response, the band decided to make an album that would answer the question, "what would an album by fascist clowns sound like?"
The song "I Desire" brought the band controversy because the lyrics were taken from a poem written by John Hinckley, Jr. (the man who attempted to assassinate President Ronald Reagan in a bid to impress actress Jodie Foster). "Big Mess" was inspired by a series of letters sent to a radio disc jockey by a personality who went by the name "Cowboy Kim" and who was believed to be a sufferer of schizophrenia.
Devo took on another new look for this album, wearing black t-shirts and slacks with white "Spud Ring" collars. In concert, these were augmented with Energy Domes, and the New Traditionalists shirts and ascots for part of the performance. The LP jacket had a cutout stand on the back so it could be stood up like a picture frame.
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Available in:
Oh, No! It's Devo is the fifth studio album by Devo. By the time of its 1982 release, Devo were a full-fledged synth-pop act, with guitar-based New Wave sounds pushed more towards the background. Most of the music on Oh, No! was created by electronic means which gave it a much different sound than, for example, their 1978 debut Q: Are We Not Men? A: We Are Devo!, which relied more on guitars than synthesizers. This alienated some fans despite the band stating since at least 1978 that their goal was to "de-emphasize" guitars. The album was produced with prominent producer Roy Thomas Baker, who had famously worked with both Queen and The Cars, among many others.
In recent interviews, Devo's Gerald V. Casale has stated that the album was born out of critical reviews in which the band were alternately described as both "fascists" and "clowns." In response, the band decided to make an album that would answer the question, "what would an album by fascist clowns sound like?"
The song "I Desire" brought the band controversy because the lyrics were taken from a poem written by John Hinckley, Jr. (the man who attempted to assassinate President Ronald Reagan in a bid to impress actress Jodie Foster). "Big Mess" was inspired by a series of letters sent to a radio disc jockey by a personality who went by the name "Cowboy Kim" and who was believed to be a sufferer of schizophrenia.
Devo took on another new look for this album, wearing black t-shirts and slacks with white "Spud Ring" collars. In concert, these were augmented with Energy Domes, and the New Traditionalists shirts and ascots for part of the performance. The LP jacket had a cutout stand on the back so it could be stood up like a picture frame.
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