“If you were to listen to the Fat EP and go, ‘Hey, what’d they do before ?’ and you go to ‘Ride the Wild’ and you go, ‘What the hell?! They’re like two separate bands,'” says the famously bespectacled singer, “that’s where this record can help bridge some of this hardcore stuff with the basically Sixties songs that were being done by Frank back in that time.”ĭescendents’ early era was brief. A history lesson for Aukerman, the project will be even more so for fans, who have never before had the chance to chart how the Descendents progressed from the jangly, New Wave–influenced sound of their 1979 debut single (“Ride the Wild” b/w “It’s a Hectic World,” recorded by the trio of guitarist Frank Navetta, bassist Tony Lombardo, and drummer Bill Stevenson) to the caffeinated melodic hardcore of their first releases with Aukerman, 1981’s Fat EP and 1982’s Milo Goes to College. Again.Last year, in the middle of pandemic lockdown, Milo Aukerman got a unique opportunity: the chance to sing a handful of songs that he never even knew existed from the back catalog of the Descendents, the pioneering California punk outfit he’s fronted on and off for more than 40 years.ĭating from the first few years after the band’s 1977 formation, the songs - along with many that Aukerman did perform after he joined in 1980 - will finally see release this summer on 9th & Walnut, a newly completed album named after the Long Beach intersection where they practiced early on. And then the rain came down, and everyone got soaked. Wearing a nightgown and a child mask, he sang “Beautiful World” and told the audience that De-evolution is real. “We are Devo!” the crowd yelled back.Īs an encore, Mothersbaugh ran off stage to emerge a minute later as “Booji Boy” (pronounced Boogie Boy), his prepubescent alter ego. People danced in mud puddles to “Girl You Want” and “Gates of Steel.”At one point someone even climbed up a lamppost in the crowd to get a better look and wave at the cameras, but lost his grip and dropped to the ground before the song was over.
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They played “Whip It” to a crowd full of fathers and daughters, and everyone threw up their fists in whip-pantomiming unison.
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The aging pop legends may have changed a lot physically since the last time they played in Central Park 25 years ago–gray hair, no hair and pot bellies–but they still knew how to satisfy their fans.
Picture phones flashed, and Devo ran out in yellow jump suits with a choreographed dance. Then the rain stopped, the umbrellas dropped, and the red hats popped out. YYY went out like the end of Fever to Tell, with a slow song and a bow.
Songs like “Rich” and “Maps,” off of their latest effort, Fever to Tell, were so well rounded, it was almost unnoticeable that there was no bass and only one guitar. Karen punched the air with her mic as her poncho fell apart–revealing a neon spandex leotard–as she challengedthe rain to pour on down. As the songs gained momentum, so did the crowd’s cheers.
The Yeah Yeah Yeahs took the stage next, and Karen O was in near-perfect form as she strutted around, tearing at her clear rain poncho and yelling herself hoarse into the mic. Also Read Compact Discs: Sound of the Future
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