Chords for Devo’s Q: Are We Not Men? A: We Are Devo! in 4 Minutes
Tempo:
83.8 bpm
Chords used:
G
C
A
D
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
["We Are D .Vo"]
[Gm] It was nervous, robotic, [G] nearly alien music.
It must have come from over-programmed machines
or overstimulated humans.
It was the sound of de-evolution,
manufactured by a nerdy, uniform-clad group called D.Vo.
When their debut album, Are We Not Men, We Are D.Vo,
came out on August 28th, 1978,
the Akron, Ohio band had already [Eb] been honing
their act for years.
The group was formed by art students
at Kent State University [C] in the wake
of the 1970s student [G] shootings
known as the May 4th Massacre,
which targeted an anti-war protest
that included D.Vo's. Gerald Casal and Mark Mothersbaugh. Intended as a Dadaistic response to the turmoil and disappointments of the 60s, D.Vo. took their name from their own [C] philosophy of de-evolution, which predicted the regression of mankind due to technology and authoritarianism. [A] [B] [A] [Em] [A] Though [Gm] many inventive bands, including Pear Ubu, the Electric [G] Eels, and the Styrenes, were bubbling up down the road in Cleveland, in Akron, D.Vo. created a hermetic world unto itself. They declared that individuality was dead and often dressed in matching yellow [C] jumpsuits onstage, projecting the image of an absurd army. [Ab] Their spastic, stripped-down rejection of bloated rock and roll imagined what a band of devolved humans would sound like. As Casal put it, we wanted to make outer space caveman [Bm] music. [G] Hey, can I have [D] [Bm] [G] [D] two [G] steelbacks? [F] [G] [A] D.Vo. had self-released two singles, including a stiffened version of [G] the Rolling Stones classic [C] I Can't Get No Satisfaction, which writer Clinton Halen called a mechanical jerk [G]-off, when in 1977, a friend passed their music to Iggy Pop and David Bowie, [C] who were both smitten. Later that year, [Eb] at a show in New York, Bowie [Gm] introduced D.Vo. as the band of the future. I can't [D] get [G] no [D] satisfaction, okay, [G] let me know. [C] [D] [G]
Soon after, word of D.Vo. traveled to Brian Eno, whose band Roxy Music was a big influence on the group. [Eb] In early 1978, D.Vo. flew to Germany to record Are We Not Men, We Are D.Vo. with Eno, in the studio of legendary producer Connie [G] Plank. Eno created his own sounds to add to every song, but D.Vo. only used a few of them, confident in their sharply defined vision of how de-evolutionary music should sound. With a title adapted from a chant in the film version of H.G. Wells' dystopian novel, The Island of Dr. Moreau, Are We Not Men, We Are D.Vo presents D.Vo. as a hybrid of man and machine. It's filled with rigid rhythms, but also flooded with barely contained energy. Opener Uncontrollable Urge is a quivering [C] cycle of tension and release, as sped up guitar chords unleash waves of [E] hyperactivity. [A] During [Em] [A] the [E] [C] circus-like Jocko Homo, band members shout the album title back and forth eerily, as if brainwashing themselves. [G] On Gut Feeling, Slap Your Mammy, they combine lockstep beats and frantic crescendos into a rush of sonic [D] chaos. [Em] [G] [C] [A]
[D] [E] [G]
[Eb] D.Vo. would soon streamline their sound, morphing it into music so accessible that they landed in the top 40 with [D] the ultra-catchy Whip It. [A] [G] But Are We Not Men, We Are D.Vo remains the definitive statement of their pioneering [Eb] sound and philosophy. If nothing else since sounds like it, perhaps that's [C] because only the men who invented de-evolution knew how to turn it into [G] music.
["We Are D .Vo"]
[Gm] It was nervous, robotic, [G] nearly alien music.
It must have come from over-programmed machines
or overstimulated humans.
It was the sound of de-evolution,
manufactured by a nerdy, uniform-clad group called D.Vo.
When their debut album, Are We Not Men, We Are D.Vo,
came out on August 28th, 1978,
the Akron, Ohio band had already [Eb] been honing
their act for years.
The group was formed by art students
at Kent State University [C] in the wake
of the 1970s student [G] shootings
known as the May 4th Massacre,
which targeted an anti-war protest
that included D.Vo's. Gerald Casal and Mark Mothersbaugh. Intended as a Dadaistic response to the turmoil and disappointments of the 60s, D.Vo. took their name from their own [C] philosophy of de-evolution, which predicted the regression of mankind due to technology and authoritarianism. [A] [B] [A] [Em] [A] Though [Gm] many inventive bands, including Pear Ubu, the Electric [G] Eels, and the Styrenes, were bubbling up down the road in Cleveland, in Akron, D.Vo. created a hermetic world unto itself. They declared that individuality was dead and often dressed in matching yellow [C] jumpsuits onstage, projecting the image of an absurd army. [Ab] Their spastic, stripped-down rejection of bloated rock and roll imagined what a band of devolved humans would sound like. As Casal put it, we wanted to make outer space caveman [Bm] music. [G] Hey, can I have [D] [Bm] [G] [D] two [G] steelbacks? [F] [G] [A] D.Vo. had self-released two singles, including a stiffened version of [G] the Rolling Stones classic [C] I Can't Get No Satisfaction, which writer Clinton Halen called a mechanical jerk [G]-off, when in 1977, a friend passed their music to Iggy Pop and David Bowie, [C] who were both smitten. Later that year, [Eb] at a show in New York, Bowie [Gm] introduced D.Vo. as the band of the future. I can't [D] get [G] no [D] satisfaction, okay, [G] let me know. [C] [D] [G]
Soon after, word of D.Vo. traveled to Brian Eno, whose band Roxy Music was a big influence on the group. [Eb] In early 1978, D.Vo. flew to Germany to record Are We Not Men, We Are D.Vo. with Eno, in the studio of legendary producer Connie [G] Plank. Eno created his own sounds to add to every song, but D.Vo. only used a few of them, confident in their sharply defined vision of how de-evolutionary music should sound. With a title adapted from a chant in the film version of H.G. Wells' dystopian novel, The Island of Dr. Moreau, Are We Not Men, We Are D.Vo presents D.Vo. as a hybrid of man and machine. It's filled with rigid rhythms, but also flooded with barely contained energy. Opener Uncontrollable Urge is a quivering [C] cycle of tension and release, as sped up guitar chords unleash waves of [E] hyperactivity. [A] During [Em] [A] the [E] [C] circus-like Jocko Homo, band members shout the album title back and forth eerily, as if brainwashing themselves. [G] On Gut Feeling, Slap Your Mammy, they combine lockstep beats and frantic crescendos into a rush of sonic [D] chaos. [Em] [G] [C] [A]
[D] [E] [G]
[Eb] D.Vo. would soon streamline their sound, morphing it into music so accessible that they landed in the top 40 with [D] the ultra-catchy Whip It. [A] [G] But Are We Not Men, We Are D.Vo remains the definitive statement of their pioneering [Eb] sound and philosophy. If nothing else since sounds like it, perhaps that's [C] because only the men who invented de-evolution knew how to turn it into [G] music.
Key:
G
C
A
D
Eb
G
C
A
[G] _ _ _ _ _ _ _
["We Are D _ _ .Vo"]
[Gm] It was nervous, robotic, [G] nearly alien music.
It must have come from over-programmed machines
or overstimulated humans.
It was the sound of de-evolution,
manufactured by a nerdy, uniform-clad group called D.Vo.
When their debut album, Are We Not Men, We Are D.Vo,
came out on August 28th, 1978,
the Akron, Ohio band had already [Eb] been honing
their act for years.
The group was formed by art students
at Kent State University [C] in the wake
of the 1970s student [G] shootings
known as the May 4th Massacre,
which targeted an anti-war protest
that included D.Vo's. Gerald Casal and Mark Mothersbaugh. Intended as a Dadaistic response to the turmoil and disappointments of the 60s, D.Vo. took their name from their own [C] philosophy of de-evolution, which predicted the regression of mankind due to technology and authoritarianism. [A] _ _ [B] _ [A] _ [Em] _ [A] Though _ _ _ _ _ _ [Gm] _ many inventive bands, including Pear Ubu, the Electric [G] Eels, and the Styrenes, were bubbling up down the road in Cleveland, in Akron, D.Vo. created a hermetic world unto itself. They declared that individuality was dead and often dressed in matching yellow [C] jumpsuits onstage, projecting the image of an absurd army. [Ab] Their spastic, stripped-down rejection of bloated rock and roll imagined what a band of devolved humans would sound like. As Casal put it, we wanted to make outer space caveman [Bm] music. [G] Hey, can I have [D] _ [Bm] _ [G] [D] two [G] steelbacks? _ [F] _ [G] _ _ _ [A] D.Vo. had self-released two singles, including a stiffened version of [G] the Rolling Stones classic [C] I Can't Get No Satisfaction, which writer Clinton Halen called a mechanical jerk [G]-off, when in 1977, a friend passed their music to Iggy Pop and David Bowie, [C] who were both smitten. Later that year, [Eb] at a show in New York, Bowie [Gm] introduced D.Vo. as the band of the future. I can't [D] get [G] no [D] satisfaction, _ okay, [G] let me know. _ _ [C] _ [D] _ _ _ _ _ _ [G] _
Soon after, word of D.Vo. traveled to Brian Eno, whose band Roxy Music was a big influence on the group. [Eb] In early 1978, D.Vo. flew to Germany to record Are We Not Men, We Are D.Vo. with Eno, in the studio of legendary producer Connie [G] Plank. Eno created his own sounds to add to every song, but D.Vo. only used a few of them, confident in their sharply defined vision of how de-evolutionary music should sound. With a title adapted from a chant in the film version of H.G. Wells' dystopian novel, The Island of Dr. Moreau, Are We Not Men, We Are D.Vo presents D.Vo. as a hybrid of man and machine. It's filled with rigid rhythms, but also flooded with barely contained energy. _ Opener Uncontrollable Urge is a quivering [C] cycle of tension and release, as sped up guitar chords unleash waves of [E] hyperactivity. [A] _ _ During [Em] _ [A] the _ _ _ [E] _ [C] circus-like Jocko Homo, band members shout the album title back and forth eerily, as if brainwashing themselves. [G] On Gut Feeling, Slap Your Mammy, they combine lockstep beats and frantic crescendos into a rush of sonic [D] chaos. _ [Em] _ _ [G] _ _ [C] _ _ [A] _
_ [D] _ _ [E] _ _ [G] _ _
[Eb] D.Vo. would soon streamline their sound, morphing it into music so accessible that they landed in the top 40 with [D] the ultra-catchy Whip It. [A] _ [G] But Are We Not Men, We Are D.Vo remains the definitive statement of their pioneering [Eb] sound and philosophy. If nothing else since sounds like it, perhaps that's [C] because only the men who invented de-evolution knew how to turn it into [G] music. _ _ _ _ _ _ _ _ _
["We Are D _ _ .Vo"]
[Gm] It was nervous, robotic, [G] nearly alien music.
It must have come from over-programmed machines
or overstimulated humans.
It was the sound of de-evolution,
manufactured by a nerdy, uniform-clad group called D.Vo.
When their debut album, Are We Not Men, We Are D.Vo,
came out on August 28th, 1978,
the Akron, Ohio band had already [Eb] been honing
their act for years.
The group was formed by art students
at Kent State University [C] in the wake
of the 1970s student [G] shootings
known as the May 4th Massacre,
which targeted an anti-war protest
that included D.Vo's. Gerald Casal and Mark Mothersbaugh. Intended as a Dadaistic response to the turmoil and disappointments of the 60s, D.Vo. took their name from their own [C] philosophy of de-evolution, which predicted the regression of mankind due to technology and authoritarianism. [A] _ _ [B] _ [A] _ [Em] _ [A] Though _ _ _ _ _ _ [Gm] _ many inventive bands, including Pear Ubu, the Electric [G] Eels, and the Styrenes, were bubbling up down the road in Cleveland, in Akron, D.Vo. created a hermetic world unto itself. They declared that individuality was dead and often dressed in matching yellow [C] jumpsuits onstage, projecting the image of an absurd army. [Ab] Their spastic, stripped-down rejection of bloated rock and roll imagined what a band of devolved humans would sound like. As Casal put it, we wanted to make outer space caveman [Bm] music. [G] Hey, can I have [D] _ [Bm] _ [G] [D] two [G] steelbacks? _ [F] _ [G] _ _ _ [A] D.Vo. had self-released two singles, including a stiffened version of [G] the Rolling Stones classic [C] I Can't Get No Satisfaction, which writer Clinton Halen called a mechanical jerk [G]-off, when in 1977, a friend passed their music to Iggy Pop and David Bowie, [C] who were both smitten. Later that year, [Eb] at a show in New York, Bowie [Gm] introduced D.Vo. as the band of the future. I can't [D] get [G] no [D] satisfaction, _ okay, [G] let me know. _ _ [C] _ [D] _ _ _ _ _ _ [G] _
Soon after, word of D.Vo. traveled to Brian Eno, whose band Roxy Music was a big influence on the group. [Eb] In early 1978, D.Vo. flew to Germany to record Are We Not Men, We Are D.Vo. with Eno, in the studio of legendary producer Connie [G] Plank. Eno created his own sounds to add to every song, but D.Vo. only used a few of them, confident in their sharply defined vision of how de-evolutionary music should sound. With a title adapted from a chant in the film version of H.G. Wells' dystopian novel, The Island of Dr. Moreau, Are We Not Men, We Are D.Vo presents D.Vo. as a hybrid of man and machine. It's filled with rigid rhythms, but also flooded with barely contained energy. _ Opener Uncontrollable Urge is a quivering [C] cycle of tension and release, as sped up guitar chords unleash waves of [E] hyperactivity. [A] _ _ During [Em] _ [A] the _ _ _ [E] _ [C] circus-like Jocko Homo, band members shout the album title back and forth eerily, as if brainwashing themselves. [G] On Gut Feeling, Slap Your Mammy, they combine lockstep beats and frantic crescendos into a rush of sonic [D] chaos. _ [Em] _ _ [G] _ _ [C] _ _ [A] _
_ [D] _ _ [E] _ _ [G] _ _
[Eb] D.Vo. would soon streamline their sound, morphing it into music so accessible that they landed in the top 40 with [D] the ultra-catchy Whip It. [A] _ [G] But Are We Not Men, We Are D.Vo remains the definitive statement of their pioneering [Eb] sound and philosophy. If nothing else since sounds like it, perhaps that's [C] because only the men who invented de-evolution knew how to turn it into [G] music. _ _ _ _ _ _ _ _ _