Pere Ubu is an American rock group formed in Cleveland, Ohio, in 1975. The band had a variety of long-term and recurring band members, with singer David Thomas being the only member staying throughout the band's lifetime. They released their debut album The Modern Dance in 1978 and followed with several more LPs before disbanding in 1982. Thomas reformed the group in 1987, continuing to record and tour.
Tony Maimone is a bassist, producer, and recording engineer, who lives in Brooklyn, New York.
The Modern Dance is the debut album by American rock band Pere Ubu. It was released in January 1978 by record label Blank.
Eric Drew Feldman is an American keyboard and bass guitar player. Feldman has worked with Captain Beefheart, Fear, Snakefinger, The Residents, Pere Ubu, Pixies, dEUS, Katell Keineg, Frank Black, The Polyphonic Spree, Tripping Daisy, Reid Paley, Charlotte Hatherley, Custard and PJ Harvey.
Dub Housing is the second album by American rock band Pere Ubu. Released in 1978 by Chrysalis Records, the album is now regarded as one of their best, described by Trouser Press as "simply one of the most important post-punk recordings."
New Picnic Time is the third album by American rock band Pere Ubu. It was released in September 1979 by Chrysalis Records. Reportedly the album sessions were stressful and contentious, and after touring, the group disbanded. They would reform a matter of months later, with Mayo Thompson replacing founding guitarist Tom Herman. The lyrics for the song "The Voice of the Sand" are based upon the poetry of Vachel Lindsay.
The Art of Walking is the fourth full-length album by Pere Ubu. Mayo Thompson of The Red Krayola joined as guitarist for this album and slanted the proceedings further towards deconstruction and abstraction, and away from the primal rock that former guitarist Tom Herman had facilitated. The group would record one more album with Thompson, Song of the Bailing Man, before disbanding.
Song of the Bailing Man is the fifth Pere Ubu album, released in 1982. It was the final Pere Ubu album until 1988's The Tenement Year.
390° of Simulated Stereo is a live album featuring recordings from Pere Ubu's first few years of existence. In general, the recordings featured are lo-fi in nature. The album was out of print for decades, but will be reissued for Record Store Day 2021.
Terminal Tower: An Archival Collection is a compilation album by American rock band Pere Ubu. Released in 1985, the album compiles several of the band's early singles and B-sides, including the Hearthan singles recorded with founder Peter Laughner that were initially compiled on the Datapanik in Year Zero EP, and continuing through later sides recorded with Mayo Thompson.
Datapanik in the Year Zero is a 1996 box set by Pere Ubu, which catalogues their initial phase of existence up to their 1982 break-up. The title was first used by the band for a 1978 EP which compiled their first singles; the name was "recycled" for this release. The name references the Cold War film Panic in Year Zero! (1962).
The Tenement Year is the sixth studio album by American rock band Pere Ubu, and their first album after reuniting following their 1982 break-up. 'Classic lineup' members Tony Maimone and Allen Ravenstine, along with fellow Cleveland scenester Jim Jones and Henry Cow percussionist Chris Cutler found themselves playing with David Thomas for his 1987 album Blame the Messenger, and, discovering they sounded much like Pere Ubu, began incorporating a few Ubu numbers while touring for that album. Eventually, an official reunion was pursued, original drummer Scott Krauss was contacted, and thus the new lineup was completed and the old mantle assumed. The Tenement Year found the group veering in a loose, freewheeling, and decidedly more pop-oriented direction than in the past, though the pop leanings would become even more pronounced on subsequent albums. The album is a farewell to their hometown of Cleveland.
Cloudland is the seventh studio album by American rock band Pere Ubu. Released in May 1989, the album was produced by Stephen Hague. The single "Waiting for Mary", the video for which achieved some MTV exposure, netted Pere Ubu their only Billboard chart success to date, reaching number 6 on the Modern Rock Tracks chart. Cloudland is a village in north-western Georgia between Summerville and Chattanooga on a spur of Lookout Mountain. In the early 20th century, it was a summer getaway for Floridians.
One Man Drives While the Other Man Screams is Pere Ubu's second live album, covering the years 1978-1981. After remaining out-of-print for many years, the album was reissued in 2004.
Story of My Life is Pere Ubu's ninth studio album. Eric Drew Feldman left the band prior to recording, reducing Ubu to a quartet. Prior to touring on this album longtime bassist Tony Maimone left as well. This is the final release to feature both Maimome and founding drummer Scott Krauss. According to a conversation between David Thomas and Frank Black included on the b-side of the "Kathleen" single, the album's working title was Johnny Rivers Live At The Whiskey A Go Go.
Ray Gun Suitcase is the tenth album by the American rock group Pere Ubu's.
Apocalypse Now is Pere Ubu's third live album, and their first to document a single performance. The show in question, recorded on December 7, 1991, at Schubas Tavern in Chicago, was performed semi-acoustically, with synth-man Eric Drew Feldman instead handling an upright piano, and Jim Jones playing an amplified acoustic guitar.
St. Arkansas is the 12th studio album by Pere Ubu, released in 2002.
Blame the Messenger is the fifth studio album by experimental singer-songwriter David Thomas, released in January 1987 by Rough Trade and Twin/Tone Records. In 1997, the album was remastered by Paul Hamann and David Thomas for its inclusion in the Monster anthology box set.
"30 Seconds Over Tokyo" is the debut single by American post-punk band Pere Ubu. It was written by David Thomas, Peter Laughner and Gene O'Connor, during their stint as members of Rocket from the Tombs in 1974. Released on Thomas' independent Hearthan Records in 1975, the song received very little airplay but has earned high praise in the years since.
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