Pere Ubu Single Releases, Vinyl & CD

30 Seconds Over Tokyo (6:21) b/w Heart Of Darkness (4:44)

Hearthan HR101, December 1975. 7" vinyl.

Original Back Sleeve Notes:
THE BAND CROCUS BEHEMOTH - lead vocals, radio, Cpt. of Palcontents PETER LAUGHNER - guitar, cat piano, bass guitar, whisper THOM HERMAN - guitar, spinal guitar, bass guitar, whisper TIM WRIGHT - phynancial guitar, bass guitar, whisper SCOTT KRAUSS - drums ALLEN RAVENSTINE - synthesizer, modulation PRODUCTION PRODUCED BY P. UBU AND BILL CAVANAUGH ARRANGEMENTS BY PERE UBU ENGINEERING, TAPE OPERATION, MASTERING BY B. CAVANAUGH Written and Researched winter, spring and summer 1974-75 by Rocket From The Tombs Music Recorded and mixed between September 28 and October 1, 1975, at Audio Recording COVER ART - JON LUOMA LINER NOTES - PETER LAUGHNER PACKAGE DESIGN - CROCUS BEHEMOTH NECESSARY ASSISTANCE - TIM ERNST FINANCIAL MANAGEMENT - MARIANNE LIVCHAK EQUIPMENT NOTES - Filtering, spinal and phynancial guitars and cat piano done thru Morley Power Wah-Boost units; Fender and Peavey amps, and Audio Studios Mixing Board. Dan Electro Six String Bass used for all bass parts. FAN NOTES - For more information write: Francis Ubu, c/o 3206 Prospect, #35, Cleveland, Ohio, 44115. Also available, a limited edition of 200 Pataphysical Diagrams; send 75 cents for each. MUSIC AND NOTES c1975

Original Inner Sleeve Notes:
NOTES The big guy and myself had been huddled over bean soup and coffee long enough to watch two sets of customers come and go. It wasn't that we weren't hungry, and the food at the Kettle doesn't disappoint you even if you are looking for nothing more than ballast; we just took our time. He stubbed out Winstons in an ashtray that looked full of gray-white worms, sipped his double-cream coffee, bringing it to his lips with pale, nubbed fingers that shook a little in the transit; he glanced around from time to time in a way that you wouldn't call nervous or expectant, but you could tell that there was something just under the surface waiting to find an outlet... in fact, if you let the big guy's attitude get to you, you were liable to feel like maybe he wasn't such good company... making you edgy... acting like maybe the next customer to walk in the door of the Kettle would be the cue to get up and walk out. The big guy was facing the door, but i got this way of side-sitting in a booth that lets me keep a good view going if I want it, and all I saw come in were two overweight cops, Magnums hanging off their hips, looking for nothing more than a hot meal and a couple of stools to drape their fat rears on. They go their coffee and whatever while "Love Will Keep Us Together" scratched out of the jukebox, and the big guy lit another Winston. I swallowed some black coffee and gave up on the bean soup... it just wasn't riding right on a gut full of Jim Beam and beer, but I felt as wide awake as seemed possible on an after-hours morning like this. The big guy's nerves were infectious... I was wired, all of a sudden, on some organic frequency that seemed to take hold of my motor responses and transmit "you are not fatigued but simply passive... use your muscles, your brain, your tissues NOW! MAKE A MOVE!" It was such a strong signal to my system that I reached for my wallet automatically, pulled out a five, and threw it on the table, gesturing frantically for the big guy to follow me up and out, which he did. The two cops at the counter didn't even notice as we moved through the door at a pretty good pace and hit the street, not speaking or acknowledging looks at all. When we reached the car, it was lightly misted over with ice. We worked in silence, our breath misting, scraping the freeze-up from the windows with a plastic tool and the edge of a grade school ruler. With a few sober belches the machine started, an we were headed east on 90, into a vaporous dawn.

30 Seconds Over Tokyo written by Thomas - Laughner - O'Conner. Heart Of Darkness written by Thomas - Laughner - Herman - Wright - Krauss. Published by Fire Songs, under license from Ubu Projex for North America, and by Virgin Music-BMG VM Music Ltd. for Rest Of World.

First 1000 copies with sleeve. Original labels are red ink on white paper. 2nd pressing is silver on black.

Final Solution (4:38) b/w Cloud 149 (2:32)

Hearpen HR102, April 1976. 7" vinyl.

Original Back Sleeve Notes:
As the droning in her ears performed its pre-ordained function as introductory soundtrack, she instinctively knew the future of the mirage forming itself in a blank field. for a second she sensed leaving something behind. refocussing, she found herself facing a dimly lit shed vibrating with the pulse of internal generators. at the door stood a large man flecked by shards of white light that escaped the shed to annihilation in the overhanging hemisphere of an industrial arc lamp. she followed him inside through a deafening squall of unnamed noises combining their extremities in a miasma of smoke and gases peopled with queer shapes. humans(?) shuffling about; machines waving their arms. she couldn't tell which was which. spaces between machines were narrow, each moving part barely missing another. distracted by a waver in her peripheral vision, she raised her eyes to see giant aluminoid cables where the ceiling should have been, stretching off to infinity, from whence they transmitted Life to the machines. the man shouted incomprehensible explanations, then genuflected to the colossal steel-spiked stamping machines with cast-iron flywheels and iron balls that lashed the air with each stamping while immense cogwheels squeaked and groaned, shining black with oil. her eyes had grown accustomed to the dark and she could see men swaying, hypnotized by the revolution of the cogwheels. as always, her gaze returned to where the ceiling should have been, the vast silent cables shielded her from the formless Void.

CROCUS BEHEMOTH-vocals
TOM HERMAN-guitar on "Solution",bass on "149",bking vocals
PETER LAUGHNER-guitar,bking. vocals
TIM WRIGHT-bass on "Solution",lead guitar on "149"
SCOTT KRAUSS-drums
DAVE TAYLOR-E.M.L., Ace-Tone organ

Liner notes and cover design-Tim Wright
Art Jay Vecchio
Necessary assistance-Valerie Ernst
Financial Management-Mary Anne Livchak

Produced by Pere Ubu.
Engineered by Ken Hamann at Cleveland Recording Company, February 26 and March 8 1976.

Final Solution written by Thomas - Bell - Wright - Laughner - Herman - Krauss - Taylor. Cloud 149 written by Thomas - Wright - Laughner - Herman - Krauss - Taylor. Published by Fire Songs, under license from Ubu Projex for North America, and by Virgin Music-BMG VM Music Ltd. for Rest Of World.

First 600 came with printed sleeve.

Street Waves (3:00) b/w My Dark Ages (I Don't Get Around) (4:00)

Hearpen HR103, December(?) 1976. 7" vinyl.

Produced by Pere Ubu.
Engineered by Ken Hamann at Cleveland Recording Company on October 14 and 22 1976.

Songs written by Thomas - Herman - Krauss - Maimone - Ravenstine. Published by Fire Songs, under license from Ubu Projex for North America, and by Virgin Music-BMG VM Music Ltd. for Rest Of World.
Sleeve design by David Thomas.
Dedicated to Mary Ellen Herman.

Instrumentation:
David Thomas - vocals
Tom Herman - guitar, backing vocals
Allen Ravenstine - EML synthesizers
Tony Maimone - bass
Scott Krauss - drums

Original sleeve was plain white paper with inked rubber stamp on front and back.

The Modern Dance b/w Heaven

Hearpen HR104, August 1977. 7" vinyl.

Produced by Pere Ubu and Ken Hamann.
Engineered by Ken Hamann.

Heaven and Non-Alignment Pact were recorded and then mixed January 31 1977 at Cleveland Recording Company. Subsequently, it was decided to go with Modern Dance as the A-side and it was recorded at Cleveland Recording Company March 20 1977 and mixed July 8 1977. (Non-alignment Pact later appeared on the album The Modern Dance.

Songs written by Herman - Krauss - Maimone - Ravenstine - Thomas. Published by Fire Songs, under license from Ubu Projex for North America, and by Virgin Music-BMG VM Music Ltd. for Rest Of World.
Sleeve design by Tom Herman.
Photos by Tom Herman (back of sleeve) and Steve Kornajcik (front of sleeve).

Instrumentation:
David Thomas - vocals
Tom Herman - guitar, backing vocals
Allen Ravenstine - EML synthesizers, tape
Tony Maimone - bass, piano
Scott Krauss - drums

1000 copies pressed in total, all with printed sleeves.

The Fabulous Sequel b/w Humor Me (live) and The Book Is On The Table

Chrysalis Records CHS2372, October 1979 (UK). 7" vinyl.

The Fabulous Sequel (Have Shoes Will Walk) was taken from the album New Picnic Time. The Book Is On The Table was an out-take from the album. Humor Me was recorded December 5 1978 in concert at London College of Printing, London, England. Songs written by Herman - Krauss - Maimone - Ravenstine - Thomas. Published by Fire Songs, under license from Ubu Projex for North America, and by Virgin Music-BMG VM Music Ltd. for Rest Of World.

Instrumentation:
David Thomas - vocals
Tom Herman - guitar, backing vocals
Allen Ravenstine - EML synthesizers
Tony Maimone - bass
Scott Krauss - drums, tape

Final Solution b/w My Dark Ages

DATAPANIK IN THE YEAR ZERO-A
Rough Trade Records RT049, June 1980 (UK). 7" vinyl.

Artwork by John Thompson. These are reissues of the Hearpen releases.

Not Happy b/w Lonesome Cowboy Dave

Rough Trade Records RT066 February 1981 (UK).
Rough Trade Records RTUS004 (US). 7" vinyl.

Engineered by Paul Hamann at Suma. Mixed by Adam Kidron, Geoff Travis and Mayo Thompson in London.
Artwork by David and Mary Thomas.
Mastered Nov 29 1980.
©1981 Fire Songs under license from Ubu Projex for North America, and by Virgin Music-BMG VM Music Ltd. for Rest Of World.

Instrumentation:
David Thomas - vocals, whistle
Mayo Thompson - guitar
Allen Ravenstine - EML synthesizers
Tony Maimone - bass
Scott Krauss - drums

We Have The Technology (Paul Staveley O'Duffy mix) b/w We Have The Technology (LP mix) and The B Side

7" vinyl, Fontana Records UBU 1 (870 407-7). Released July 25 1988.

We Have The Technology (Paul Staveley O'Duffy mix) b/w We Have The Technology (LP mix), The B Side and Postman Drove A Caddy

12" vinyl, Fontana UBU112 (870-407-1); CD EP, Fontana UBU1 (874-407-2); released July 25 1988 (UK). 12" Vinyl, Restless Records, 7 72340-0; CD EP, Restless Records, 7 72340-3; MC, Restless Records, 7 72340-4; released June 1988 (US).

Produced by Pere Ubu and Paul Hamann.
A Side mixed 1988 in London, England, by Paul Staveley O'Duffy. Recorded November 9-30 1987 at Suma Recording Studios, Painesville, Ohio, and engineered by Paul Hamann.
B Sides mixed by Paul Hamann, David Thomas and Chris Cutler at Suma Recording Studio, The Roundhouse Recording Studios, London, and Marcus Recording Studios, London. Recorded November 9-30 1987 at Suma Recording Studios, Painesville, Ohio, and engineered by Paul Hamann.
Artwork by John Thompson. Songs written by Cutler-Jones-Krauss-Maimone-Ravenstine-Thomas. Published by Fire Songs, under license from Ubu Projex.

Instrumentation:
David Thomas - vocals
Jim Jones - guitar
Allen Ravenstine - EML synthesizers
Tony Maimone - bass, organ
Chris Cutler - drums
Scott Krauss - drums

Waiting For Mary b/w Wine Dark Sparks

7" vinyl, Fontana Records UBU 2 872 938-7 (UK, Int'l, Italy, Portugal); released March 1989.

Waiting For Mary b/w Wine Dark Sparks and Flat

12" vinyl, Fontana Records UBU 212 872 939-1 (UK, Int'l); CD EP, Fontana Records UBU CD2 872 939-2 1989 (Int'l); released March 1989.

A Side produced by Stephen Hague October 1988 and January 1989 at Advision Recording Studios, London, England. Written by Cutler-Jones-Krauss-Maimone-Ravenstine-Thomas.
B Side produced by Pere Ubu. Recorded and mixed January 28-February 1 1989 at Suma Recording Studio, Painesville, Ohio, and engineered by Paul Hamann. Written by Cutler-Feldman-Jones-Krauss-Maimone-Thomas.
Published by Fire Songs, under license from Ubu Projex. Artwork by John Thompson. Mastered by Tim Young, CBS Studios, London, England.

Instrumentation, A Side:
David Thomas - vocals
Jim Jones - guitar
Allen Ravenstine - EML synthesizers
Tony Maimone - bass
Chris Cutler - drums
Scott Krauss - drums

Instrumentation, B Side:
David Thomas - vocals
Jim Jones - guitar
Eric Drew Feldman - keyboards, synthesizers
Tony Maimone - bass
Chris Cutler - drums
Scott Krauss - drums

Waiting For Mary (Radio Edit) b/w Waiting For Mary

Fontana Records UBUDJ 2. UK promo release.

A Side produced by Stephen Hague October 1988 and January 1989 at Advision Recording Studios, London, England. Written by Cutler-Jones-Krauss-Maimone-Ravenstine-Thomas. Published by Fire Songs, under license from Ubu Projex.
Mastered by Tim Young, CBS Studios, London, England.

Instrumentation:
David Thomas - vocals
Jim Jones - guitar
Allen Ravenstine - EML synthesizers
Tony Maimone - bass
Chris Cutler - drums
Scott Krauss - drums

Love Love Love b/w Fedora Satellite

7" vinyl, Fontana Records UBU 3 874 468-7 (UK); Mercury Records 874 468-7 (Australia). Released 1989 (UK).

Love Love Love b/w Fedora Satellite and Say Goodbye

CD EP, Fontana Records UBU CD3 874 469-2 (UK), released 1989.

Love Love Love (Cajun House Mix) b/w Love Love Love (132 BPM) and Love Love Love (LP)

12" vinyl, Fontana Records UBU 312 874 469-1; CD EP, Fontana Records UBU CD33 874 533-3 1989; (UK); released 1989. Remixed by The Groove Corporation.

A Side produced by Daniel Miller and Rico Conning. Recorded June and September 1988 at Suma Recording Studio, Painesville, Ohio, and engineered by Paul Hamann. Mixes engineered January 1989 by Rico Conning at Konk Studios, London. Written by Thomas-Krauss-Laughner-Herman-Taylor-Wright.
B Side produced by Pere Ubu. Recorded and mixed January 28-February 1 1989 at Suma Recording Studio, Painesville, Ohio, and engineered by Paul Hamann. Written by Cutler-Feldman-Jones-Krauss-Maimone-Thomas. Published by Fire Songs, under license from Ubu Projex.
Artwork by John Thompson.

Breath b/w Bang The Drum

Fontana Records UBU 4 (874 984-7). Released 1989 (UK).

A Side is an edited version produced by Stephen Hague recorded October 1988 and January 1989 at Advision Recording Studios, London, and engineered by Dave Meegan. Written by Cutler-Jones-Krauss-Maimone-Ravenstine-Thomas. Published by Fire Songs, under license from Ubu Projex.
B Side produced by Pere Ubu. Recorded February 1 1989 at Suma Recording Studio, Painesville, Ohio, and engineered by Paul Hamann.
Artwork by John Thompson.

I Hear They Smoke The Barbecue b/w Invisible Man

Vinyl 7", Fontana Records UBU 5 (878 720-7).

I Hear They Smoke The Barbecue b/w Invisible Man and Down By The River

Vinyl 12", Fontana UBU512 (878 720-1). CD single, Fontana UBUCD5 (878 720-2). Released March 4 1991 (UK).

A Side produced by Gil Norton and mixed by Stephen Hague. Recorded June and July 1990 at Suma Recording Studio, Painesville, Ohio, and July and August 1990 at Wessex Studios, London, and September 1990 at Livingston Studios, London, and engineered by Al Clay. Some overdubs engineered by Felix Kendall. Mixed November 28 and 29 1990 at Mayfair Studios, London, and engineered by Spike. Written by Feldman-Jones-Krauss-Maimone-Thomas.
B Side produced by Pere Ubu. Mixed by Gil Norton September 20 1990 at Mayfair Studios, London, and engineered by Steve Chase. Recorded January 28- February 1 1989 at Suma Recording Studio, Painesville, Ohio, and engineered by Paul Hamann. Written by Cutler-Feldman-Jones-Krauss-Maimone-Thomas. Published by Fire Songs, under license from Ubu Projex.
Artwork by John Thompson.

Instrumentation, A Side:
David Thomas - vocals
Jim Jones - guitar
Eric Drew Feldman - keyboards, synthesizers
Tony Maimone - bass
Scott Krauss - drums
Andy Redhead - percussion

Instrumentation, B Side:
David Thomas - vocals
Jim Jones - guitar
Eric Drew Feldman - keyboards, synthesizers
Tony Maimone - bass
Chris Cutler - drums
Scott Krauss - drums

I Hear They Smoke The Barbecue b/w Invisible Man

Fontana Records MSDJ2. Released January 1991 (UK). UK promo release.
Released under the band name of The Modern Solution.
Same release info as above.

Oh Catherine b/w Like A Rolling Stone

Vinyl 7", Fontana Records UBU 6 (868 244-7). Released May 1991 (UK).

Oh Catherine b/w Like A Rolling Stone and Around The Fire

Vinyl 12", Fontana Records, UBU 612 (868 245-1). CD EP, Fontana Records, UBU CD6 (868 245-2). Released May 1991 (UK).

A Side produced by Gil Norton and mixed by Dave Bascombe. Recorded June and July 1990 at Suma Recording Studio, Painesville, Ohio, and July and August 1990 at Wessex Studios, London, and September 1990 at Livingston Studios, London, and engineered by Al Clay. Some overdubs engineered by Felix Kendall. Mixed December 7 and 8 1990 at Townhouse Studios, London. Written by Feldman-Jones-Krauss-Maimone-Thomas.
B Side produced by Pere Ubu. Mixed September 21 1990 at Mayfair Studios,London, and engineered by Steve Chase. Recorded January 28-February 1 1989 at Suma Recording Studio, Painesville, Ohio, and engineered by Paul Hamann. Written by Cutler-Feldman-Jones-Krauss-Maimone-Thomas. Published by Fire Songs, under license from Ubu Projex.
Artwork by John Thompson. Photo by Matti Klatt.

Kathleen and Mutual Interview with David Thomas and Frank Black

CD EP, Imago

Sleepwalk (Radio Edit) b/w Sleepwalk (LP)

CD EP, Imago IM28045-2-DJ

Produced by Al Clay. Engineered by Lou Giordano at The Outpost, Stoughton MA.
Mixed at Blue Jay Recording, Carlisle MA.
Mastered by Bob Ludwig.
Radio edit by Stephen Hague.

Slow Walking Daddy (2:31) b/w SAD.TXT (3:48)

Smog Veil SV47 (World) Sep 2002.

Produced by David Thomas.

Radio edit of "Slow Walking Daddy" by Paul Hamann & David Thomas at Suma, August 2002, originally from the album ST ARKANSAS. "SAD.TXT" recorded live at Rennes, 1998.

Package designed by John Thompson / idrome.
Side 1 written by Herman - Mehlman - Temple - Thomas - Wheeler and published by Ubu Projex, administered by Bug Music. Side 2 written by Herman - Jones - Mehlman - Temple - Thomas - Wheeler. Published by Fire Songs, under license from Ubu Projex.

I Sell Soul (3:08) b/w Romeo & Juliet (4:48)

Rocket From The Tombs
Hearpen HR150 Apr 6 2010.

Produced and mixed by David Thomas.
Engineered by Paul Hamann at Suma January 2009.
Package designed by John Thompson / idrome.
Written by Bell - Chrome - Lloyd - Mehlman - Thomas. Published by Hearpen Music / Old Loud & Snotty Music / Basement Music.

NB. These are different mixes and "I Sell Soul" was partially re-recorded for Barfly.