While Pere Ubu have never been widely popular—usually categorized as "underground rock"—they have a devoted following, have been hugely influential on several generations of avant-garde musicians and are a critically acclaimed American musical group. To define their music, Pere Ubu coined the term Avant Garage to reflect interest in both avant-garde music (especially Musique concrète) and raw, direct garage rock.
When Cleveland-based band Rocket From The Tombs fragmented some members formed Dead Boys, while David Thomas and guitarist Peter Laughner joined with guitarist Tom Herman, bass guitarist Tim Wright, drummer Scott Krauss and synthesist Allen Ravenstine to form Pere Ubu in 1975. At the time the band formed, Herman, Krauss, and Ravenstine lived in a house owned by Ravenstine.
Pere Ubu's first single (their first five releases were singles on their own "Hearthan" label) was "30 Seconds Over Tokyo" (inspired by the "Doolittle Raid" and named after a film depicting the raid), backed with "Heart of Darkness"; followed by "Final Solution" in 1976. One review noted that "30 Seconds..." "was clearly the work of a garage band, yet its arty dissonance and weird experimentalism were startlingly unique."
Of their second single, "Final Solution" (backed with "Cloud 149"), one reviewer wrote that Ubu's "call for a 'final solution' was the cry of teen angst run down in the decaying rust belt of America, and unlike the British punks who were looking around England the same year, seeing no future, and hating what they saw, Ubu reveled in it." They would rarely perform this song after some listeners misinterpreted it as being associated with the 'Nazi final solution'.
After "Street Waves", their third single, Pere Ubu signed to Blank Records, a short-lived imprint of Mercury Records.
Laughner left the group after their first two singles, and died soon afterward after a struggle with drug addiction. Tony Maimone signed on as bassist after Tim Wright left to join DNA.
In 1978 they released their debut album, The Modern Dance, which sold poorly but has proven influential. With the song "Sentimental Journey," the debut also introduced the practice of re-appropriating titles from well-known popular songs: Pere Ubu's "Sentimental Journey" has no obvious relation to the Doris Day hit song of the same name; "Drinking Wine Spodyody" has no apparent connection to the Sticks McGhee song (later revived by Jerry Lee Lewis). This practice has continued through 2006's Why I Hate Women, which has a song called "Blue Velvet" (again, no relation to the 1963 hit song by Bobby Vinton).
Special note should be made of Ravenstine's contributions to Pere Ubu. While most synthesizer players tended to play the instrument as they would a piano or organ, Ravenstine generally opted instead to make sounds that were reminiscent of spooky sound effects from 1950s science fiction films, or perhaps electronic music and musique concrète.
Dub Housing was released in 1978 and New Picnic Time in 1979. The group briefly disbanded in 1979, but reformed soon afterward with Tom Herman replaced by Mayo Thompson (of Red Krayola).
The Art of Walking was released in 1980, and by the release of Song of the Bailing Man in 1982, Krauss was replaced by Anton Fier. The group disbanded again soon afterwards; Krauss and Maimone formed Home and Garden, while Thomas worked on a solo career, notably with Richard Thompson and with members of Henry Cow.
By the late 1980s, one of Thomas' solo projects eventually featured much of Pere Ubu. The band was reformed again in 1987, with Jim Jones and Chris Cutler joining for the release of The Tenement Year in 1988, a far more pop-oriented album than ever before. The following year, the track "Waiting for Mary" (off the album 1989 Cloudland) appeared on MTV briefly. After the recording of Cloudland, Ravenstine left the group (although he made a guest appearance on Worlds in Collision in 1991) and later became an airline pilot. Eric Drew Feldman joined the band in time for the Cloudland tour and the recording of Worlds in Collision but left afterwards, joining Frank Black.
Story of My Life was released in 1993 on Imago Records; Maimone left (once again) to join They Might Be Giants, and Michele Temple and Garo Yellin joined the band for the Story of My Life tour and feature on Ubu's 1995 album, Ray Gun Suitcase. Robert Wheeler has played synthesizer and theremin with Pere Ubu since 1994. Krauss left the band during the Ray Gun Suitcase sessions. For the Ray Gun Suitcase tour, guitarist Jim Jones departed as a touring member (although he continued to contribute to recordings), founding guitarist Tom Herman replaced him for the tour.
Concurrent with the 1996 release of the Datapanik in Year Zero box set, Jim Jones retired due to health problems. Tom Herman returned to the band after a twenty year absence to tour with the band in 1995, and went on to record Pennsylvania in 1998 and St. Arkansas in 2002. Jim Jones contributed guitar tracks to each album as well, and guitarist Wayne Kramer of MC5 fame joined the band for their 1998 summer tour. Herman left again in 2005, being replaced by Keith Moliné, of David Thomas's "solo" group Two Pale Boys. The new lineup completed an album entitled Why I Hate Women, which was released on September 19th 2006.
On 18 February 2008, Jim Jones passed away at his Cleveland residence.
Come Home
Pere Ubu Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Of our home?
The double life of a provocateuris like the doctor who
Won't provide the cure.
Come home. Nobody's waiting.
Come home. Somebody cares.
Come home. I left the light on.
Come home. Nobody's there.
Go on home. Don't you know I was the spy in the heart
Of our home?
The double life of a provocateuris like the doctor who
Won't provide the cure.
Come home. Nobody's waiting.
Come home. Somebody cares.
Come home. I'm at the freeway.
Come home. Nobody's there.
In the backseat of a blue fin mystery I hang my head
And cry.
Outside the night birds call. Early morning mists swim
Free.
I'm at the bridge and the river's enraged.
I'm a bird but that bird's encaged.
I'm a free man otherwise engaged.
I'm a fool.
I'm a fool.
Go on home. Don't you know I was the spy in the heart
Of our home?
The double life of a provocateuris like the doctor who
Won't provide the cure.
Come home. Nobody's waiting.
Come home. Somebody cares.
Come home. I left the light on.
Come home. Nobody's there.
In the dim light of the New Dawn I shake the cold out
Of my hands.
The radio is on and I look for the lights of the road.
I say to myself, I'm at the bridge and the river's
Enraged.
I'm a bird but that bird's encaged.
I'm a free man otherwise engaged.
I'm a fool.
I'm a fool.
Go on home. Don't you know I was the spy in the heart
Of our home?
The double life of a provocateuris like the doctor
Won't provide the cure.
The song "Come Home" by Pere Ubu is a bleak and melancholic reflection on the aftermath of a failed relationship. The lyrics suggest that the singer was a spy in the heart of his home, and the double life of a provocateur has left him feeling trapped and alone. He implores his former partner to come home, even though he knows that nobody is waiting and nobody cares. The chorus is repeated twice throughout the song, and the verses contain vivid imagery that paints a picture of a lonely and isolated narrator.
The second verse contains the line "In the backseat of a blue fin mystery I hang my head and cry." This line is particularly striking as it evokes a sense of desolation and despair. The singer contrasts his own inner pain with the beauty of the outside world, with "night birds" and "morning mists" being described as "free." Towards the end of the song, the singer suggests that he is a fool and is otherwise engaged. It is clear that the singer is unable to come to terms with the end of his relationship and is struggling to move on.
Overall, "Come Home" is a poignant song that explores themes of loss, regret, and loneliness. The lyrics are haunting and the music complements the bleakness of the lyrics. This song is a great example of the powerful connection between music and emotions.
Line by Line Meaning
Go on home. Don't you know I was the spy in the heart
Of our home?
Leave and go back to the place we called home, not realizing that I was the one wreaking havoc from within its walls.
The double life of a provocateuris like the doctor who
Won't provide the cure.
Living a double life as an instigator is akin to a physician who refuses to offer the cure.
Come home. Nobody's waiting.
Return home, but don't expect anyone to be eagerly anticipating your arrival.
Come home. Somebody cares.
Even though you feel alone, there is someone out there who cares about you.
Come home. I left the light on.
I may not be present, but I wanted you to know I was thinking of you.
Come home. Nobody's there.
While the house may be vacant, returning to it can offer a sense of closure.
In the backseat of a blue fin mystery I hang my head
And cry.
Inside the enigmatic vehicle, I find myself in distress and feeling despondent.
Outside the night birds call. Early morning mists swim
Free.
As I listen to the birds' night-time cries, the morning fog appears liberal and unrestrictive.
I'm at the bridge and the river's enraged.
I'm a bird but that bird's encaged.
I'm a free man otherwise engaged.
I feel trapped and helpless, left to contend with an angry river while knowing that I am a free man at heart.
I'm a fool.
I made foolish decisions.
In the dim light of the New Dawn I shake the cold out
Of my hands.
As the morning light filters through, I struggle to warm my cold, numbed hands.
The radio is on and I look for the lights of the road.
I'm searching for something to guide me forward while tuning to the radio for comfort.
I say to myself, I'm at the bridge and the river's
Enraged.
I'm a bird but that bird's encaged.
I'm a free man otherwise engaged.
I'm a fool.
I'm a fool.
I remind myself of my current state, stuck in a difficult situation but still capable of being free, even if I am at times a fool.
Go on home. Don't you know I was the spy in the heart
Of our home?
The double life of a provocateuris like the doctor
Won't provide the cure.
The song concludes by reiterating its opening lines, emphasizing the double life the singer has been leading and likening it to a doctor who does not offer a cure.
Lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Written by: ALEX JAMES, MATTHEW GERRARD
Lyrics Licensed & Provided by LyricFind
@11spike7
I saw them live around '76 when Pete Laughner (R.I.P.) played with them. They had this vibe that is hard to explain. I really liked them. 100% original.
@davidlopan7633
Kalifornia and lucky lager brought me here.... bottle to the head, steel toes to the shin and knees. fuckin badass
@alswearengine4867
“This ain’t Lucky Lager!”
@tsartodd
David Thomas has one of the most distinctive voices and vocal deliveries of any modern singer. you can tell it's him singing, regardless of the style of the music behind him.
@Hellishhorse
Wow!. I never really got into Pere Ubu [you know how it is; so many bands..so little time!]. Just started checking them out 'cos julian Cope keeps ranting on about how good they are in his little booky thing]......They are amazing!....I'm sold!. Brilliant!
@andymate25
This song fits perfectly to Kalifornia movie! 👌🇺🇲
@DanWoodTomwoodson
me too! i searched pere ubu after seeing them listed as an inspiration for a bunch of other bands and trying to decide if i like it or am just weirdly fascinated like watching a really good commercial...
@davidlopan7633
great song! Why was this never played on the radio??
@lunhil12
I discovered Pere Ubu on the album "Urgh! A music war". That and a few other records saved me from the pop rock wasteland of the time.
@bobthebear1246
Sakis75: Thank you. You made a great video out of a truly magical song. God, I love this. Favorited.