Out of the ashes that was Rocket From The Tombs came two of Cleveland's finest bands, The Dead Boys and Pere Ubu. While Stiv and the boys were about to catch onto the new scene and punk it up, Pere Ubu were busy creating a style and sound unlike many before or since. Their debut single, 30 Seconds Over Tokyo, became an instant classic and thirty years (on/off) and a dozen or so albums later and Ubu mainstay, Dave Thomas, don't seem to be obliged to simmer down just yet. Here is an extract of a 2003 interview with Thomas and The Skull Club's one and only, DJ Semi-Otics: You're playing in London with members of Sun Ra Arkestra and Wayne Kramer later this month. What's your involvement with the event? What's the vibe gonna be?

Wayne is a friend and played a show as a member of Pere Ubu a few years ago. I suppose he is "repaying" the compliment. He asked me to guest with the MC5 and Arkestra. I am doing "Starship". It's a great honor and I am excited to do it.

What records or projects do you have in the pipeline?

About to start writing a new Ubu. Writing with Cheetah for possible Rocket From The Tombs album. Working on a 2pbs live album. Compiling Director's Cut editions of RGS and PA. More movie soundtracks for ICFOS and X, The Man With X-Ray Eyes. Compiling 18 Monkeys - The Film soundtrack.

You're certainly favored amongst the rock & roll music community in Manchester. Any chance of you playing this town again in the future?

It's difficult in the UK. Any venue/promoter suggestions?

I've been reading various Pere Ubu manifesto which I find very interesting. Things like "Don't seek success". What's the idea behind messages like that?

We have always concentrated on making good music. If you make good music people will search you out. Maybe not lots of them, but some. As well we have always been laissez-faire perfectionists. Seeking success distracts from the principal function of a musical group. It offers up temptations to deviate from a proper course. I have nothing against "success" -- I love the process of the market in fact-- but not at the cost of vision.

What writers have had an influence on your art? Or what writers do you like?

Raymond Chandler.

I've recently discovered Link Wray. Have you ever vibed off him?

I don't know what you mean by "vibed off him" but I've known his work since my youth of course. Never a fan per se but liked his stuff. When I hear a coupla cool tracks, 'Its-a-Happenin!' The Magic Mushrooms and stuff by Monks, I hear somekinda (however vague or strong) semblance of the Ubu-style.

Were you ever into or rather what U.S. punk bands of the 60's were you inspired by?

We were always into the American garage punk of the 60s. You have to remember we grew up listening to all that stuff on the radio. That was what was on the radio. All that stuff was hits. A very big influence on Pere Ubu along with The Velvets, The Stooges and the MC5. Our first engineer and father of our current engineer, Ken Hamann, was the engineer for songs like Nobody But Me, Time Won't Let Me, Green Tambourine, all the early Terry Knight stuff, Bloodrock, James Gang, etc.

What sort of reggae d'ya dig?

Not really into it.

What other musical listening stuff you into?

Too broad a question. Anything that has passion and vision.

Any British bands that have had a profound effect upon you?

Profound? Probably not. Richard Thompson was a big influence on the early 70s scene as were Soft Machine, Pink Floyd (early), Incredible String Band. Some guys were really into Kinks and Pretty Things. Eno of course. Kevin Ayres. John Cale.

The track '30 Seconds Over Tokyo' seems somehow prophetic in its resonance, what were you trying to express in that song?

It was a dramatic story of heroism and a book that EVERY school boy read, Doolittle's suicide raid on Tokyo in 1942 just 2 months after Pearl Harbor. A good choice for our cinematic approach. Brief synopsis; US needed to strike a propaganda blow against Japan right after Pearl Harbor and to suggest to Japanese leaders that they were not safe from retribution. Stripped down a flight of B-25s of everything but a few bombs and launched them off a carrier which they'd never be able to return to (fuel) or land on (size). The plan was to drop bombs on Tokyo harbor sites and crash land in China if they could make it then somehow get back to America from the other side of the world. Most died.

The artwork you've used on record sleeves is a fantastic portfolio. What’s the idea behind your style?

Almost all our artwork has been designed by my best friend, John Thompson. A lot of the pictures were by Mik MeIlon, a friend from the Plaza. I discuss some ideas with John and give him the title. He comes up with an idea and we bounce it around a little. The idea was to do artwork that was more than a self-aggrandizing ego thing. Note we never put our pictures on the albums except for TY which we only did because we had never done it. We break even our own rules. The artwork needs to set a mood that co-operates with the intentions of the music.

Why the transition from Rocket From The Tombs to Pere Ubu?

Because RFTT flew apart and I had ideas I wanted to pursue.

Harvey Pekar is from Cleveland isn't he? He's cool. What's Cleveland like? Do you use it as a spirit-of-place sorta inspiration in your art?

I'm tired of going over this question.

It must take a lot of balls to sing in such a profound and unique style. Where has it all come from?

It comes from not having a good voice, being tone-deaf and not knowing what I was supposed to do. I became the singer because the guitar I bought in order to become the guitarist hurt my fingers. So I decided to be the singer. I had NEVER sung and I couldn't hit any notes-- I really am tone-deaf. So I had to figure it out. What I figured out was that music also existed as a spatial and temporal complex so I worked out how to use those elements to communicate a story in a musical way that had a semblance of melody. I create a phrasing that makes use of those elements, engages the instrumental elements, and it all somehow comes out okay. At least after a couple initial years of trial and error. That was part of my frustration of singing in RFTT-- I didn't know how to handle not being able to hear myself. Also in RFTT I sang other people's songs which I didn't really understand so I didn't know how to construct them according to my methods and I knew I sounded bad. As well I have no method to remember what I sing, i.e. a melody. That's why every time I sing a song it varies to a greater or lesser extent. That's why I mostly only do material I write with musicians I know.

Are you a political animal?

No

What do you think of life in the UK compared to the States?

Not as good or as free or as enjoyable or as inspiring. But then again I'm not English so why should it be? Not a criticism.

Any final nuggets of wisdom that you think a whippersnapper like myself should use?

I never volunteer information.

Yours sincerely,

David Thomas

Director

Ubu Projex

Hove, England

web: www.ubuprojex.net