Pere Ubu
Song of the Bailing Man
[Thirsty Ear Reissues]
Rating: 7.2
The Pere Ubu legacy, bravely re-circulated for public consumption by
Thirsty Ear Records, continues it's assault on millennial normality with
1982's Song of the Bailing Man. It's the second Pere Ubu album to
feature the talents of madcap guitar experimentalist Mayo Thompson, and
the first to feature future Golden Palomino Anton Fier on drums. Here,
our obscure, too- creative- for- their- own- good heroes seem to make a
conscious choice to leave some of their earlier implacability behind.
After all, the rent must be paid, even if you are a troupe of rococo
absurdists living out an existence in some grainy alternate space-time
continuum light years ahead of the lumpen rabble.
But, of course, even Ubu's mightiest attempts to sound more commercially
acceptable still fail miserably. And lucky for us, they didn't exactly
become Madonna. It's certainly not the kind of stuff your average new
wave hair-stylist/Boy George disciple would've lent an ear to for any
length of time. I also think it's safe to say that none of these songs
will be included in nostalgic 80's compilations, or on soundtracks to
inevitable sequels like "Return of Valley Girl," "200 More Cigarettes,"
or "Pretty in Pink II: Through the Portal of Time."
The obvious Beefheart influence underscoring the band's core sound can
still be felt in a big way. Thompson's odd semi-linear melodies spill
effortlessly from his guitar on the unforgettable "Thoughts That Go by
Steam." This kind of playing really presages the sort of fine-tuned
recklessness and advanced primitivism Marc Ribot would later employ to
great acclaim in the world of quasi-mainstream rock on Tom Waits'
Rain Dogs.
On "The Long Walk Home," the band jettisons off into warped-jazz territory,
featuring some brain-scrambling Sun Ra piano fills which de- and re-construct
themselves throughout. Then the song structure suddenly lurches back into an
ostensible main rhythmic figure with frenetic drum rolls and loop-de-loop
guitars doing figure-eights around the rhythm section. Tempos accelerate
and de-accelerate at the drop of a dime here in Ubu-land.
"Use of a Dog" is, musically-speaking, conventional enough, with a pretty
standard verse/chorus/verse approach driven by Tony Maimone's lyrical
bass (which seems to have a much larger impact on the band's overall
sound than on past outings). Suave Herb Alpert horn sections rise to the
foreground. Mayo Thompson's squeaky clean phrases zig-zag through the
nooks and crannies of the song.
The manic herky-jerkiness of "Big Ed's Used Farms" is another David Thomas
tour-de-force performance piece. Here, he gets to make sundry farm animal
noises while acting as if he's being slowly pumped with helium. "A Day Such
as This" re-explores the Ubu of old on a 7+ minute excursion into barren,
repetitious soundscapes that can either fascinate, or drive one to slowly
peel layers of skin tissue off their body.
And there you have it. Basically, these are your average Pere Ubu non-hit
songs that ponder burning questions concerning paleontology, biochemistry,
geometry, zoology, and the language and communication barriers between man
and animal. In another solar system, perhaps a few of the tracks on Song
of the Bailing Man would be top-40 hits. But here on Earth, Thirsty Ear
is doing its damnedest to see that we sit up, take our conventional heads out
of our conventional asses and listen to the sounds of what would rightfully be
AOR pop music. That is, if our culture was one in which we all walked on our
hands, spoke in hieroglyphics, and collectively worshipped an omniscient
geranium.
-Michael Sandlin