PERE UBU "390 Degrees Of Simulated Stereo" LP NM/NM Rough 10, US
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24
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Description
390° of Simulated Stereo Review by John Dougan
Ubu's first live recording is not your average live recording. That is, it's not a contract filler or a simple rehash of material, or an ersatz live document with lots of post-production sweetening; it is a warts'n'all snapshot of their career. This collection focuses on the years 1976-1979 and includes recordings from the very early days with Peter Laughner and Tim Wright. And because this is an aural history, completeness and representation are more important than state-of-the-art recording technology. That's a nice way of saying that some of the tracks (especially those recorded in 1976) are of a very lo-fi quality -- I'm talking portable cassette recorder quality. But that doesn't mean it impossible to enjoy the music; quite the contrary, the grubby sound enhances what were probably grimy, claustrophobic gigs. The song selection is top-notch (mostly from the Datapanik EP and The Modern Dance LP), and live, Ubu's edginess and gleeful avant-gardisms are in full effect. A great live album? Probably not, but its great moments ("Street Waves," "The Modern Dance" and "Heart of Darkness") are worth a considerable amount of your time.
Pere Ubu – 390 Degrees Of Simulated Stereo : Ubu Live Volume One
Pere Ubu - 390 Degrees Of Simulated Stereo : Ubu Live Volume One album cover
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Label: Rough Trade – ROUGH US 10
Format:
Vinyl, LP
Country: US
Released: Sep 1981
Genre: Rock
Style: New Wave, Art Rock
A1 Non-Alignment Pact
A2 Street Waves
A3 Real World
A4 My Dark Ages
A5 The Modern Dance
A6 Humor Me
B1 Heart Of Darkness
B2 Laughing
B3 Can't Believe It
B4 Over My Head
B5 Sentimental Journey
B6 30 Seconds Over Tokyo
Mastered At – Suma Recording Studio
Mastered At – Record Technology Incorporated – 10773
Mastered At – Record Technology Incorporated – 11141
Published By – Ubu Music
Bass, Backing Vocals – Tony Maimone (tracks: A1 to A6, B1, B2, B6)
Drums – Scott Krauss
Guitar, Backing Vocals – Peter Laughner (tracks: B3 to B5)
Guitar, Bass – Tim Wright (2) (tracks: B3 to B5)
Guitar, Bass, Backing Vocals – Tom Herman
Recorded By – Pat Ryan (tracks: A2, A3, A4, B6), Paul Hammann* (tracks: A1, A5, B1, B2)
Synthesizer, Organ – Dave Taylor (4) (tracks: B3 to B5)
Synthesizer, Saxophone – Allen Ravenstine (tracks: A1 to A6, B1, B2, B6)
Vocals, Horn, Percussion – David Thomas (2)
B3-B5 recorded May '76 at The Mistake in Cleveland on a portable cassette machine.
B6 recorded August 4 '77 at Pirate's Cove in The Flats, Cleveland on a reel-to-reel
A6 recorded October 14 '77 at Ubu rehearsal loft in Cleveland on one channel of a reel-to-reel
A3, A4 recorded February 18 '78 at Disasto 2, WHK Auditorium in Cleveland on a reel-to-reel
A2 recorded May 5 '78 at Theater 140 in Brussels
A1, B2 recorded December 5 '78 at College of Printing in London by a mobile recording unit
B1 recorded December 6 '78 at Brunel University in Uxbridge by a mobile recording unit
A5 recorded March 2 '79 at International Garage Exhibition, Cleveland State University on a portable cassette machine
Matrix / Runout: ROUGH US - 10 A 10773 (3) +
Matrix / Runout: ROUGH US - 10 B RE-1 11141 (3) +
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.
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