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"30 Seconds Over Tokyo" is the debut single by American post-punk band Pere Ubu. Written by band members David Thomas, Peter Laughner, and Gene O'Connor during their stint with Pere Ubu's predecessor Rocket from the Tombs, it was released on Thomas' independent Hearthan Records in 1975. The song received very little airplay at the time but has ...
Pere Ubu's debut single (their first four records were singles on their own "Hearpen" 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. [11]
Thirty Seconds Over Tokyo is a 1944 American war film produced by Metro-Goldwyn-Mayer. The screenplay by Dalton Trumbo is based on the 1943 book of the same name by Captain Ted W. Lawson . Lawson was a pilot on the historic Doolittle Raid , America's first retaliatory air strike against Japan, four months after the December 7, 1941, Japanese ...
"Over My Head" – 4:46 "Sentimental Journey" – 4:53 "30 Seconds Over Tokyo" – 5:42; All songs were either taken from The Modern Dance, the group's first LP, or were among Pere Ubu's earliest singles later collected on Terminal Tower. The only exception is the song "Can't Believe It", which is exclusive to this release.
Datapanik in the Year Zero is a 1996 box set by Pere Ubu, which catalogues their initial phase of existence up to their 1982 break-up (which later turned out to be merely a hiatus). The title was first used by the band for a 1978 EP which compiled their first singles; the name was "recycled" for this release.
Major Ted William Lawson (March 7, 1917 – January 19, 1992) was an American officer in the United States Army Air Forces, who is known as the author of Thirty Seconds Over Tokyo, a memoir of his participation in the Doolittle Raid on Tokyo in 1942.
Ravenstine first worked with Pere Ubu in 1975 after being asked to contribute to the band's recording of "30 Seconds Over Tokyo". However, he was discouraged by the thought of having to perform live shows and opted to discontinue his involvement with the band.
Record Collector wrote that the album "scrapes up enough sporadic excellence to justify David Thomas’ perseverance in the 21st-century scheme of things." [10] Greil Marcus, in The Believer, thought that the lead track "Golden Surf II" "shoots out like a flood, and then you can ride the wave of transmorgrification that sweeps over the whole album."