You, devoted I-94 Bar reader, may have noticed a review I did a few weeks back, for the album by New York-raised, now Ireland-domiciled multi-instrumentalist and vocalist, Eric Mingus, called "Fog of Forgiveness". One of Eric's collaborators, Catherine Sikora, sent it to me out of the blue, and when I had a chance to listen, I was rather blown away.
Eric Mingus came to my attention several years ago, when a musical interpretation of "Tommy” (the Who double LP) played in Adelaide for the Festival Fringe, at the magnificent Her Majesty's Theatre (now being rebuilt). I thought that, since I wanted to ask Eric about a ton of stuff, I asked Catherine if I could do an e-mail interview with Eric. He doesn't seem to do that many interviews - possibly because of the nature of interviewers.
His dad Charles was a mighty jazz legend (if you know who I mean, then read on; if not, get Googling); however, if you have your own, distinct musical drive, people will always compare the first with the second. (Recall that Sir Winston Churchill named his son Winston Spencer-Churchill - imagine going to school with that millstone of a name ...) Eric Mingus is a very different kettle of fish to his dad, and what he does is ... well, it is to some extent beyond music to my mind.
Rather than a series of straight Q&As, I had more of an email conversation with Eric, so if the preambles seem a little involved ... well, sod you. I'm writing this for your entertainment. Either be entertained, or don't be. There are a lot of musical springboards (ie, links in here. You're far too conservative in your musical tastes). Get corrupted and follow the links. Lastly, Eric writes in American English, and yes, he has spelled his words correctly.
"There's a crack in everything, that's how the light gets in..." (Cohen)
One of the most exuberant and enlivening, new, modern bands I've discovered in what seems like forever, ElectraJets, is led by an Englishman named Jeff Ward and a Canadian named Cynthia Ross. You might be hip to those names from the B-Girls, Gunfire Dance or New York Junk, but the forthcoming full-length album, "Transatlantic Tales", is by their Gotham band, ElectraJets.
It's a rocket through time and space, pulsating with an irresistible beat and likely to appeal to fans of Detroit protest music, Julian Cope's Black Sheep and "Cut The Crap" busking. There's something here for fans of Pretty Things or Blue Cheer, so beautiful it hurts Love & Rockets-style nocturnal pop, '60s prog, '70s glitter, Marc Bolan, Bowie and the Stones.
I told an old pal how awed I am by the ElectraJets' extremely formidable rhythm section, who have a total mastery of that boot boy stompin' 70s' Slade/Leader Of The Gang/Bo Didddley beat, that makes you wanna get out of your sad old man chair and dance in front of the mirror. It's down the rabbit hole rock 'n' roll, with many varying moods, genres, textures and layers - from delicate memories to volcanic eruptions, bruised romanticism and rooftop hymns. It's far-flung and forward thinking, neon hued and cinematic, and it will make you involuntarily want to move your body.
FLASHBACK TO DATELINE 2002: A disclaimer first - I'm responsible for releasing the new Young Modern album "Live at...." on my reactivated Grown Up Wrong! label, so everything below should be taken with a grain of salt... Of course this is a band whose music turned my head in a big way back in '79, and who ultimately turned me onto the Flamin' Groovies and Big Star, so I do reckon you should pay some attention...
Young Modern existed between 1977-79. They formed in Adelaide, played their first gig supporting Radio Birdman, became a popular draw in their home town and moved to Sydney where they soon split, having been picked up by a powerful agency who had them working in the wrong venues. Along the way they cut a great self-released single with Steve Cummings of the Sports producing, and did some demos that came out after their split (with the single sides added) as the "Play Faster" album on the Local label - an album which also became the first release on Aztec when reissued on CD some years back.
Named "the first powerpop from Down Under" in a news piece in the Jan '79 issue of Bomp! (written by legendary Birdman/Hitmen soundman Andy 'Mort' Bradley), they had killer tunes by the bucketload (mostly written by rhythm guitarist Vic Yates and singer John Dowler) and did great covers of things like 'Mr Tambourine Man', 'She Loves You' and 'Its All Over Now'.