Electrofi-ed
Andrew Galloway, (right) this year’s Blues Booster, on Beale Street in Memphis, Tennessee where her was presented the W. C. Handy Award for Comeback Artist of the Year for the Mel Brown album, Neck Bones and Caviar.
Andrew Galloway, founder of Electro-Fi Records and this year's recipient of the Blues Booster Award, has made a great impact on the blues scene since he established his label in 1996. Fred Litwin, last year's Blues Booster and new TBS board member, launched his own label, NorthernBlues Music, almost two years ago. In case you might have wondered (as we did) what these two Canadian blues pioneers would have to talk about, you can listen in right here.
Fred Litwin: What brought you to the blues? Tell us a bit about your love affair with the Blues...
Andrew Galloway: Like a lot of people from my generation (I was born in 1955), I first heard the blues from British and Canadian artists — The Stones and The Cream in particular. I also remember buying a David Clayton Thomas and the Shays Au Go Go LP with my Toronto Telegram paper route money. Eventually it dawned on me that the guys writing all these fabulous songs, McKinley Morganfield and Chester Burnett were in fact Muddy Waters and Howling Wolf. I sought out their Albums and heard the original versions. Once you get that far there is no turning back. In terms of pivotal live shows, a friend and I wandered into the Colonial Tavern in the early 70's to witness Howling Wolf, and even though his health was in decline, Wolf put on a tremendous show which had the dual effect of riveting me to my front row seat and scaring the hell out of me. The term "May be too intense for younger viewers" comes to mind.
FL: When and how did you start Electro-Fi?
AG: I was working in corporate communications and my fortieth birthday loomed large ahead. After years as an insatiable record collector I had long wanted to start my own label and the time seemed right. Besides if things hadn't worked out I could always blame it on a mid-life crisis.
FL: Do you have any philosophy about the music on Electro-Fi?
AG: I tend to favour old school, deep in the pocket down-home blues. Blues music is black music which is something that often gets overlooked these days.
Most importantly, you'll hear an artist live, or someone will send you a demo, and the music instantly speaks to you — and makes such a deep impact on you that you immediately start thinking, how can I get this artist and their music out to the world.
FL: How on earth did you hook up with such greats as Curley Bridges, Mel Brown, Snooky Pryor and Little Mack Simmons? I find it astounding that a Canadian label could be home to such incredible talent!
AG: Our first artist, the late Chicago harp-master, Little Mack Simmons was introduced to me by the Toronto harpman Dr. Nick who had jammed with him at Rosa's Lounge in Chicago. I make several trips a year to Chicago so on the next one I hooked up with Mack and got to know him. For the full story on his turbulent life check out the liner notes to The P.M./Simmons Story CD.
Anyways, we agreed to cut a disc, but rather than do it in Chicago. I wanted to do it in Toronto. I'm a big fan of the huge blues talent base we have in Canada. When you have guys as talented as Al Lerman and Fathead, Morgan Davis, Tyler Yarema, Chris and Ken Whiteley, Bucky Berger, Pat Carey and Michael Fonfara to name just a few, available to work sessions, why record elsewhere? The CD Little Mack is Back came out in January of 1997 and kind of put us on the blues map.
Curley Bridges, one of the founding fathers of R&B in Canada was introduced to me by Bill Munson. Derek Andrews had booked Curley at the 1998 Harbourfront Festival and he'd really gone over well which created a real buzz. Later that year Fathead won a Juno with their Electro-Fi debut Blues Weather. Snooky Pryor had heard the Little Mack CD and was interested in recording a disc with the proviso that his old friend, guitarist Mel Brown be involved. That led eventually to Mel recording his own disc Neck Bones & Caviar which went on to win a W.C. Handy award for "Blues Comeback Album of the Year". It sounds easy when you lay it down on paper, but it's a lot of hard work, compromise and struggle as well.
FL: The Midnite Blues Party CD is a terrific CD. I listened to it about 5 times in a row and all my friends commented on it. Can you tell us more about this CD? Is there another one in the works?
AG: Not if my accountant has any say in the matter. Actually I'm very proud to have brought that CD out. Midnite Blues Party was compiled by blues historian Eddy B who has been deep into the blues since the mid-1960's. He approached me with the idea and together we listened to several hours of ultra-rare material from his collection, before deciding on the 27 tracks that appear on the CD. The critics loved it and we were happy to shine a light on some long forgotten talent. We hope to have a Volume 2 ready in 2003.
FL: Is there a CD which you believe is super-special above the rest?
AG: That's a tough one. It's usually the one you are working on now. I'm proud of almost everything we've been fortunate enough to release. Mr Rock & Soul with Curley Bridges was a remarkable experience because of all the great players involved and working with Alec Fraser at Liquid, Toronto is always good mojo. If I had to pick just one it would be our new Snooky Pryor and his Mississippi Wrecking Crew disc. First without Snooky Pryor and Mel Brown and their belief in me, there probably wouldn't be an Electro-Fi Records. To have those gentlemen as well as Pinetop Perkins, Jeff Healey, Bob Stroger and Willie "Big Eyes" Smith all in one room, laughing, carrying on and playing their hearts out. That's something you never forget.
FL: What brings you the most satisfaction in running a blues label?
AG: The people you get to work with. Although getting paid by the distributors so you can, in turn, pay the artists and see if there is enough left over to start another CD, runs a close second. "The people" is definitely my answer . I've been very lucky in having a lot of help from my life long pal Gary Collver who does the photography on most of our releases as well as doing our website www.electrofi.com. Amy Occhipinti is a wonderful designer to work with. Sandra Tooze during the time we worked together certainly made a unique contribution to the label. Alec Fraser at Liquid is a sonic mojo master to say the least. You are only as good as the people you work with.
It's satisfying when you initiate a project, draw up a budget, bring the artists together, contribute a creative suggestion or two along the way then have the artist tell you they are happy with how things turned out.
Sometimes you'll be so involved with a project from the recording to the mixing, mastering and marketing that you get so you've heard it so many times you just can't hear it any more. Then a couple of months will pass and you'll hear the CD unexpectedly at a club, or on the radio or over at somebody's house and you'll say to yourself quietly — damn, that sounds pretty good. That's what it's all about.