One of the best things to ever have happened to Canadian blues comes in the form of amiable, highly-animated, 45-something music aficionado, Andrew Galloway. If he wasn’t a label owner, he’d likely be a record store owner – and he’d probably be making the same amount of money. And he’d be fine with that. He gets his thrills from the music and his proud label, Electro-Fi; it’s never really been about making money. It’s been more of a Love Train for the Grossly Underappreciated as this modern day Robin Hood first zeroed in on those forgotten artists who’d never gotten the recognition ─ or income ─ they’d so justly deserved on their first go-round in the career-crushing business of the blues.

Birthing his fledgling label in 1996, Galloway had two objectives: one, to help bring some of these unsung heroes back into the limelight and, two, in so doing - help preserve the age-old, time-honoured tradition of the blues by keeping these characters in the loop. Ultimately, these associations have built solid credibility for the label amongst blues fans and critics alike. And, as Andrew has endured the pain and heartbreak of losing the old guard - from Mack Simmons to Mel Brown, Sam Meyers and, most recently Dave Thompson - he's been able to translate all he's learned at the hands of these gentle giants and use this knowledge to gradually ease the label into a new generation of blues artists: Julian Fauth, Enrico Crivellaro (Electro-Fi is planning a new studio release with the hot guitarist teamed with famed harpist, Lee Oskar), David Rotundo (another planned release with David & Julian, together again).

Which brings us round to the present. A man of semi-shrouded mystery, survivor of twisted law suits, fan of a super-wide breadth of music, ex-coiffeuse, customs expert and border runner, lover of fine beverages and better cigars......we have many questions to ask:

ET: I would assume you to be a finely-tuned, well-balanced example of a white middle class upbringing. What the heck happened to turn you into a record label president - today - in 2010?

AG: "Howlin' Wolf is what happened. I saw him at the Colonial Tavern in 1972 as a 17-year old who looked 12. Had gone down to the Piccadilly Tube with my pals to see Fludd. That was sold out, so ended up with The Wolf. The phrase "may be too intense for younger viewers" comes to mind. I vaguely knew he was 'an older blues guy' from Chicago and that he'd written a song that Cream had covered -but my previous 17 years of life on Planet Earth had provided me with no frame of reference whatsoever for the depth, truth and beauty of what I was about to hear that night. I tried to become an upstanding citizen, but now that the Blues had ahold of me, living a wrong-doing life seemed inevitable."

ET: I know you'll know the answer to this question - but do you remember what your first 45 rpm record was that you bought with your own money? What was it? And what was the first 45 your parents brought home for you?

AG: "I could lie and tell you it was some ultra-hip disc, but I won't. I was just a kid who loved music and my ears were wide open to everything. My Mom liked Fats Domino and my Dad was a big Louis Armstrong  fan, so I heard those artists around the house a lot. The British Invasion excited me, like other kids at the time: Beatles, Kinks, Animals, Who, Small Faces. "Hot Smoke & Sasafrass" by Bubble Puppy, a one-hit psychedelic wonder from Texas, was the first 45 I bought with my own funds. I remember around 1967 or '68 I started trading away my comic book collection for 45's, things like "Fire" by The Crazy World of Arthur Brown, "Sky Pilot" by the Animals, "Pictures of Matchstick Men", Status Quo, "Paper Sun", Traffic, "Over, Under, Sideways, Down" by The Yardbirds. It appears I must have been a pre-teen Mod in those days." 

AG: "That was an era when most drug stores had a rack of LP's and I think I spent some of my hard-earned, Toronto Telegram paper route money on the "Baby Come Back' LP by the Equals - a UK-based, pop-reggae band. I also remember trading some Batman comics for an album called "The Rock Machine Turns You On" (and it certainly did). It was a Columbia Sampler and had tracks by Spirit, Taj Mahal, Laura Nyro and Leonard Cohen - all kinds of weird and wonderful tracks."

ET: What was the tipping point? When did you realize that, whatever you were going to do with your life, it would have to revolve around the music business?

AG: "I was approaching 40 and had long wanted to start a label as an off-shoot of my record collecting mania - and decided, "Why not? If it crashes and burns, I can blame it on a mid-life crisis." I knew it was time to stand up and be counted, either way." 

AG: "Pressing a tiny, little red plastic transistor radio to my ear morning, noon and night during my formative years. I think it's something you are born with - it speaks to you early on in life. My family is all from the U.K. and music plays a big role in life over there. The Brits own more music per capita than any other nation on earth. They link arms and thousands of people sing " You'll Never Walk Alone" at football matches. We also had neighbours down the street from Nova Scotia, who had reluctantly moved to Toronto strictly for the jobs and who, most weekends, would host all-day, Molson-fueled live music parties - old-time guitar, fiddle and such. Heady stuff to hear as a kid. Music has been an endless source of enjoyment, joy and comfort to me through the years and a fascinating course of study. My livelihood over the past ten years and all the deep and true long lasting friendships I've been lucky enough to have over the years have come about through a mutual love for, and appreciation of, music."

ET: How did this happen? What transpired to head you down such a road, do you think?

AG: "I just liked what I heard. After all - the mid-60's to late '70's was a golden age for music. You carve out your identity based on the music that speaks to you. It's something that was just as important to me then as it is now. That's all that I know to tell you about it.

ET: How did Electro-Fi happen?

AG: "Once I decided to go ahead with Electro-Fi in 1996, I decided to be very picky about who I'd record. I decided to focus on older, real-deal African American artists who either hadn't been recorded in a long time or hadn't been recorded properly. This turned out to be a good move, as I was fortunate enough to work with some of the best members of the Post-War Blues generation: Snooky Pryor, Billy Boy Arnold, Mel Brown, Little Mack Simmons, Curley Bridges, Sammy Meyers and Willie "Big Eyes" Smith. I learned an amazing amount from these kind, patient and intelligent gentlemen - and some of it was even about music." 

 

ET: What's the origin of the name? And the look?

AG: "The name was either going to be Maximum Mojo or Electro-Fi, I went with E-Fi because it had a real 'retro' sound with the 'Fi' for 'fidelity' and 'Electro' for the aspect of how Blues changed when it hit Chicago in the 1950's - when artists started plugging in to amps to be heard above all the ruckus in the bars.

"Electro-Fi" just sounded to me like the name of a label that might have been on a 78 rpm record as well as on a digital CD. The logo was done for the first Fathead CD. "Blues Weather", which was only our third release and our first Juno winner. I was happy with the logo, as it also combines both a futuristic and retro look. With Blues music, you can't go forward without looking back. Our slogan

"Diggin' That Devil's Music" is a light-hearted attention-getter that harkens back to the days when people were warned against the Evils of Blues Music. Snooky Pryor always got a good chuckle out of it. His father was a minister and Snooky had had to sneak out of the house back in the1930's to play Fish Frys and Juke Joints. The fact that Snooky got a kick out of it was good enough for me. We've sold a lot of T-Shirts with the logo and slogan on them, so I guess - luckily - I'm not the only one who feels this way."

ET: Is there any major disappointments that stand out?

AG: "Well, you always wish you could do more. I was so hoping to do another Snooky Pryor & Mel Brown CD but, sadly Snooky's health gave out and, just this past February, 'Lil Dave Thompson was killed in an auto wreck on his way home to Mississippi after a tour. We were scheduled to go in the studio in March to start his third disc for the label. Such a sad loss, at 40 - his best work was still ahead of him. I take some comfort in how happy he was with his first two CD's on Electro-Fi and how they jump-started his career again."

ET: How do you account for the wacky state of the record-buying industry and how have you been able to roll with the punches?

AG: "The majors got too greedy and have now paid the price for it. They wanted you to pay $18.99 for a CD when you only wanted the one song from it. Frankly, it's come around and bitten them on the ass. On the other hand, music is not free and it never should be. There are many expenses involved in an artist properly recording their music and getting it out to the world. Stealing their music through illegal file sharing is Bad Mojo in the extreme.

Fortunately, most people seem to appreciate what we do and show us a lot of support by buying the music. A lot of Blues people are collectors and want the whole package with photos and liner notes, so we try and put together albums that both look and sound good."

ET: As an eclectic fan of many sorts of music, do you ever see yourself branching into other signings - beyond the blues - or do you see the Electro-Fi brand as being tied by tradition?

AG: "I am completely open to this idea, as what we call "the Blues" is constantly transforming. We have had a lot of success (five Junos) with a traditional Blues sound but you want to always keep your mind and ears open to new music. I still think that Blues and Roots Music is a big enough tent for many genres to fit into. We may do a Gospel collection in 2011 and we are distributing catl, a great young band who approach the blues through a punk rock sensibility. You have to change with the times or - better yet - stay slightly ahead of them."

ET: What stands out to you from your many dealings with artists as being one of the most fulfilling experiences in your life with the label so far? 

AG: "The quality of the people I've been lucky enough to work with. Snooky Pryor agreed to come up and do a CD for us in 1998 as long as we got his pal Mel Brown to play on it. Getting Mel took a combination of cash and golf clubs. We set the date, Snooky came up and magic happened. Having those two guys together on a record (Can't Stop Blowin') did a lot to establish Electro-Fi as a label worthy of your attention. They hadn't seen each other in 10 years but, from the first note, it sounded like they'd just been out on a six-month tour together.

About five years later, I found out from a third party that, after we set the recording dates, Snooky had been offered the gig of playing at Mick Jagger's birthday party in the south of France - but had declined this lucrative gig (it paid a lot more than making the CD did) - telling the Stones management that he was "going to Toronto to cut an album with Mel Brown for some guy up there he'd never met." 

ET: Do you fear for the future of the blues? Or will it always find its way - regardless of how we buy it or catch it live?

AG: "Blues music will always be with us, it's constantly being re-invented. It's a small but very loyal market. A wise man once said, "Blues music doesn't sell a lot, but it doesn't sell a lot for a very long time". Blues will never be the Flavour of the Month but - after all - isn't that just another reason to love it? The Post-War generation is, sadly, nearly gone but the torch has definitely been passed to a wonderful new generation of artists. I'm lucky enough to work with Julian Fauth, Diana Braithwaite & Chris Whiteley, Harrison Kennedy, Enrico Crivellaro, Harmonica Shah, Andrew "Jr. Boy" Jones and many more."

ET: What advice would you give a new signing in terms of what to expect from music sales these days?

AG: "Well no one's going to make a million copies or sell a million copies of a blues CD, so it's best to get that expectation out of the way as soon as possible. But I still think there's a lot of real benefits to being on a label these days. The blues world is swamped with Indie recordings - some are wonderful - about 5%, tops. The rest, unfortunately, fall into the category of vanity recordings which do nothing but clog up radio stations' mail boxes, deflecting attention from the truly worthwhile albums out there. At Electro-Fi, we don't ask for any Publishing from the artists. They keep 100% of it and having someone else working to promote your music frees you up to what you should be doing - writing and performing your music."

ET: If you were a budding blues artist looking to get heard - and to make it into a living - how would you approach the business?

AG: "Above all get out there and play. Let people hear you and write as much original music as you can. You have to create your own buzz to get things rolling, initially. Today, you have to be both good and DIFFERENT. Study the blues, know the history and find your own place in it."

ET: What's the ultimate CD you haven't released yet - in a 'perfect world'?

AG: "It's the search for that ultimate recording project that keeps us all interested these days. I'd love to work with an artist who's music remains true to the blues tradition but, at the same time, has the ability to transcend it and speak to an even wider audience. We might have to live in a "perfect world" for that to happen."

ET: Is it fair to say that Electro-Fi champions the underdog? It has been said you book those who haven't gotten a fair shake in the industry. Or do you consider yourself more of a niche man? What's the method behind your madness?

AG: "Great question. Well, blues music is the music of the Underdog and the Underclass and, to be honest, we've had some of our best success with artists who did not want to make an album ever again for various reasons. Curley Bridges played a big part in bringing Blues and R&B to Canada back in 1955 but had not recorded in nearly 25 years before we released "Keys to the Blues" in 1998. Mel Brown was a Guitar God. Who else do you know that could count Jimi Hendrix, B.B. King and T-Bone Walker amongst their fans? Mel told me he was retired from recording. We collaborated on "Neck Bones & Caviar" and it won the W.C. Handy Award for "Blues Comeback Album of the Year" in 2000. Harmonica Shah is a brilliant artist who you have to coax into the studio at times. We've just cut an amazing live album of him with Jack de Keyzer, Alec Fraser and Al Cross.

Julian Fauth is a guy who has not only won a Juno but has, with the help of his manager, John Allen, really established himself as a major blues talent. Harrison Kennedy was a major R&B star in the early '70's and had Top Ten records with Chairmen of the Board. The only rule of thumb I have is don't sign anyone unless you really truly believe in them and in their talents - and believe it's your sole purpose in life to get their music out to the world. Treat artists right because what goes around comes around. A label is only as strong as the artists on its roster." 

ET: Is it safe to say you're not the typical record company President? In fact, I can't think of anybody who is as hands-on with every aspect of the business as you are. You've been known to pick up your artists when they get to town and look after them in your inimitable, hospitable way. Then you're in the studio with them and keeping the ball moving. Next you're shipping them product and, in some cases, seeing to their needs beyond this world. What is it that draws you in so deep and why do you do it?

AG: "Well, I seem to enjoy all aspects of the business, which is a good thing in today's world. My background running an audio-visual business in the '80's and '90's was a great education in making a business work and I've been able to carry a lot of that over into Electro-Fi. I pick artists who's music I admire and very few have disappointed me when we work together. We often end up being great friends, so I enjoy whatever time we get to spend together. Being in the studio is the flat-out-fun part of the process. I try to act as a sounding board. I never want to over-produce or second-guess the artist - I just like throwing my share of ideas into the creative stew. Anybody worth working with once is usually worth working with again. I like artists whose best work is still ahead of them. Now, when it comes to the less than glamorous side of things - stuffing radio promos into envelopes, stacking boxes of CD's at the warehouse, mailing out orders - I just remember that the great Willie Dixon did all that and more at Chess Records when he wasn't busy in the studio. So, it gets the job done and if it was good enough for Willie, it's good enough for me."

ET: When you first started and took your early artists into the studio, how much of the technology were your comfortable with? What did you know versus how much did you have to learn?

AG: "By doing our first recording in 1996, when great Bluesmen still walked the earth, we were using 2-inch Analog tape, a process I was familiar with and which gave you about a 15-minute window of opportunity to capture a great performance before the tape ran out. This could be tricky but I so loved the warm, wide analog sound. I didn't mind and it's why, to this day, I'd personally rather listen to a vinyl LP than an MP3 file. The whole process was a learning experience - there's no school you can go to learn how to run a record label. It's a self-taught art form, and you need good people along with you on the ride. That's why, when the Digital Revolution happened, I had little interest in it until I heard what Alec Fraser was doing at Liquid. He was getting a true, funky, bluesy, wide open sound with a digital set up. Suddenly, the time constraints were less of an issue, costs dropped and it became an easier, more efficient way to work. You could do fixes or drop in overdubs quickly. This was all new to me, but I wisely relied on Alec's expertise.

We still prefer to work in the "traditional style" of recording no matter the technological advances and that is to record "live off the floor" by setting the band all up together in the same room and recording songs in one complete take, just like a live performance. This is how 99% of all the great Blues, Jazz and R&B records have been made since the 1920's. The chances of cutting a memorable disc alone in your living room with your Pro Tools set up, is slim to none. Recording is a collaborative process, you need the creative "juice" ideas and feedback from the other people in the studio. Just as important as the technology in the board is the ability to create a secure and relaxed atmosphere for the artist to work in. No matter the technological advances, it all begins and ends with the "talent" in the room. That's why Howlin' Wolf, Woody Guthrie, Leadbelly and Hank Williams all cut timeless masterpieces on primitive "one take" gear and most "Canadian Idol" era recordings aren't worth the time it takes to push the flush lever. It's an on-going educational process of blending the best of the old with the best of the new. You never stop learning." 

ET: How has technology changed the business for you overall - from the recording studio to the way it's being sold? And are these changes resulted in any improvements or has it spelled out a nightmare?

AG: "Legal downloads are a great way to sell music these days. iTunes is good for keeping your music available to the world at large. We've always had great traditional distribution in the U.S.A. through City Hall Records and enjoy the same in Canada, now, through Outside Music. iTunes allows you to keep a recording in print forever or you can now do a digital-only release on a project where a traditional physical release just wouldn't make sense. Marketing via email, newsletters and a website work and are more economical than traditional printing and mailings used to be. YouTube videos are becoming huge and are a great way to promote your artists and recordings. Thanks to Mako Funasaka, we now have our own YouTube channel www.youtube.com/electrofirecords . You have to be adaptable - some people like to buy their music like it's still 1955 and that's fine. We can mail you a catalogue and you can place a mail or phone order whereas others want downloads, instead. You have to serve them all in the way they prefer. Thank God, though, for artists who tour and sell off the stage at gigs and festivals. They are becoming more and more important."

ET: How do you measure success at the stage you and your business is at now?

AG: "You want to try to continue to thrive and survive these days - with the heavy emphasis on "survive". To be able to do this as my full-time living in 2010 is something I never take for granted. Promoting and preserving the music I love is what it's all about. We've put out 65 albums in our 13 years of operation to date. I'd like to make it 100 - that's the goal for now. I measure success by selling enough of the last CD to pay for the next CD and by seeing the positive impact (increased touring, radio play, awards, media coverage) that a good CD can have for both the artist and the label. Just the other day, I was saying this to one of our artist: "You'll always have a home at Electro-Fi, so let's keep doing this until somebody stops us".

ET: Is there a release out there that you wish had been on Electro-Fi? Something you missed a shot at - just something that would be perfect within the Electro-Fi stable of recordings?

AG: "Oh, so much is easy in hindsight. I wish I'd been able to get Mel Brown and B.B. King together for a track in the studio. It almost happened twice but scheduling problems and Mel's health prevented it. That's a big What-Might-Have-Been. It's so easy to think, "Why didn't I record her, or him, or them when I had the chance", but all you can do is the best you can - try and put together interesting and imaginative projects with talented people and hope it turns out. I've done albums that I thought would be popular - and they weren't. And I've done albums strictly because I wanted to hear the results - and they really exceeded my sales expectations. You just never know, especially these days. There are so many talented people out there that you would love to roll the dice on. You just have to trust the artist and your gut instinct."

ET: Anything coming up in label news? Upcoming releases? Events?

AG: "Our new CDs from Mark Hummel and Fathead are both doing well, so life is good. Next up is " DeltaPhonic " from Diana Braithwaite & Chris Whiteley. I'm really excited about this CD as Chris & Diana have 'gone electric' on this outing, while continuing their original exploration of Vintage Blues. The CD Release party will be Wednesday, June 9th at Hugh's Room. We also have " Electro-Fi Presents Blues Piano-Rama" with Juno Winners Kenny "Blues Boss" Wayne, Julian Fauth and R&B pioneers Curley Bridges and Bobby Dean Blackburn - a true celebration of Boogie Woogie and blues piano. And, after 50 plus years in the business, we're proud to release Bobby Dean Blackburn's first CD "Don't Ask...Don't Tell ", with his sons - the ultra funky band "Blackburn" - and special guest Liberty Silver. In the pipeline for next year? New discs from Harrison Kennedy, Enrico Crivellaro with Lee Oskar, a solo outing from Fathead's John Mays with many special guests, and a truly amazing Live album from Detroit's Mojo Master, Harmonica Shah - with Jack de Keyzer, Alec Fraser and Al Cross, recently recorded over two nights at the Cove in Westport. The quality of the playing, matched with Shah's spontaneous songwriting, has made me fall in love with the Blues all over again!"  

Reason enough to support this fine label and the artists it represents. The blues won't survive in a vacuum. Do the honour of Mack, Mel and Dave proud and help the cause by keeping Electro-Fi in your hearts and on your player-of-choice. And, as the old school players would most certainly say, support the younger players on their way up.

For more information visit Electro-Fi Records - www.electrofi.com

2010 Copyright - Eric Thom for Canadianblues.ca.
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