Andrew Rossiter - The Story Of Org Music
When and where were you born? What was your childhood like growing up? When did you first begin to fall in love with music, more specifically the idea of operating a label? Was music relevant around your household growing up? Do you have any siblings?
First, I should make it clear that I’m only speaking for myself (Andrew Rossiter), as one of three partners at the label. I was born in January of 1988 in Charlotte, although I haven't been there since I was two and have zero memory of it. We moved around a handful of times during my childhood, but I spent most of my formative years around Toledo, OH, where the music thing really started. At a young age, I remember being curious about my dad’s acoustic guitar, listening to my parents’ cassette tapes, and obsessively watching music videos. I was drawn to punk rock (and many of the related sub-genres) in my early teens. Around the same time, I picked up the trumpet and joined the jazz band in high school. I started to play in bands with friends and book shows at venues around town, which is probably the first time it occurred to me that working in music could be a possibility. I am the oldest of four siblings. Mitch, the younger of my two brothers, actually works with me here at the label.
What would you and your friends do for fun growing up? Who were some of our earliest influences in your more formative years? Did you participate in any groups, or projects yourself? What is most important to you in the world of music?
I was heavily into sports until my teenage years, when music essentially took over. By the time I was 14, my friends and I were constantly getting together to play music, or go see music. The DIY approach to playing in bands and putting on shows at that age was really foundational for me. The bands I played in weren’t especially good, but the shows were incredible experiences. I was able to book and play with groups that I looked up to, including a couple which I now work with at the label 20 years later. Before social media and streaming took over, I think there was a rawness or authenticity within local/regional music scenes that is harder to find today. You had to seek out connections with like-minded people or any sort of counterculture, but it was rewarding when you did, and music was always the crucial element for me.
How did ORG initially start? What was the overall vision for the label and what did you ultimately want to achieve and express with the releases and work you guys do? What are some career-highs, in terms of working with artists both contemporary and from the day, that have been a pure joy to work with as well as bring to life?
Org Music initially started when one of the partners at reissue label Original Recordings Group (the first “ORG”) left to create the label with my two current partners, and brought the rock/alternative titles — which he had initially licensed for ORG — with him. I was hired to manage the label shortly after this period, during which they had already reissued records from Nirvana and Sonic Youth. The label started with reissues, but we released new albums from artists like Mike Watt and 400 Blows soon thereafter, so it was always a combination of sorts. I became a partner in the label after a few years, and I’m still here, nearly 500 releases and twelve years later. There was never a hyper-specific agenda, but the intention has always been to make great sounding records and highlight artists or catalogs that are meaningful to us. Over time, we’ve also tried to shine a light on some overlooked, under appreciated or previously unreleased music. It’s hard to pick highlights, but it’s been incredible to work with artists I’ve admired since I was a kid. People like Mike Watt (of the Minutemen) and Chuck Dukowski (of Black Flag) come to mind. It was incredible to reissue Bad Brains' classic catalog for the first time under the band's ownership. Of course, it’s a been an honor to work on records from jazz giants like Coltrane and Monk, or blues legends like Howlin’ Wolf, or Skip James. That being said, sometimes the more obscure, niche records end up being the most rewarding on a personal level.
The catalog is vast and undeniably rad! But Something I also wanted to highlight that you guys do is co-releasing records with other labels/projects such as the Color Green with AD. How did all that come about?
Thanks for the kind words! Yes, we’ve done a handful of co-releases and different types of collaborations. We’re actually working on our ninth (and tenth) releases with Aquarium Drunkard at the moment. Justin from AD has an incredible ear, and there's a lot of overlap with our tastes and sensibilities. When we partner with another label or entity, it’s typically coming from an organic relationship. That debut album from Color Green, which Justin/AD originally put on our radar, is incredible.
What have you got going for this Spring/Summer? Is there anything else you would like to further share with the readers?
Spring was so busy, it appears I’ve waited an entire season to get these answers to you. Sorry about that! We have a bunch of great releases coming out this summer, fall, and into next year. We’re gearing up to release the next three reissues in our series with the classic soul/R&B label Brunswick Records, beginning with Jackie Wilson “Higher and Higher” this Friday. We have new music coming soon from Jack Irons (ex-RHCP, Pearl Jam), and some long overdue vinyl releases from Westbound Train. Sonhos Secretos, a Brazilian compilation that we’ve been working on for nearly three years with Aquarium Drunkard and producer Tee Cardaci, is finally out on August 4th. We’ll be releasing more work from William Hooker and Phil Ranelin soon as well. We’re planning a big announcement about an ongoing remaster/reissue series for an incredible catalog, which will start this fall. Many thanks to anyone reading this, and to anyone that has supported the label in the past.
