Interview recorded March 9, 2012
The opportunity to interview Bluey Maunick, the founder of the great band Incognito, is one that SoulMusic.com's David Nathan always relishes. Now on its' fifteenth studio album, Incognito continues to provide true music lovers the world over with potent grooves and memorable ballads, each album focusing on an array of super-talented vocalists, musicians and guest artists. Bluey talks in depth about the group's latest project, SURREAL (derived from his own experience of his iife) and about life with his band of soulful road warriors...
David Nathan: When people think about Britain and music, I think invariably they think of pop, they think of rock, but it is true to say, as a Brit, I can proudly say, that Britain also has a thriving and now long-standing Black music scene. There are groups, there are individuals, there are people who have been tirelessly working in Britain and have created their own brand of music. It isn’t derivative; it’s a fusion of many different things, but it is distinctly British also. And there is no question that when we think about the British black music scene, or the British soul scene, or the British jazz Funk scene or whatever scene you want to call it, there is an individual whose name always comes up because he has been at the forefront of that scene in establishing British black music, not only in Britain, but throughout Europe and throughout the United States also, and he is the founder creator of a group whose name is instantly recognizable to soul music fans the world over and I could keep going like that, but I think we should get to the interview. I’m referring to Bluey of the group Incognito.
It’s always, for me personally, a great pleasure and honour to speak to Bluey because I recognize the incredible contribution he’s made, and continues to make through his music, which I happen to be slightly biased and love, and I don’t hold back when I tell people that when I think of bands in Britain, Incognito is always the one that comes first in terms of me wanting to go see a show. So I know that’s a big introduction, that’s a big build up, but I think that some people really deserve to have the accolades and that’s why I said all that, and here’s Bluey! Hello Bluey!
Bluey Maunick: Thank you for that massive introduction, David. As usual, a greeting fit for a king, so I’m feeling [great]!
DN: Well, there you go. Let’s talk about your brand new Incognito album, which is called SURREAL, and honestly, I don’t even know how many albums Incognito has, so please inform me and everyone else. I know I’ve lost count….
BM: This is the 15th studio album. Of course there’s been remixes and live albums, but this is the 15th studio album.
DN: Cool. Well, when you began working on this, and I’m always interested in how people create albums, did you have a concept or did you simply start writing songs, or did you already have existing songs that had been left over from a previous project? How did the album get created?
BM: Well, it’s a bit of all those things that you were asking, but after collecting songs and going in and out of the studio for almost a year-and-a-half since actually [after] we finished the previous album, TRANSATLANTIC RPM, I found myself with a body of work that - when you start writing fresh, when you put everything down and you finish touring - you go, ‘Oh wow, we’ve already got like 50 songs,’ but then it’s almost like that’s your beginning, rather than, ‘Okay I’ve got 50 songs and I’ll just pick the album from there,’ but it’s like we’ve got 50 songs, let me start writing properly for the new album. So, you end up with maybe another 30 songs then you start whittling down and you’ve probably got like, by then, 50 complete recordings and the only thing that those recordings need are probably horns and vocals.
Then you start whittling down, whittling down, whittling down, and then when you think you’ve actually got your record and you’re ready to start vocals, you probably record one more tune more like we did on this record because suddenly the whole picture has its’ own [story], the whole story has changed somehow and you want that to be tighter, and that’s what happened with this album and we ended up with the final 15 in maybe in the last week before actual mixing began. Up until then, we probably had about 20.
DN: So how do you determine [the final selection]? When you’ve got that body of work, and you’ve got that many songs to choose from, what is the kind of primary way that you think about, ‘okay well, what can I leave off?’ Because, it must be difficult.
BM: Well, you look for songs that speak to your heart, but you look for songs that you know that your audience will be able to identify with and see themselves in the stories. You hope that…you start thinking like ‘I want this whole thing to have a driving bass, bass lines, and tight drums that is a little bit probably more driven than the previous albums, and that becomes your concept. So, you’re looking for songs that fit in that genre amongst those 20 and you’re looking at the overall picture and you want it to feel like a complete work from the beginning to end, so you’re trying to find that balance in songs, once you’re listening to it, that makes it feel like you’re listening to [a whole album] maybe the way that I used to listen to an early Stevie album, like INNERVISIONS and the way that you listen to a Marvin Gaye album. You don’t just skip tracks; that’s what I was trying to do. Maybe people will [get that]…
Like in these days where you buy one song at a time, and you don’t immediately go to the shop and end up with the artwork…I want the artwork to be right. I want everything to kind of reflect something very special and you want the listener to feel nostalgic, surprised, you want to make sure that in this passage of the album, you want them to be nodding, you have an idea of what you want them to do. You want them to go ‘woo,’ so they can throw their hands up in the air.
I think of putting an album [out] in that way, I think ‘alright I’m a listener, here I am I’m a producer, now I’m mixing, but now I’m the listener,’ and I go back again, ‘no, we need to move this song from here to here.’ I’m thinking, ‘It’s just not working, I love this song, and it was one of the first ones that I had in there, but this definitely ain’t working anymore.’ You go for that journey. You fight with your own body of work for a little bit, but it’s the good fight. By then, it’s the good fight. By then it’s like, ‘oh I’ve got a fantastic squad of players, who do I play? ‘
DN: Yeah, well the thing that’s really noticeable in what you said, I want to pick up on it a little bit, is you reference the fact that back in the day you would listen to a Stevie Wonder INNERVISIONS or a Marvin Gaye album, or albums that were really created as albums, they weren’t done as many of the records of today, unfortunately, are done piece meal and they’re working with five producers, and it’s kind of like trying to create something which it doesn’t really gel at the end of the day.
I would say probably, because you are the focal point as the creator of the music, it’s probably a little easier for you to create an album as an album. You’re using that old methodology of ‘I am now creating an album.’ Of course you don’t necessarily record it all at the same time, as you pointed out, but it’s the whole idea of putting it together and making it into a story and making it into something that’s cohesive. So, obviously you’re saying that really stems from the way you grew up and the way you listened to music yourself.
BM: Yeah, exactly. I’m not under that kind of pressure of like, ‘oh we need the radio single! We’ve got to try to come up with a radio single this year, and then put the album around it. It doesn’t really matter what the album is, we’ve got three hit singles!’ It’s like, I know people who are working off that. I’m constantly being asked to, ‘can you work with this artist? Can you write with this artist?’ I know what I’m doing. Some days I’ll spend a week with an artist, and I’ll never hear from them ever again. Once again they say, ‘Oh it’s incredible working with you,’ and then they’ve decided we haven’t found the one tune and then, when they do find the tune, with whichever group of people that find it, then they will just knock out an album.
It doesn’t really matter what the quality of it is after that, and the stories, and they may even decide to put some tracks on there because the artist needs to have some publishing. They make decisions like, ‘oh the producer wants to co-write all the songs on the album, or they want this percentage.’ I’ve been in rooms where people have said to me, ‘Can I use one of your songs?’ And they start to discuss the percentage, of what they will take of the song that they never even once been near before. It’s written in London and travelled across the world and now you’re sitting in front of this song and going, ‘Well, we’ll give you 10 percent of it.’ Whoa. It’s a different world. It’s totally, look, we share it, and if people contribute to the writing of it, they get a piece. I’m not afraid of letting in people, there’s singers who co-write with musicians, there are briefs that people are given while I go on with something and come back and go well ‘you’ve hit the nail on the head,’ or ‘no, you haven’t.’ So, there’s one out of three that we work on together.
DN: Well, one of the things that is also always noticeable about the work you do in Incognito’s albums - again I want to reference something that you said - which is about the story. In other words, the songs that you write, and the songs that are included, on an Incognito album are really songs. They’re complete songs, they’re not just hooks, they’re not just grooves - obviously instrumentals are grooves, we know that - but for the most part, everything that you do that has a vocal on it, is a real story, and it’s a story in song, and I’m going to assume again that that is a throwback to what you grew up with and how you were trained, or how you’ve trained yourself in terms of creating music.
BM: It’s in two parts here. Part of it is like what you’re saying, it’s where I come from and that whole school of songwriting and putting things together, but also it’s the fact that Incognito is a band of great contrast. I’m carrying three singers so people must believe it. It must be something, which strikes a chord with me, but also with people who are going to listen to it. But, it’s also three different people who are going to sing, or four in this case it’s four. It’s Maysa, it’s Mo Brandis, it’s Vanessa Haynes, and it’s Natalie Williams, and in a way, the beauty of any Incognito record is that contrast. It’s knowing that you have to also make that contrast work.
For some people,, the reason why I think we’re not so mass populous the world over is because we don’t have that one focus, that one front man. We don’t have like the JK [Jamiroquai], we don’t have the Sting. We have a group of people that are sometimes changing from album to album and it’s that kind of [thing]…[that] people may call holding Incognito back, but I always see it as this is the secret of our success.
DN: I get it, totally.
BM: And it’s balancing those contrasts, not in just how many songs they all sing, but in the stories that we tell because writing a song for Maysa isn’t because of her age and the time we spent together and my understanding of her, and writing a song with Natalie Williams, who I’ve just met, who is going to be working with me more also as a songwriter because that is her, by very nature, that’s what she is, she’s a songwriter, who is also a vocalist. Whereas Maysa is more of a vocalist, who can song write. So, you put that together and you end up with different tales, you end up with different textures, different ways, like there’s a different kind of not just voicing and phrasing, but different stories that have to be told for the person singing it because the stories have to ring true with them.
DN: Absolutely. So, now, it’s interesting something that you said, because I keep picking up on things you’re saying because they kind of lead to other things - which it’s interesting because I always thing of Incognito albums as being organic and I also think the conversations that you and I have had also tend to be that way too. So, I’m going to say that you are someone who obviously operates from that place of like things being organic rather than forced… you know what I mean? There’s kind of a natural flow to it. But I want to ask you, to pick up on the point you just made, so when you begin working on something, do you already have an idea of who you’re going to cast? I’m using that word in the sense of you know, who’s the singer. Do you already know that ahead of time, or is that just something like, for example, using this album, you have Maysa on a few tracks, including “Capricorn Sun” and she’s also on “The Less You Know”, so lets use those as examples. Did you already know Maysa is the singer for this, or that happened as you were writing them?
BM: Sometimes it comes very very early. Sometimes, you just get a groove and the moment the chords are played, you know the key, and you think ‘oh this is Maysa, or this is blah blah blah.’ And, I always know when something is going to be good for my singers because primarily, that’s my job. That’s my main job. My main job in this band is knowing. That’s the biggest gig. It’s not being a guitarist, it’s not being a backing vocalist, it’s in a way, the job of the producer, and I’m old school producer. I have that instinct of knowing what is right for who.
DN: Well, it definitely works. Let’s talk about a couple of the singers who are now new in a sense to Incognito. It’s Natalie Williams, and Mo Brandis. So, tell us a little bit about how you encountered them and how they became a part of the Incognito world so to speak.
Blue: Mo Brandis because when Tony [Momrelle] left the band to go on tour with Sade and also to carry on his work with Reel People. He left a space there that could be filled by somebody, one of two people I’ve worked with in the past, or in the style of the people I’ve worked with in the past. But, there comes a time every now and again when you want to inject something quite fresh into the band. Now, where Tony is an incredible performer and an incredible soul singer, by the nature of bringing someone who is of a different generation, you’re bringing in a different attitude to recording, to vocalizing, and to your song writing approach because it’s a different person, it’s a different tale. Where Tony is in that soul singer’s mold, he is of a different generation to the singers that he’s compared with, like Stevie or Donny Hathaway, where someone like Mo, I suppose would be more compared to singers within his generation like people like more modern crooners, like you could even have comparisons with current people like Bruno Mars. It’s like more like a Bruno Mars meets John Legend type of a singer - if you must put them into boxes, but it’s much more subconscious than that. People might come in and say, ‘oh he sounds a bit like Eric Benet on this track, he sounds like this on this track, and he sounds like Michael Buble’ but you must also identify that immediately to work with somebody,
I identify with who they are and what they’ve got, and Mo, because he’s a musician, he’s a complete guy on several [levels - like he plays piano really really well, and he plays saxophone. Part of that, when you get that you kind of understand ‘oh you can do this with this guy’s phrasing, you could do that because he understand where to go musically.’ It was nice for me to discover this young man and his songwriting skills as well. It was quite a revelation, going to this little studio in Brixton and sitting with him and although we’d been touring for the best part of a year, we had a newfound respect and understanding of each other and that’s the fact that we could really sit in a room and knock out songs because I play guitar, he plays keyboards, we both like beats, and we could immediately agree on what the grooves should be, and then we’re both lyricists. But sometimes a lyricist who could be a well-versed lyricist, who has a history of songwriting, doesn’t necessarily gel with you as a songwriter because it’s such a personal place when you write. When you come across that combination of really being able to knock out songs in like kind of a classic songwriting team, it is quite joyful because you immediately get into a production idea as well because there’s two people who can create from grooves to chord structures to melodies, to a final vocalized product.
DN: Yes. Well, I noticed that the two of you wrote “Goodbye To Yesterday”, just the two of you together. So, is that how that actually evolved, that particular song? Was that an example of what you were just talking about?
BM: That is exactly it, “Goodbye To Yesterday” and “Don’t Want To Know” are two songs that really show that songwriting team at work. That sharing of ideas and I think that Mo and I could probably sit in a room and, in seven days, come up with seven songs of that nature.
DN: Now tell us about Natalie Williams and how Natalie Williams arrived in your life musically.
BM: Well, in the ever changing world of female vocalists in Incognito, we were playing Ronnie Scott’s and I was already aware of who Natalie Williams was and I popped in my head through the doors upstairs [at Ronnie’s] because sometimes I hide downstairs because fans want to come up to you and start chatting with you, “I know you from back in the day. I’ve been following Incognito.” It’s kind of disturbing for the artist who’s onstage because they [the fans] make a lot of fuss of you because they’re coming to see you and that’s their right really; they bought the ticket. So, I kind of like hide away while the other band’s performing, but I snuck upstairs and caught a little glimpse of her and the beautiful stage presence that she has, but the voice actually knocked me out before I even kind of came around the corner sort of seen who was singing. I already said to [Incognito band member] Matt [Cooper], ‘yeah yeah yeah,’ before even taking a glimpse of her, we should maybe try and see if we could get this girl in the band. He says, ‘I know Natalie, Natalie’s a good friend of mine.’
So, Matt helped me to really get together with her and then we had this very spontaneous moment where I was working - in between promoting the last album and recording this new album - and we were in Japan touring and I was at the forefront of putting together a band to raise funds for the tsunami relief…I had much help from Japanese artists and Swing Out Sister, from this country, Leee John [from Imagination], Mark King from Local 42, Mark Riley and various people joined us and although Natalie Williams is not a name that most people know…on the [British soul] scene she’s well known, and because I’d already had that encounter I thought this would be great chance to try to work with her. She came to the studio, and did she bring it! She was like the revelation of that recording.
DN: So, she’s now going to be on the road with you?
BM: Yeah, she’s kind of on the road with us. It’s strange because I think that because she’s just finished her solo album, so she has to go and promote that as well. So, they’ll be times when I’ll put in a date, and I could go looking for someone who’s totally committed to the project right now, a I think in the way that she is…[but] in a way we are a band that can function - no one is going to cry if they turn up and instead of Natalie there it’s Imaani or Maysa, you know, they would be happy having that one off gig where we’re going to do something different, and still cover the songs, so I’m no longer afraid of that situation and I think it’s quite healthy because Natalie’s contribution as a songwriter and a timbre [of her voice] against that of Vanessa’s and Mo on this record, makes this record what it is. It completes my idea of what this record should sound like and I think it’s bringing a lot of people a lot of joy already.
DN: Good. Well, let me ask you a couple more questions specifically about the album. Maysa of course as we know has been a long standing member I guess, honorary member of Incognito, obviously you’ve maintain an associative relationship with her over many many years. In regard to her working on the two tracks for this album, was it simply a matter of making a phone call and saying, ‘hey Maysa, I’ve got these two tracks,’ or how did she end up contributing to this album, or being on this album, I should say?
BM: It’s probably something, which I think about every time I make a record. It’s like we’re lucky enough to have a Maysa in our story, or else it wouldn’t be what it is. Credit where credit needs to be told. Credit where it needs to be given is that Maysa came in at a time when Incognito was kind of faceless and not only have we gained a face, but we’ve gained a voice, which has a timbre that most people would die for.
…You know you can get people who really know how to throw down and how to riff, but just that tone, whether she’s on form, or not on form, whether she’s got a cold or she’s at the time, lost a little bit of her top end, it’s always going to be something, the timbre, the nature, the quality of that voice, is always going to be something and the delivery and the timing of it, which is unique, and it works well with my song writing. So, it’s just an obvious place for me to kind of like go to and find that good stuff.
DN: Now, why is the album called SURREAL?
BM: In a way, just like looking back and going, I’m 55 years old and I am kind of creating with these people one minute on the last album with all these famous folks like Chaka Khan and Al McKay and Christian from Tortured Soul, established people, Leon Ware and then suddenly… these stalwarts have been replaced by fresh faces who haven’t really made their names in the industry yet and yet the album is, the energy, you’d think after coming off that really high energy, ‘oh I’m blown away I’m working with so and so,’ it’s such a high, that somehow the making of this new album found me into this place where I’m like ‘whoa I’m loving this. This is it, this is wow!’ And it’s like a fantasy world. It’s like going to the chocolate factory everyday and having the golden ticket.
It is surreal. How else do I explain it? I live life in real time, in the real world, but the life that I live, even for all the problems that everybody has the same you know, ‘can we afford this this? How are we going to cope with that?’ Or ‘ I’ve gone over budget here,’ or ‘oh, the tax bills need to come in,’ or ‘so-and-so isn’t well,’ or ‘did you hear so-and so is gone into hospital?’ And it’s like, ‘oh mom fell down today.’ It’s like all the things, the intensity of your relationship, what’s going on around you, then I’ve got this world of music that I turn to which is really surreal. It is. …It’s not a world that if you managed to do it after a period of time, and it is your everyday life, it doesn’t become ordinary. It doesn’t become ‘oh that’s my job,’ it’s a fantasy land. It’s where you can create these magical things and see an end from it. A magical end product.
DN: The thing is, as I’m listening to you, I can really feel… just how you just expressed that…I can feel the joy, there’s like a joy that you have about making music that I’m sure - I can’t say I’m sure - but I’m going to imagine it has always been there, rather than sometimes [as] happens to people, [it] becomes jaded or diminished, it seems to be as vibrant, like your excitement about making music seems to be just as constant as it has probably always been. Is that true?
BM: Very true. Exactly. But, because it is, you very often, you may wake up and say ‘oh what time’s the taxi coming?’ But by the time you walk into that studio, you start, you walk through the door and you see so and so has arrived to play with their charts and so and so is setting up their keyboards or plugging in their bass, you just drop into this world, and it’s the world that is the reason why I have longevity and success in this industry.
DN: Absolutely. Yeah. Absolutely.
BM: it’s grabbing that excitement and also realizing, you know what? We’ve got our own sound. We’ve got our own stories. …I’m always like, ‘hmm, that ain’t really us, that’s some other record that we’ve been listening to.’ Even like when I’m really influenced by something, we know immediately we have put Incognito in there because it just comes naturally from us. There is even a blueprint that I’ve got to: some people are following it too much now. It’s like ‘oh aren’t we going to put the horns, no, we’re not going to put it there, we’re going to put it here this time.’ It’s still going to be us, but it’s going to shift like this and it’s going to have these tones. We’re not going to go for the high trumpet part this time, we’re going to use flugelhorn and make it more mellow and therefore paint a different picture here. It’s like those things, and that is exciting for me and like I said. it’s both nostalgic and surprising.
DN: Couple more questions. Do you find that your audience is growing? Obviously, you made reference to that, you’re not in a sense, we could say mainstream if we were comparing you to I don’t know who, I’m trying to think of another band to compare you to.
BM: I suppose you could say like a Jamiroquai.
DN: Yeah, maybe. ..
BM: …Who also has this funk and the horns and everything, that mainstream success, and on the other hand that we’re kind of also not from that current break beat community that is Robert Glasper and the Erykah Badu’s but there’s elements that are of both these worlds. The ‘over world’ and the underworld.
DN: I love it! The’ over world’ and the underworld. Yes. Well, do you find that with each album you are increasing audience, even if not massively, but there are more people becoming aware of Incognito?
BM: Yeah. The Internet robs something of you, and then at the same time it gives you this other thing. It steals your music, but it actually opens up people who really are truly into music and allows them ways of finding you, discovering you, and it advertises your world and so, a world that they may not know. You do gain a lot from Facebook and Twitter. So, there is that world opening, but then there is also the biggest way to gain friends in this world is to do your job properly and to kind of give what people go and talk about. It’s like ‘whoa, I went to Incognito, and next time you’ve got to come. Like.... we’re going to Atlanta and I’ve got people saying ‘ I got ten tickets because I want invite all my friends to come. They missed it last time.’ So, we’ve formed a little union that goes out and gets Incognito tickets. And that’s kind of reflected the world over. We’ve still got that kind of underground following, but at the same time, we walk out on stage in Korea and go ‘where did those teenagers come from?’ You’re standing there in front of like maybe 10,000 kids really, and you’re going, ‘it’s like they weren’t born when we were making “Always There”. We were having hits when they weren’t born, let alone when we were doing jazz funk, their parents probably weren’t born. ‘
DN: Amazing, right. So, you still obviously, Incognito still tours, would you say a lot or less frequently? In other words are you touring more than you ever did or less, or about the same?
BM: It’s kind of weird. Without that whole major record company help, where your record sales were bigger because you had what they called tour support, without tour support, you can’t do as much. We have this other thing which is like our own kind of drive to go places and accept gigs in Guadeloupe, and Mexico, and in Kazakhstan, and Reunion and it’s like, in small islands where your records are not even released. To go and make [music], in turn gives you something, which is why you exist, which is why you make your records.
DN: Amazing. Well, I’ve got one last question. I know we could probably talk for hours, because we usually do even when we’re not doing interviews, but when you look at this point, you look, you mentioned 15 studio albums, and you look back at the career you’ve had, how do you feel? How do you feel, personally, Bluey? How do you feel about what you’ve accomplished?
BM: Well, like I said, it wouldn’t be surreal unless I weren’t actually amazed by it. In a way, that is my reply. This is like, ‘I’m living the fantasy.’ It’s really odd because I thought at some point, it’s got to kind of like [end] because you see friends around you whose bands that you actually went to see and [are] no longer there. And you see them and they go ‘oh no I’m not going to do it anymore ‘or’ I’ve moved here and I’m doing more studio work now and I no longer do the band’ and then you think to yourself, I’ve found a team of people… I have a team of people who ‘get’ it. People like Francis Hylton and Vanessa Haynes who are like kind of, they ‘get’ it as much as me.
They’re like warriors, they’re road warriors. They live for that. They’re like me. They love the hotel rooms. They love the getting on the bus. They love kind of like ‘oh where we going to today?’ They love the fact that ‘you know I’m a bit tired, but did you see the audience just now standing outside when we came, when we pulled up?’ Like Matt Cooper…it’s like soldiers… This adventure, these kids, I’ve got a 22 year old percussionist and a drummer in his mid-‘ 20s who haven’t made that journey before. Who are kind of like ‘whoa, where we going? We’re going here? We’re going to Detroit? Oh wow, that’s where they made Motown! Can we go and see the Motown?’ And for me, I can share that. There’s a whole other thing going on with me that people don’t know because they see Incognito, they know the records. They don’t know the excitement I get in showing somebody…. Tokyo. Taking them to Roppongi at night. Going to New York with somebody who has never seen New York and watch their faces when they get that ’ Stevie Wonder moment’ of ‘wow skyscrapers and everything. It’s like New York City, just like I pictured it!’ It’s like there is that element of like … you cannot get from any other city, but New York.
Going to Detroit like I said, it’s the home of that Motown sound and the way that people are so differently culturally. Even though it’s a major city, it’s totally different to anywhere you’ve been… The excitement of sharing that with people. Even like just something as simple as like a tour bus pulling up and the excitement that everybody’s got from it, then the new kids and you look at the ones that have never been really on one with a band. Like a band that is well versed in these matters.
DN: So even though you’ve been doing this for quite a few years, it’s still exciting and still fresh, obviously sounds like it’s still exciting and fresh.
BM: Oh yeah, listen when we go on, we go down to the road to meet that coach, and with our bags, and our tour bus pulls up and you run on there and you look for your bunk, or you find your seat, and you get ready, and we talk about ‘oh we’ve brought some chicken, who’s brought this?’ That is like running to the back of the bus when you’re at school and finding the back seat and making your spot and that buzz of excitement. To have that, that buzz which you think is only reserved for 12, 13, and 14 and 15 year olds, to have that at the age of 55 is a major major thing.
DN: Well, I think that’s a pretty good place to end this interview, don’t you?
BM: With the tour bus.
DN: Yeah, right. Well, I just really thank you again for talking to me, and talking to our people at SoulMusic.com. It really is always a pleasure. Mostly, what I want to say, Bluey is, thank you for making great music. I mean, we don’t live in a world where we can count on that all the time anymore and so it’s always refreshing and when I know that there’s a new Incognito album, I always get like a twinge of like ‘Yeah good - some new music!’ So, thank you for just keep making great music for all of us.
BM: Thank you, you’re welcome. Thank you for this interview.
DN: Alright. Take care, now. Look after yourself.
BM: Bye, David.
About the Writer
David Nathan is the founder and CEO of SoulMusic.com and began his writing career in 1965; beginning in 1967, he was a regular contributor to Blues & Soul magazine in London before relocating to the U.S. in 1975 where he served as U.S. editor for the publication for several decades and began being known as 'The British Ambassador Of Soul.' From 1988 to 2004, he wrote prolifically for Billboard, has penned bios, produced and written liner notes for box sets and reissue CDs for over a thousand projects. He returned to London in 2009 where he has helped create SoulMusic.com Records as a leading reissue label.