The one and only Thomas Dolby war das Wunderkind der Synthesizer-Ära, fabrizierte berauschende Alben und gab den wahren nutty Professor des Sounds. Später verschwand der dreifache Vater aus der musikalischen Wahrnehmung der Allgemeinheit und wandte sich der Entwicklung von Sounds, Musikformaten, Keyboards und Software zu, verdiente nicht zuletzt dank der Ringtones mächtig gut. Zumindest beschädigt er so nicht seine ungebrochene Reputation als bahnbrechender Querdenker der frühen Achtziger.
In seinem Blog http://blog.thomasdolby.com/?p=1045 berichtet er aktuell von einem Traum, der nicht nur ihn berühren dürfte. Denn dort werkte er mit den alten Geräten zusammen mit Howard Jones (einem ebensolchen Geist der Tasten von vor drei Jahrzehnten) an frisch alter Musik.
"Last night I dreamed I hired Howard Jones for a keyboard session at a big studio (Abbey Rd? Real World?) We were getting ready for him and setting up all my old keyboards—the Fairlight, the PPG. I was worried because they had been in storage for so long. Someone came in and said ‘Howard’s juicers are here–where should be put them?’ (For some reason I knew his ‘juicers’ were not electric blenders, they were people to make his fruit juice.) I hooked up the PPG Wave 2.2 and played a chord. It was a long backwards sample that I could not make out. Then I looked at its little LED screen and all the text was back to front. At first I thought this was because its patches were garbled after all this time. Then I realised it does that when you play a backwards sample—it’s a little German in-joke.
Eventually Howard arrived. He was very friendly and looked great, in fact just like 1983. But we were both wearing identical green corduroy jackets. This was embarassing but being English neither of us felt able to mention it. Then I woke up."
Schade.
