Sadly, the Union Chapel gig audio was not recorded professionally. It was supposed to happen at the mixing desk but in the chaos leading up to doors opening, it just didn’t get organised. I apologise and I hope this is not too much of a disappointment to those that weren’t able to make it.

However there were 2-3 HD cameras going that I know of. I doubt the sound will be great but I will edit that footage at some point and put up at the least a montage of bits of the show. If you shot video, please contact Lindon Lait aka Bawdsey Buoy via private message on the Forum and arrange to send it to him, maybe I can use it in my edit!

A few amateur clips have already shown up on YouTube. Normally I’m against this but in the absence of a pro audio track I’ll let it fly this once.

What a fantastic night we had at the Union Chapel. I owe a big thank you to all involved–the band, guest musicians, volunteer organisers, and to the audience for go along with the strange experiment and giving us such a warm reception.

I’ve collected this Flickr album of my favourite photos from the gig, shot variously by NKguy, John Miller, Haydn Wheeler, Andy Shepherd, Lissu and possibly others. They’re all jumbled up so no individual credits, but thanks to all of you for sending them. I’ve also written some notes with each about who’s who and what their connection is.

What a miserable English winter!

I’ve stayed warm working hard to get things ready for Sunday’s gig at the Union Chapel in London. I foolishly thought I could do this without the help of a tour manager type of person—wrong! There’s been equipment to hire, lighting technicians to locate, video screens to get out of storage, US kit that needs UK power adaptors, interviews to schedule, and a bulging guest list to wrangle. I ended up declining several offers to videotape the performance from commercial companies, because there was always an agenda attached—selling DVDs or putting online adverts around the footage and so on. It all seemed too much so I’m reverting to the system that worked at the ICA, ie asking people to bring their own video cameras and sending me the footage to edit myself.

In fact, keeping it simple is probably the way to go. I decided a week ago that I’m not going to bother getting my full electronic live rig out of mothballs. So if you’re coming, don’t expect lots of snazzy synth sounds. For writing and arranging I always work with a piano anyway because it’s like a blank canvas. This will be about the essence of the songs, rather than the flashy production.

And the ‘and friends’ part is really going to just that! I’m delighted that Trevor Horn can make it, as well as Martin and Wendy from the Sprouts. Sadly Eddi Reader is off doing a gig of her own. There have been some last minute additions to the musical cast: a couple of former cohorts are flying in from California, and a noted instrumental soloist Pete Thoms from The Flat Earth got in touch with me and is now joining the fray. It’s been great corresponding with all these folks over the last couple of weeks, remembering what an eccentric and talented bunch they are. Fascinating how people remember different details about life on the road 25 years ago, or they remember the same things differently. Looking forward to exploring that a bit on Sunday.

We’ve stuck to our resolution not to rehearse. All the musicians are conscientious and want to sound at their best. So I’ve made a list of likely/possible songs for the set list, and told them they can do as little or as much homework as they like. I’ve got chord charts for most of my stuff because I’ve needed it in the past for brass, strings etc. Most of these musicians are the intuitive kind who just learn from listening. And we’ll have to stay flexible, because although 3 hours sounds like a long show, the time will probably fly by once we start playing, messing up, replaying and fixing the songs. I’ll have to watch the time closely because the Union Chapel in in a residential area and has a strict curfew at 10.30pm for live music. I wonder what happens then—they yank the power? You get struck by a bolt of ligthning from the Almighty? Oo–er, I’ll be quaking in my boots.

I’ve had a lot of requests to play the new song I debuted at TED, ‘Love Is A Loaded Pistol.’ I did it there with the lovely string quartet Ethel, who added a ton of atmosphere and harmonic support. It’ll sound quite exposed with just piano and voice, but hopefully I can convey the core of the song. It’s about Billie Holiday, who came to me in a dream with some lyrics she wanted me to set to music. I was over the moon that she had travelled through time to see me, but the lyrics were a bit crap, and I didn’t know how to tell her!

The evening’s not really about my new stuff, though I know people are dying to hear it so I may attempt one or two others off my upcoming album ‘A Map Of The Floating City.’

I’m really looking forward to Sunday. Surrounded by old friends, supported by Forum members and hardcore fans, it’ll be a great night even if we trip up!

It’s been far too long since I blogged. I’ll make this a long one and hope to make up for my silence somewhat!

January was a crazy month. I was a single parent as my wife was abroad due to an illness in the family. So I was looking after two teenagers and ferrying them around the countryside to their busy social engagements, while England froze in a blizzard. And I was trying to prepare for TED, on what turned out to be a broken, brand new MacBook Pro. Apple managed to swap it out for me at the last moment, leaving very little time to work on the string arrangements. But you don’t need to hear all that.

TED 2010 was fantastic. As I’ve explained in the past, as well as helping book the ‘named’ talent for TED, I usually put together a house band who play a short piece to open each of the 12 sessions over the 4 days of TED. The intro pieces set the tone for the session, and provide some consistency and counterpoint to the stream of wildly varied speakers. My house band this year was Ethel, a progressive New York-based string quartet. They played TED as featured performers four years ago, and I have done a couple of gigs with them since. They’re extremely expert classical players, but with a good feel for rock, folk and jazz, and very willing to improvise or tweak arrangements on the fly. We agreed to divide up the arranging tasks between the five of us, giving everyone a couple of shots at it. They were keen to come back to TED and put in the time to rehearse with me, even though no TED performers get paid. They’re very patient to put up with my lack of music theory. I can barely read music and have to read their scores at a snail’s pace. Thankfully Logic can render my sequences as music manuscript, so we were able to correspond remotely using email, FTP and MP3 rough mixes.

My plan was to play cover versions of iconic rock songs, arranged for strings and electronics. I wondered what an aggregate iPod playlist might look like for the TED audience. We came up with a list of a fifteen or so songs that would work well to our lineup, and filtered them down. Some were rock classics, and some were made famous by TED alumni. Here’s a list of the songs we ended up with, along with some notes about the arrangements.

BITTERSWEET SYMPHONY (The Verve.) We opened the entire show with a lone bagpiper—more on him later!—way up in the Gods, and the 4 Ethels a level below him, spread along the front of the Loge. They built up the familiar string riff that drives this song, canon-style, while I conducted with a baton from a kind of raised balcony off to one side of the stage. Then I brought in a thumping groove sequenced in Logic, with grand piano and a soaring lead synth over the top.

HIDE AND SEEK (Imogen Heap.) Imogen played at TED Global in Oxford this past July, as well as appearing at Monterey with Frou Frou five years ago. I decided to tackle a string quartet arrangement of her song which was more of a challenge than I’ve ever taken on with strings. The original uses block chords of vocal harmonies with lots of what I’d call ‘crunch’ chords, ie ones with notes only a tone or a semi-tone apart, which don’t always sound great on strings. I did a version at home using samples (from the excellent East West string library) and it was sounding pretty fine. I sent it to Immi for her approval and thankfully she was into it. It sounded even better when Ethel played it, and I added a kind of Celtic whistle and hand drum to the ‘hey what you say’ section, though I had to layer in a pad behind some of the chords to make them complex enough to match the original.

KASHMIR (Led Zeppelin.) I think it’s safe to say this took everyone by surprise! I played drums on my TriggerFinger, using John Bonham samples of kick, snare and hat from the intro to ‘When The Levee Breaks’. It felt great to give my inner drummer a workout. Ethel cranked out the chords and Robert Plant’s vocal line was played with Mary Rowell’s demented gypsy violin.

ELEANOR RIGBY (The Beatles.) At 8.30 in the morning, you want something quite familiar and easy on the ear. Ralph from Ethel had gotten a hold of George Martin’s original music, so all I needed to do was add a couple of sounds to cover the lead vocal parts. I went for a kind of choiry sound in the first verse, and wailing lead guitar in the second.

CLOCKS (Coldplay.) The arpeggiated main riff lends itself pretty well to strings. Violinist Neil Dufallo covered the arpeggios, doubled by a synth, while Dorothy Lawson pumped the bass line. I picked two ethereal lead sounds to simulate the vocal.

BLUE MONDAY (New Order.) I had a harder time convincing Ethel this was a good idea, being very much an 80s electronic dance thing, but in the end it provided a nice contrast to the others. I started off by thumping out the kick drum intro on the carbon fibre body of Dorothy’s cello. In came the pulsing octave bass part, which is quite a physical thing to play for three minutes on cello and without drums. The strings and choir parts were played by strings, and I sang the verses with a vocoder and headset mic.

NOTHING BUT FLOWERS (Talking Heads). We were joined onstage by none other that David Byrne himself. He had given an excellent talk a day earlier. Before the show he’d said he was ‘not really in music mode’ but once his talk was out of the way he happily joined us for an exotica-tinged cover of his song. I’d programmed a birdsong loop, bongos and a sinewave bass. I played some pedal steel samples I lifted from a song on my own album, which were played by Bruce Kaphan, who as it turned out formerly toured with David! We ran it through once in the dressing room before taking to the stage. With the first note out of David’s mouth there was a delighted round of applause from the audience. ‘Flowers’ is a perfect TED song, melodic and laced with irony but somehow ultimately optimistic.

FAST CAR (Tracey Chapman.) I found a lovely Omnisphere patch to play the repeating guitar part with, and ths strings filled in the chords, adding a Philip Glass-like ostinto from time to time. The result was quite mesmerising.

WHILE MY GUITAR GENTLY WEEPS (The Beatles.) The amazing ukelele player and YouTube phenom Jake Shimabukuro had already wowed the TED audience with his sensitive virtuoso brilliance. I sat this one out and Jake led Ethel in a great rendition of the George Harrison classic.

A CHANGE WOULD DO YOU GOOD (Sheryl Crow.) Sheryl had played this herself at TED two nights earlier, on acoustic with longtime cohort Tim Smith. Our version featured a number of samples of the word ‘change’ lifted from different sources (Barack Obama, David Bowie, Tears For Fears etc) fired by my TriggerFinger, with fiddles cranking over the top, and an outrageous slide guitar solo sound played on my Nord.

The remaining two pieces were originals:

Andrew Bird, who had played an excellent solo set earlier, joined us onstage for his song ‘Tables And Chairs’, and I switched to glockenspiel, which I don’t believe I’ve played since kindergarten! Andrew’s music is truly original and he’s a wizard with a loop box. Poor guy was completely spaced having just got off a plane from China, but he couldn’t miss the TED talks so he barely slept a wink. But the TED crowd loves to be introduced to new music and he went over very well.

And finally, I played a brand new song of my own, entitled ‘Love Is A Loaded Pistol.’ I only recently completed this and I’ve been getting ready to record it for my album. It’s a very retro piece, piano and vocals plus strings, with no drums. The vocal goes from very low to very high and it was quite intimidating to debut it in front of 1800 TEDsters, and potentially millions more out on the web. But it’s a song that tells a story, and I think I managed to get the story over in a way that did it justice. I set it up by telling them about the Nutmeg, my restored lifeboat studio, and flashing a few pics on the giant screen. Playing it with Ethel was like being wafted along on air.

After the four exhausting days of TED were over, we went to a local studio run by an old friend Chuck Mitchell, and recorded our 10 pieces for posterity. We managed to get them all down despite the onset of the familiar post-TED hangover. Perhaps I’ll include them on a TED house band compilation CD one day; and perhaps ‘Pistol’ will go on my album as-is.

It was an amazing week for speakers as well, with some of the highlights including Bill Gates, Eve Ensler, James Cameron and Sir Ken Robinson. And the music was rounded out by Natalie Merchant, who played some lovely poems she’s recently been setting to music; Sheryl Crow, ever the crystal-clear rock songstress, who made a longtime fantasy come true for me when she asked me and Mary Rowell up on stage to join her for ‘Home’, the best song IMO she’s ever written.

David Byrne joins us for ‘(Nothing But) Flowers.’

TED 2010 House Band L>R Thomas Dolby (keyboards); Ralph Farris (viola); Mary Rowell (violin); Dorothy Lawson (cello); Neil Dufallo (violin).

Sheryl Crow

Andrew Bird

Natalie Merchant

Jake Shimabukuro

(all pics thanks to TED /James Duncan Davidson)

The topography of womens’ underwear is quite beyond me.

It’s so bloody cold here in England that I have been wearing a set of silk longjohns, with several layers of clothing on top. Last night, with an arctic blizzard raging outside, I kept my longjohns on to go to bed. When I woke up this morning the long john tights were around my ankles, and my underpants were wrapped round them in the most curious way. The crotches were intertwined and the underpants dangled, like one of those metal puzzle rings, unsolved. I stared and stared, and for the life of me could not figure out how my underpants ended up in that position—unless some devious mathemetician sneaked in in the night, took the whole lot off and deliberately rearranged them in a configuration guaranteed to boggle my feeble waking mind.

And this led me to thinking about women who are able to take off their brassière without removing their top. Who invented/discovered this awesome trick? Was it perhaps some feminists in the 60s who felt it added drama to the bra-burning ritual? And is there indeed a whole slew of other cunning manoeuvres women know about and don’t share with us? Are you all out there sniggering over my longjohn puzzle, thinking to yourselves “ah, Dolby’s stumbled onto Womens’ Underwear Manoeuvre #37″?

Pic: NASA/GSFC, MODUS Rapid Response

This is how Britain looks at the moment from space. And where’s the Nutmeg of Consolation? Roughly under the centre of that snow cloud vortex over Eastern England.

Last night temperatures reached as low as -21 degrees centigrade in parts of Britain. It’s still snowing. The wind is expected to pick up today and though that gives me plenty of power, it’s hard to stay warm in a wooden lifeboat in these conditions. Fortunately this month I’m able to work in the house, on a laptop at the kitchen table. I’m taking a break from my album as I prepare for the TED Conference next month. I’ll be doing the House Band again this year, along with Ethel, a progressive string quartet from New York. We’re doing a short instrumentals to introduce each of the 12 sessions. I really enjoy arranging for strings, and though my knowledge and experience is limited it works surprisingly well to just write the parts in Logic using samples and then display the score as musical notation. I’m hoping to debut a brand new song there, which we’ll later record for my new album.

It’s serenely beautiful here. There are sand banks out to sea that are completely covered in snow. It’s truly starting to look like the Arctic, and I half expect to see a pod of orcas swim by. Maybe my polar bear dream was a premonition?

By the way when I told my kids about that dream, they broke into a routine. ‘Hold me?’ ‘what?‘ ‘nothing.’ And cracked up laughing. You have to be a Mighty Boosh fan to understand.

Last night I had a dream. I dreamed was alone in the frozen white wastelands of the Arctic. There was no food. I spotted the skull of a seal, with the brain still in it. This I knew was the only food for miles. Just then, a polar bear appeared in the distance. He stopped in his tracks, and we locked eyes. He was hungry too. I turned and began to run. I could hear his feet thundering behind me. Of course I knew he was much faster and it was only a matter of time before he caught up with me. Right before he pounced, I turned around and said, ‘look, I can share this with you! How about I break a bit off and share it with you?’ He stared at me for the longest time, sizing me up. Then he slowly broke out in sly smile and said, ‘okay, why don’t you do that?’

There was a big snow storm last night and today, and much of the East Coast of England lost its electricity. My beach was covered in snow, which is a rare and beautiful occurrence. We had no power in the house from midnight last night till about 3pm this afternoon. But with periods of sunshine to drive my solar panels, and a light northeasterly wind turning the turbine on my mast, I was able to keep working in my renewable energy-powered lifeboat studio, warmed by a potbellied stove burning hexagonal logs of reconstituted sawdust. Boy do I feel smug!

new Thomas Dolby photo by NKGuy  [nkguy.com]

A slight correction about the Lucas thing that my friend Paul Sebastien pointed out to me: he’s actually not aware of any movie plans, and was just talking about the live action TV show that George had talked about in an interview with an Australian TV station a while back. Paul is only working on the games side, and I know from past experience that he’s very professional and discrete, and would never leak confidential secrets, even to a close friend.

Sorry to throw a bucket of water on it, Star Wars fans: I should have chosen my words more carefully given the ultra-sensitivity of your blogosphere!