Thomas Anders – The Real Creator of Modern Talking Songs

If Dieter Bohlen can lie about his singing, his guitar skills, his real identity, and his real sexual orientation, he can also lie about the fact that he composed the songs of Modern Talking. 99.9% will always respond that it’s stupid to doubt Bohlen’s musical skills and his compositions. The consensus will be that he made the songs of this legendary band.

But how can a producer, who, not only did not have any musical course or experience, but didn’t even own the rights to the songs in the first place, up until 2017, get to call the compositions of somebody else, his own? Sure his name figures out on the old MT vinyls and is accredited as the producer and the writer for such a long time, but that’s because ghostwriters are never credited.

Producers steal others’ work and get to call it their own. We don’t know who created songs for Simon Cowell or Max Martin. But at least, we found who the ghostwriter of Modern Talking songs is, and that’s none other than Thomas Anders.

It’s time to twist this narrative where wrong people have been given recognition for years. This article piece will be a little longer than the others.

Bohlen, the godfather of the sound, failed himself to recreate the sound of Modern Talking, let alone hobby producers and musicians such as Systems in Blue. It’s bad PR also for his right-hand man, Luis Rodriguez, also alleged godfather of such sound, who only worsened the synthesizer and bass after the release of “In the Middle of Nowhere”. The sound became more static, and that followed also in Blue System.

But let their blind fans believe it was something extraordinary, and anything close to what the real professional, Leroy Lee Davis provided in the First Album. This so-called studio engineer Luis never created anything remarkable without him. Only static garbage on Bohlen’s demand.

Luis’ only role at Modern Talking and Blue System wasn’t just to create a horrible copy of Leroy Lee Davis’s style, but also to merge the vocals of Systems in Blue. If you’re not yet familiar who they are, they are the choir who sang the head voices for Dieter Bohlen. Their names are: Rolf Koehler, Detlef Wiedeke and Michael Scholz.

Another key piece to the success of Modern Talking was Ralf Stemmann, the genius of PPG Wavesystem and the synth sound of that time.

But the thing is, these studio musicians are simply, studio musicians and engineers. And have no copyright over anything.

Rodriguez is slightly more honest than Bohlen here. He admits that the disco sound is not an innovation of his, but rather borrowed from an Italian composer called Mike Pidone. That’s why Luis had a peak with Lian Ross and with Modern Talking, then it slightly died, because it was not his sound, and as he says here, he worked on mastering it for two years.

 

It’s incredibly unfair to label the sound of Modern Talking as the sound of Luis Rodriguez and Bohlen.

From Luis’ entourage, well as ex-choir singer Michael Scholz, is told that Bohlen was barely in the studio. He was only pretending to be “always” there, for the media and the teen magazines, to show how hard he works. And Micha assesses a logical conclusion that we agree with:
“Dieter was rarely in the studio. He only cared about hits and hits. That is why some of the songs of Modern Talking were very boring”

For almost 35 years, Bohlen was never able to sing live the songs of Modern Talking. One might say: Well he doesn’t have a good voice, that is why he can’t sing songs of MT. But how can you explain, that, in his concerts, he always sang the songs of Blue System, or the songs he made for Bonnie Tyler, Chris Norman, and Nino de Angelo? And for that exists footage on the internet.

The only parts of MT songs Dieter only “sang” were singing along to the choir provided by the trio of Koehler-Scholz-Wiedeke, and not the part that Thomas Anders sang. Why? That’s easy. That’s because Dieter only had copyrights to the voices of SIB. He did not have copyrights of ALL the original tracks and neither Thomas’ vocals.

That’s because Dieter had absolutely nothing to do with the production (nor the composition) of Modern Talking songs. Don’t get fooled by the “leaked demos”.

Bohlen got to receive the rights to Modern Talking songs ONLY after the release of “Back for Gold” album in 2017, which he made out of spite of Thomas. Even though Bohlen was finally given the chance to “redeem” himself to those who doubt his “talent”, unfortunately, this album every Bohlen fan deems a masterpiece only has remixed compositions, where the songs have been tweaked with low effort and barely resemble the real sound of Modern Talking. Can’t say disappointed, just not surprised.

This so-called genius with no musical hearing cannot even recreate the sound that he allegedly made and takes credit for such a cosmic sound that EVERYONE has failed to replicate. It’s not because he is old, it’s because he is completely, who really cared about the “Nummer Eins”. He says that he made “YMHYMS” with Prophet keyboard, meanwhile, what was used was, of course, the famous Yamaha DX.

Bohlen himself doesn’t even recognize the other songs of Modern Talking he “made”, except the ones that made him rich and got him the Nummer Eins. He probably forgot that songs called “Bells of Paris”, or “Why Did You Do It Just Tonight” exist.

The album which Thomas produced in 2016, before Dieter, was called “History”, with Modern Talking songs made from scratch and produced in new style. Objectively speaking, the remastering isn’t as good. Probably because the genre in which the songs were produced is Schlager/German Pop. And cannot be compared to the typical style of Modern Talking.

But the MAIN point you have to consider, is that Dieter did a few changes to the original tracks while Thomas completely overhauled the songs. We go back to the “copyrights” topic. The logic is that Dieter should have countless of recordings of Thomas’ voice singing to the tracks. So why does he have to use the final recorded vocals?

It needs to be said, in general, Thomas’ success as a soloist was always compared to Modern Talking’s success, while Bohlen’s success was always compared to Thomas’ success. People’s standards for Thomas was always high, for Dieter not so much, they “just” knew he was a maker. But people deep down know Thomas was THE Modern Talking.

They just don’t want to admit.

Well, this kleiner Schlagersänger who is nothing without Bohlen overhauled the songs of Modern Talking from scratch. Whether you find it horrible or good, it’s this fact alone that Thomas was able to do something, while Bohlen was not.

This wouldn’t be the first time that Thomas would release something related to the typical “MT sound”. A couple of years later, he released another album with songs in the style of Modern Talking. Still, not as good as the original, but it’s much better than the successful garbage Bohlen has produced.

The psychology of the fans, especially those idolize Bohlen and his success, instead of the song quality in itself, is that the Modern Talking style Thomas makes is shit, while Bohlen’s work is a masterpiece. Even if Thomas cooks Sushi, the fans will only consider Bohlen’s flushed fecal as edible.

Just for not having any hand in the compositions of Modern Talking, he was given all sorts of nicknames: German Mozart, Pop Titan etc. Dieter has always been nothing without Thomas, not the other way around.

Bohlen believed so much in his own compositions and his own sound that he sold the songs of The First Album, to various European artists. But what he didn’t realize is that two songs were given “without his knowledge” to a German Italo disco artist called Patty Ryan: the Instrumentals of You’re My Heart You’re My Soul, and There’s Too Much Blue in Missing You. The lyrics were rewritten to “Chinese Eyes” and “Feeling So Blue”.

Patty Ryan had revealed several years ago that she was madly in love with Thomas. Even a song of hers has as album cover Thomas’ name on a pendant. Searching Patty Ryan’s producer Gerd Rochelle on the German net, he does not figure out anywhere as her producer, but rather as a “country” producer.

Patty Ryan was never able to explain why she had MT songs without Bohlen’s knowledge which it could’ve been a case for copyright infringement.

It’s crystal clear, that Bohlen and Rodriguez DO NOT possess the originals of Modern Talking, even though they’re entitled to as producers. Thomas does. He has all the acapellas, the demos, and the multi tracks. He is the ghostwriter… and the ghostproducer. When Thomas was touring with the songs of Modern Talking live in Eastern Europe, South Africa, Chile, etc. Dieter would tell his German fans that Thomas only sang playback there. That he couldn’t understand how Thomas sings songs without Bohlen’s permission, that it is a case for a lawsuit. How funny.

The videos of his concerts are easily accessible on YouTube, where Thomas there sings live and so flawlessly.

The lying blonde clown complains even now that Thomas uses “his songs without his permission”, yet he does nothing about it. Thomas has been in possession of these rare materials forever and always used them in concerts. Well, that’s because he is the real creator of the demos and not Bohlen.

Here you can even hear the voices of Systems in Blue in this Jet Airliner chorus.

 

Of this opinion are also hobby producers on YouTube, who make remixes or songs based on the style of Modern Talking. It cannot be that Dieter doesn’t possess originals. Oh really…

This hobby producer asked a very smart question to Bohlen on Instagram, which was, of course, left unanswered. 

Another one (original comment posted by Israeli producer Itamar Moraz, who also worked with Systems in Blue)

On the other hand, Alexander Bez, the hobby producer who remixed “Lunatic” for Thomas in 2016 as TDHDriver, is also skeptical of these “multi-tracks”

Translation: “I wonder if anyone will ever leak the original multi-track with backing tracks from which these arrangements were made at his concerts before the second reunion? :)”

We wonder the same thing, and what we are hearing are THE original multitracks, to which the SIB sang in unison. According to them, when they entered the studio, the instrumental was very rough.

For context, this is the multitrack tape recorder that was used in Thomas’ concerts.

At some point, Bohlen also exposed himself somehow. He had also said here that he “offered Thomas to be co-producer but he refused”. (Read below) Interesting, sounds like the opposite happened. Thomas was the producer, Dieter the co-producer with barely any contribution to the compositions

In addition, there is a significantly tiny, tiny percentage of people who know that after the completion of Abitur, Thomas later finished training as a music arranger and took 12 years of piano lessons. Keep in mind, that Dieter, in response to Thomas’ music projects post-MT, said in the same statement above, how can somebody produce music when one doesn’t know how to play the piano?

Dietrich, on a scale of 9 to 10, how stupid are you?

It’s very common that Dieter claims the opposite to deceive his audience. Indeed, how can Dieter even produce music when he never trained to be a musician, composer, producer, or singer? Just because he strums a few strings on guitar in his local pub band, it makes him a professional musician?

And of course… apparently, Dieter recruited Thomas right after his appearance at the Michael Schanze show in January 1981. The fans who bought pieces of vinyl might probably have these “Single-Facts”, otherwise it’s inexplicable that the fans who loved listening to such music never paid attention to such mistakes. Official version of meeting: February 1983

Little do people know that the music video of Cheri Cheri Lady was shot in Lenbach villa, Munich. “Villa von Lenbach”, this cultural villa built in neo-baroque style, by Gabriel von Seidl for painter Franz von Lenbach as a studio, used to be one of Nora’s (and Thomas’) many houses and served mainly as an artist’s villa.

It means that this famous villa also worked as Thomas’ secret music studio, on Nora’s demands. Thomas was most likely not on vacation, as Didda often claimed, but was hiding in this villa as Bohlen’s ghostwriter. At the same time, this also kinda debunks Bohlen’s lies that Thomas was rarely at ‘Studio33’. In fact, other studio musicians like Michael Scholz have already debunked this lie. Of course Thomas has to be there, he is THE real boss, right…?

The content of the music video speaks for itself, there is a large sound mixing system and equalizers integrated to the edge of the room. It looks like the purpose of this room was to be a mixing control room: for Thomas.

While Bohlen’s studio used to be a small room in the basement, this stupid family who thinks only about dogs, cats, animals, jewelry, cosmetics, mascara, high boots, or swimwear collection has a large sound-mixing room inside their house.

This villa located in Soecking, Starnberg district, Prinz Karl Strasse 44 could’ve been a witness of Thomas’ secret productions, but according to information on the internet, the new owner already found it abandoned and in extremely horrible conditions, despite the attempts of refurbishment. And if I were Nora with bad intentions, I’d also let the house rot in mold and have all the evidence destroyed. On the internet, there is barely any information about this villa.

And Bohlen, to prove he made the demos, had to record his own voice in them, just like every producer does when they steal from other ghostwriters. But, to Bohlen’s credit, he didn’t steal the rights to Thomas’ work, like the other ruthless producers did to ghostwriters. That’s because Bohlen loves Thomas. Unfortunately, he stole the credit and the recognition.

That’s why when we hear “Modern Talking demo”, we only hear Bohlen’s “voice” and chorus there, but never the full demo. Even when burglars broke into Bohlen’s house and stole some of his demos, the demos that were leaked only showed Bohlen’s voice singing the chorus. The only time we were close to hearing a demo of Modern Talking was in 1985 when Bohlen was interviewed by Bravo.

In addition, the theory that the “Modern Talking songs” were all already finished/done before the band was even established is a very, very likely theory, if anything. In the beginning, these songs weren’t supposed to be the songs of Modern Talking. And we are not talking about the period end 1984, but much much earlier.

At the beginning, they were supposed to be songs for other artists. Bohlen was obsessed with giving away songs, or throwing them in the bin, just like he almost did with Cheri Cheri Lady or with You’re My Heart, You’re My Soul.

The latter, which according to Bohlen’s book used to be called “My Love Is Gone”, he offered to Rodriguez’s wife, Lian Ross, which at the beginning, she refused but accepted to perform it a year later. And Thomas, who wanted to sing in English, was left to sing it, and he sang in one single try. Bohlen never mentions to the fans that he insisted Lian Ross should sing it, for some reason.

Coincidentally, Thomas’ single “Es Geht Mir Gut Heut’ Nacht”, was released one month and a half (Sept 1984) before “YMHYMS” from the band “Modern Talking” (Oct 1984), and its instrumental was used in “Lucky Guy” (The First Album).

At the beginning, the songs were indeed not meant to be for MT, but towards the end of 1984, a duo was quickly formed. It is a lie, though, that the record company could not find Thomas’ partner so they snuck in Dieter. The cover photo of YMHYMS already indicated that it would be Dieter. A shoe, a sporty shoe, piano and guitar.

YMHYMS wasn’t made by Bohlen while he was on vacation in Mallorca thinking about a beautiful girl, on the contrary. What was only left were the recording of the voices and improving the sound, a job done by studio engineers. And the reason why “No one in the studio had much desire to take on this song” as per back-vocalist Detlef Wiedeke, is exactly because they found its structure very simple. And by simple, it’s most likely implied “very Schlager” or “Disco” – Verse, chorus, verse, chorus.

That Thomas sang YMHYMS in one try, as per Dieter himself, is already big proof that it’s Thomas who recorded the demo. Only someone who had already recorded the song himself knows how to sing it. But Dieter, out of spite, as always contradicts himself “Thomas was rarely in the studio, only sang and left”. Not only is that not true (according to SIB they always found Thomas in the studio), but even if it was not true, why would Thomas stay longer in the studio if he sings the songs in one attempt?

In addition, Bohlen also confirms here that for their first album in 1985, (before it was released in April) they’d be choosing 10 songs out of 40 that they’ve recorded. 40 songs cannot be made in one year, let alone in 3-4 months.

These songs/demos weren’t just already made a long long time before MT was created, but they were also reused, reused, reused by Bohlen in the following years for his other projects. That also includes projects around 1983-1986 time.

That’s why Bohlen specifically wrote these lyrics: “God put an angel here on earth, that gave me more than all I’m worth”.

Because this clueless idiot knows nothing about music besides replicating this hook that started off with YMHYMS. Not only because it’s what made him successful but it’s also the hook that his angelic creature created.

That is why he gets backlash in Germany for “covering his own songs”.

And Thomas’ attempts to become successful as a soloist weren’t only blocked when Modern Talking was disbanded, but also when the band was still active.

Even though Bohlen promised 3-4 times to the media that Thomas would have a solo single, this never happened. Songs like Why Did You Do It Just Tonight and We Still Have Dreams were supposed to be Thomas’ solo singles.

There were some small attempts by Thomas (and Nora) to create music for a band called MAN-X, whose band members were often present in Thomas’ solo concerts in Chile and South Africa but were unsuccessful.

At the same time, the record company pretended not to know anything about Thomas’ “Solo Plans”. Even his plans with Nora, creating a music label, founding new bands, or making “Funk” genre projects, were (surprisingly) blocked.

Nora’s involvement in music is a little suspicious since she wanted to be seen as stupid and hide, but it’s crystal clear that the record company pretended not to know about Thomas’ solo plans. Instead, they wanted to keep him as Bohlen’s ghostwriter

Pushing Bohlen’s garbage to the top of the charts while sinking Thomas’ expensive work with famous producers such as Gus Dudgeon or Alan Terney is enough to make Thomas so unpopular that the German radios did not want to play his music once they heard his name. It’s an act of revenge that Thomas shall never be successful alone, but only with Dieter.

Thomas’ solo albums were so expensive yet a failure, that they cost his life, among other things. But the value of an artist by Bohlen fecal-eaters is not judged by talent and quality, it’s judged by how much money you make off it, and how many times it finishes “Nummer Eins”.

Therefore, Thomas’ hard-worked solo albums are crap, and Bohlen’s work is a “masterpiece”.

And Thomas had no other option but to accept Bohlen’s offer of a comeback in 1998. The truth is, it was not necessarily an offer, but a suggestion. Without Thomas, there is no Modern Talking, and that is a thousand percent obvious. There has to be his green light if there has to be a comeback. As such, both can profit from each other. And this is exactly what happened in 1998.

In forums from more than a decade ago, a contract was leaked in the German language, where it stated that either Dieter or Thomas could end the collaboration if somebody felt like it if somebody felt uncomfortable. Unfortunately, we don’t have a copy of the contract, but we were in contact with somebody who managed this forum and remembered this small detail.

In truth, this ending came abruptly, because three more albums were planned to be released after “Universe”. This means, maybe, that the one who ended the group abruptly wasn’t Dieter, but it was Thomas. It’s unclear if he did it himself, and out of spite, or was influenced.

Or if Dieter even ended the group himself, after the lucrative offer he received as a judge for “Deutschland sucht den Superstar”.

Hear what Thomas had to say himself about how “well” the country treated arguably their most talented singer.

 

Even though Thomas was already hated, he also had just as many fans and admirers in Germany. Surely he couldn’t have all of his solo albums unsold.

They were most likely all bought by the record company. It’s a classic tactic of them spending a good budget just to see an artist they dislike fail. It’s kind of funny how Thomas’ record label as a soloist was Polydor, a label whose CEO was Goetz Kiso, Bohlen’s personal manager.

His childhood was stolen, his music was stolen, and his life was stolen. And nobody knows anything. They sucked so much out of his soul and everyone pretends as if nothing happened. It is truly the darkest secret ever kept in the music industry, on the entire planet. The world has to know the truth about this dark secret that has been buried in Germany for decades.

Not just that, but the entire country must apologize for collectively ruining the life of this young, innocent boy. They did not make him suffer directly, but they participated in his suffering: shame, hatred, humiliation, and mockery.