One record at a time: 229. Kraftwerk - Tour de France Soundtracks

Released in 2003 as "Tour de France Soundtracks" this was the first album of new material Kraftwerk had released in seventeen years - to say it was highly anticipated is something of an understatement. Unfortunately I think it is equally valid to say this record turned out to be a disappointment to many. 

Here I am playing the 2009 remastered version which is simply titled "Tour De France". The original vinyl that carries the "Soundtracks" subtitle seems to be considerably scarcer and is more expensive as a result.

In 2000 I was playing the single "Expo 2000" in my car and a passenger commented that he quite liked electro. Up to this point it had never occurred to me that Kraftwerk had begun recording straight up electro - but that's exactly what the music was. Having seemingly not managed to scratch the itch with "Expo",  Kraftwerk returned to the studio to create an entire album of minimalistic electro that revived a long held ambition to create a concept album centred on La Grande Boucle.

There's not a great deal to say about the music on this record as it all sounds fairly indistinguishable. Every idea, riff and leitmotif is repeated ad infinitum no matter how short or meritless they may be. The sounds used are all VST generated and are nothing that we haven't heard before. There are flashes of inspiration here and there, but even the new version of the title track is lacklustre. 

The sleeve offers us the cryptic credit of "Music Data" which actually describes the album very well. In essence this record is exactly what Ralf has always striven for: repetitive, anonymous, computer driven electro about cycling. The fact that the record isn't very good is quite sad as, let's face it, this is probably the last album of original material Kraftwerk are ever going to make. 2/5

One record at a time: 228. Kraftwerk - The Mix

In the nineties a chart CD would cost around £11.99. This may not seem a lot now, but it equates to roughly £33 at 2023 prices. So, when I handed over my precious birthday money to buy "The Mix" in July 1991, I was praying it turned out to be a keeper and not another disappointing selection I would have to take back to HMV and swap for something more palatable. 

This was the first Kraftwerk album I bought around the time of release and I have subsequently acquired a second hand copy of the original UK vinyl along with the 2009 remastered version. 

The album kicks off with a fantastic rework of "The Robots" which was also released as the lead single. As I remember these mixes attracted some criticism when they were released as they had quite a strong early nineties house sound, but this is actually why it sounds good to me.

We rattle through remixes of the bands best known songs with "Computer Love", "Pocket Calculator" and "Autobahn" following in quick succession. One of the more drastic remixes is of "Radioactivity" where the plodding original is sped up and draped in disco clothes to spectacular effect. The musical triptych of "Trans Europe Express / Abzug / Metal on Metal" have a new sheen but remain largely faithful to the original. 

"Homecomputer" is a bit of a mishmash that incorporates elements of "It's More Fun To Compute" but it lacks a bit of the magic the original had. The version of "Music Non Stop" that finishes things off takes a similar approach to the single from 1986 by incorporating elements of "Boing Boom Tschak" and "Techno Pop" and adds a funky bassline for good measure.

As much as I like this album, I can't help but feel it falls between two schools of thought. On the one hand the band clearly wanted to polish their back catalogue by sampling into their new Synclavier and eliminating some of the grit of the old recordings. However, in recreating their "greatest hits" Ralf et al didn't stick faithfully to the formula and began to embellish the songs with more contemporary stylings. This isn't a remix album and it isn't a remaster: it's both. Personally I'd like to have heard more mixes like "Radioactivity" where the original is given a good shake and something new emerges, but I don't suppose there is a great deal you can do with tracks like "Music Non Stop". However, the fact that I still own the CD over thirty years later suggests I have always liked it. 4/5

One record at a time: 227. Kraftwerk - Electric Cafe / Techno Pop

This album raises many questions. Is it called "Techno Pop" or is it "Electric Cafe"? Why does everything on the first side sound the same? Who is singing and where have the melodies gone?

In some respects the changing title reflects the difficult gestation of this album. Unfortunately Ralf had a bad cycling accident in 1982 and work on their upcoming album - tentatively titled "Techno Pop" - drew to a halt.

Following Ralf's recovery there were further delays as the band decided to remodel their studio and draft in digital synthesizers and samplers. Yet even when the LinnSequencer, Emulator and Yamaha TX812 were introduced, progress remained slow. The material they eventually recorded was taken to a variety of studios around the world to get the right sound, but no matter where the mixes were made or who contributed to them, the band seemed to reject them.

Yet, these delays really need not have occurred. If the "demo" versions of some of these songs that can be found on YouTube are anything to go by, things were much better before they descended into ever decreasing circles. Not only does "Techno Pop" have a melody on the older versions, but Ralf provides a great vocal too. "Sex Object" sounds dark and brooding with the familiar Emulator slap bass sound found on the first single from the album "Tour de France" running through out. Except "Tour de France" wasn't included on the finished album. So let's listen to what they eventually did produce.  

I own an original UK pressing of this album with the title "Electric Cafe", a 2009 remastered version called "Techno Pop" and the 2020 clear version of the same. I also own a live version from the "3-D The Catalogue" box set.

The album starts with "Boing Boom Tschak" in which Kraftwerk decide to load their new Emulator with samples of speech synthesizers and bang away at the keys. After a few minutes we segue into the industrial rhythms of "Techno Pop" which, in a great ironic statement, is as far removed from pop music as it is possible to get. Ralf is clearly bored as he sings along to the Yamaha FM strings and marimbas that repeat the same uninspiring riff behind him. Whilst the mechanical rhythms continue for nearly eight minutes, there is very little development and everything becomes a bit tedious after a while.

On the previous album the track "Numbers" was a great example of original music that can hold a user captive despite its minimalistic approach. "Music Non-Stop" is an attempt to use the same recipe but unfortunately, the cake doesn't rise this time. The three tracks that make up side one of the album are largely indistinguishable and the single of "Music Non-Stop" that edits them all together proves just how amorphous they are. 

The reverse of the record carries more melodic song based tracks, with "Telephone Call" the stand out. As Karl sings, "You're so close, but far away" you can feel the album turn back to pop and begin its salvation. Rather ungraciously the 2009 remaster cuts Karl's contribution down to its single edit before adding the instrumental "House Phone" to make up the running time - but the original eight minute version is my fist choice.

"Sex Object" has always sounded odd to me as Kraftwerk are probably the least sexual group I have ever heard of. I can buy someone like Rick James or Axl Rose singing, "I don't want to be, your sex object" - but a robot in a tie is stretching the bounds of believability. Still there is a good hook to the song and it is far better than listening to "industrial rhythms from the ground". The album ends with the title track which tries to cross the pop song with the instrumental rattling of the first side. Whilst it is sung largely in French, this is no haute cuisine.

The "3-D" version offers some modern remixes and "Telephone Call" is presented as an instrumental as it would clearly be beneath Ralf to sing Karl's lines, but there is no great improvement on the original. I once wrote a lament on this blog that Kraftwerk went down the dumper when they bought a Synclavier, but I now realise it was their move to samplers and FM synths that irrevocably changed their sound. It is far too simplistic to say, "the DX7 killed Kraftwerk" but it's not a million miles away from the truth either. 2/5

One record at a time: 226. Kraftwerk - Computer World

Not only is "Computer World" my favourite Kraftwerk album but it is also in my top 5 favourite albums ever. 

As a result of this veneration I own a copy of the original UK pressing, the 2009 remastered version, the coloured versions from 2020 in both English and German and the version from the "3-D The Catalogue" box set. I'm not too keen on the remastered version as it is too bass heavy and lacking sparkle for my taste. The "3-D" mixes are really good, but again I will always prefer the originals.

In my previous post I mentioned that I first heard this album on the flip side of a cassette which also included "The Man Machine". Whilst I love "The Man Machine", it was "Computer World" that I was most drawn to.

The title track opens proceedings with its vision of a world in which people use computers to do business, crunch numbers and make money. I think I was drawn to this album as not only did it have a great groove, but it painted futuristic pictures in my head. Ironically of course there were no computers involved in the creation of the music and even the Hazeltine 1500 terminal on the sleeve isn't a true computer. Yet this album still had the power to beam me into the future; and still does.  

"Pocket Calculator" is a catchy tune bristling with every gimmick and gag the band could throw at it. On the other hand, "Numbers" is a minimalistic dream with a beat that is often imitated, but never bettered. On the b-side "Computer Love" is another classic track that has a catchy melody, a hint of melancholy, a dash of irony and a great dollop of rhythm. Even though every track up to this point has been excellent, it was the final two cuts "Home Computer" and "It's More Fun To Compute" that really caught my ear when I first heard them. This album is unrelenting in every way and the quality never dips for a second. For me, this was the zenith of techno-pop. 5/5

One record at a time: 225. Kraftwerk - The Man Machine

My introduction to Kraftwerk came in 1984 via a cassette with "Computer World" recorded on one side and "The Man Machine" on the other. I think the tape originally belonged to my younger brother, but through a quirk of fate it was I who came to listen to it on my Ferguson personal cassette player. 

There was something about the music on that TDK D-C60 that enchanted me and I found myself listening to it repeatedly. Whilst I had taken an interest in pop music a few years earlier, the music on this tape was different to what I heard on Top of the Pops. This music was special.

The person who copied the tape for my brother obviously didn't have access to the original sleeves so he had guessed at the song titles based on the lyrics he heard. Until I purchased a CD of "The Man Machine" in the late eighties, I thought "Space Lab" was called "Spaceman" and "The Robots" was titled "We are the Robots". Today my vinyl collection extends to three English language versions: an original UK pressing, the 2009 remaster and the "3-D" box set version, along with the German red vinyl from 2020.  

The classic filtered bassline and rasping vocoder of "The Robots" is a shining example of an electronic track that is both original and catchy. This track was far removed from the abstract, improvised nonsense that passed for electronic music in the past; this was pop with a robotic heart. This was the birth of techno-pop. The year was 1978.

Whilst Kraftwerk had seemingly perfected this new genre, the British public didn't really seem to accept it until "The Model" hit number one in the singles charts in 1981. Whilst "The Model" undoubtedly has a wide appeal, "Neon Lights" is probably the best track on the album for me. Having said that, my star ratings in my digital player indicate I like all of these songs equally. 

The German language version has some vocal differences (especially on "The Model") and the vocoder on "Die Mensch-Maschine" sounds positively out of tune to me. Some people seem to prefer the 2009 remaster but I always go back to the original. The "3-D" version features sympathetic mixes but the version of "Neon Lights" is disappointingly short. Still, when the source material is this good, it's not really possible to mess things up too badly. 5/5

One record at a time: 224. Kraftwerk - Trans Europe Express

"Trans Europe Express" is the sixth studio album by German electronic band Kraftwerk. I own an original UK pressing of the English version (colour sleeve) and a more recent bootleg of the German language version (black and white sleeve). In addition I have the 2009 remastered version (black sleeve) and the version included in the "3-D" box set (not shown).

This was the first album on which Kraftwerk truly relinquished their art-rock sensibilities and gave in to their innate sense of pop. The naive fumbling of the previous album "Radioactivity" is replaced with a polished perfection that is much more appealing. 

Whilst this record wasn't a massive commercial success when it was released, the musical ripples it created are still being felt today. There's no doubt this album represents a milestone in electronic music and is a cultural icon.

The album starts with "Europe Endless" which conjurors up images of parks, hotels and palaces fleetingly glimpsed through the window of a train as it shuttles between cities like Amsterdam, Frankfurt, Zürich and Rome. When I first heard it, this song sounded very exotic as my world was much more parochial and introverted in my youth. Unfortunately the idea of frictionless travel across Europe is once again a pipe dream for those of us living in the UK, but at least I can now say Europe's promenades and avenues no longer feel like another world. 

Another remarkable aspect of this first song is that it demonstrates the presence of sequencers in the Kling Klang studio. By 1977 Kraftwerk were using a prototype Synthanorma SQ312 and it clearly lent a new dynamic to the sound of this record. The synth patches this machine drives are nearly always perfect and effects are applied sympathetically. Unlike previous albums, even the vocals are clear and generally in tune.

The second track is "The Hall of Mirrors" which has a much slower pace but is no less atmospheric. This is one of few tracks where I prefer the German language version as the phrasing seems to fit slightly better. As I listen to "Showroom Dummies" I can't help but think it sounds like prototype reggaeton. Who knows, maybe the influence of this record is truly that broad. Personally I'm not totally enamoured with this song as the stuttering rhythm is too dominant and it becomes a little annoying; even if the melody is very good.

On the second side of the disc we encounter the iconic leitmotif of the title track and its two subsequent movements "Metal on Metal" and "Abzug". Once again I am drawn to the German language versions of these tracks as they sound more aggressive and the vocoder work is more impressive as a result. Whilst there is no doubt this track is iconic, dare I suggest it becomes a little repetitive and runs out of steam towards the end of "Abzug"?

"Franz Schubert" is a variation on the theme of "Europe Endless" that meanders along quite inoffensively until it is drawn to a close by the "Endless Endless" coda. I like this album and nobody can deny the impact it continues to have as it finds new listeners. But "Trans Europe Express" isn't perfect and there was even better to come from the Godfathers of Techno. 4/5

One record at a time: 223. Kraftwerk - Radioactivity

I own three copies of "Radioactivity"; the original UK pressing, the 2009 remastered edition and the version included in the "3-D" box set. I'll be up front and state from the beginning that this is my least favourite Kraftwerk album. 

This album is Kraftwerk's first truly electronic release and the first to feature the "classic" line up of Ralf, Florian, Karl and Wolfgang. Despite such good pedigree, this album lacks the pop sensibilities of their later work and, aside from one or two melodic pieces, "Radioactivity" has always stuck me as being abstract and self indulgent.

I also think this record has a very low fidelity sound. As you might expect, the remastered version eliminates the sporadic tape hiss heard on the original but nothing can improve upon the off key singing, terrible plate reverbs and ropey synth patches.

After the synthetic clicks of "Geiger Counter" we launch straight into the title track. Since 1991 the band have played this track at a much quicker tempo and I now find the original mix far too slow and ponderous. Florian's vocal on "Radioland" just cuts through me and repeatedly hits on the part of my brain that says, "this is terrible". "Airways" achieves a greater level of annoyance through repetition alone. 

We have to tolerate no less than three musique concrète pieces before the next track of any value is heard.  "Antenna" bears more than a passing resemblance to "Autobahn" but the melody barely survives the dreadful delay added to the vocal. There's more sound design pieces before the classically tinged "Transistor" and the final piece "Ohm Sweet Ohm". 

I have no doubt some electronic music fans will be disappointed with my appraisal but I just can't warm to the original version of this album. The "3-D" live recording from 2017 improves things by adding some variety to the title track and "Airwaves" is given a more electronic and dance orientated sheen. The vocals on tracks like "Radioland" and "Antenna" are much more palatable on the new re-recording but the musique concrète pieces remain uninteresting to me. 1/5

One record at a time: 222. Kraftwerk - Autobahn

We've reach another significant milestone as we now need to work our way through the Kraftwerk back catalogue. Take a deep breath and hold on tight; we're going in. 

When I began buying music in the mid eighties, the received wisdom was that "Autobahn" represented the birth of Kraftwerk. To a certain extent the band continue to drive this perception by omitting their first three albums from concerts or when reissuing their back catalogue.

I can see why Ralf hides these albums away as their style doesn't fit the "Godfathers of Electronic Music/Techno" narrative. Yet, to a certain extent, "Autobahn" doesn't fit the story too well either. There is plenty of violin, organ, flute and twangy guitar alongside the sounds of the Minimoog and ARP Odyssey on this record. In fact, when I first bought "Autobahn" on CD I was so unimpressed by the presence of traditional instruments that that I took it back and changed it for something else. 

Some years later I bough the album again and, whilst it will never be my favourite, I began to appreciate it much more. Today, I own an original UK pressing, the 2009 remastered edition and a version included in the box set "3-D (The Catalogue)". The first two of these records contain the original mix but the third is a live "reimagining". I'll play the original first.

A distant thud sounds as someone closes their front door before getting into their VW Beetle and driving away. A synthesised horn sounds and a vocoder announces that we are about to enter the autobahn. As things progress the melody and leitmotifs exchange places with vocals and sound effects intended to give the impression of a car journey. The guitar and flute on this twenty minute opus do stick out a bit, but it remains entertaining throughout its extended length.

On the other side, "Kometenmelodie 1" is a doleful and meandering tune played on a patch created using white noise. There is some piano interspersed with the synth noises but there isn't a lot of variation to warrant the six and a half minute run time. "Kometenmelodie 2" is a more upbeat and tuneful piece but today it sounds like the most dated track on here. "Mitternacht" is a darker and less melody driven piece that hints at things to come on future albums. "Morgenspaziergang" is an electro-acoustic piece featuring a melody played on the flute with accompaniment on piano. This last track is the least electronic on the album and my least favourite as a result.

The reimagined live "3-D" LP is a cleaner and more economical recording that dispenses with some of the more overindulgent elements of the title track and offers much better dynamics on the other cuts. Thankfully there is no trace of any traditional instruments on the new version and its reduced running time makes for a more satisfying listening experience. No doubt there are fans of the original that regard such views as heresy; but I didn't buy this album until it was almost twenty years old and it has always sounded old fashioned to me. 2/5

Literary disppointments

I'm reading two books at the minute. Both are related to electronic music and both are pretty poor.

I imagined "Computer World" by Steve Tupai Francis to be a detailed discourse on the album of the same name by Kraftwerk. In reality this book is yet another biography of the band that rehashes the same old sources and tells the same tales.

In fairness, I think my opinion of this book suffers because I am reading it immediately after devouring Karl Bartos's memoir "The Sound of the Machine – My Life in Kraftwerk and Beyond" which contains valuable insight and fascinating stories about the creation of the album. I can recommend the Bartos book without hesitation.

It's a similar position with the second book "The Human League and the Sheffield electro scene" which I am reading soon after finishing Martyn Ware's autobiography.

There's nothing new in the book's examination of the songs and things feel rote compared to Ware's analysis. The author repeatedly refers to Sheffield as a "small city" and seems to regard the subject matter with mild disdain. This book feels like a commission rather than a labour of love. When I read about the influence of "Eileen Derbyshire" who worked for the "Doctor Who Sound Workshop" (p41) the credibility of the author evaporated completely.

Whilst it may make sense to the author to include an examination of Heaven 17 material until the release of "How Men Are", his decision to stop at this point feels arbitrary. The assertion that The Human League and Heaven 17 became "too divergent" at this point doesn't make sense. Both bands were set on very different courses from the moment Phil and Virgin Records fired Martyn and made an all out assault on the charts. I also think the approach of this book is quite disrespectful to Heaven 17 who merit a book of their own rather than being rolled up as an adjunct.

One record at a time: 18. Karl Bartos - Off The Record

The next LP on the shelf is the second (and seemingly final) album by Karl Bartos. I ordered both the CD and vinyl of this album when it was released in 2013 not realising the vinyl also had a CD included. So now I have two CDs of this album. Whilst the vinyl pressing was limited to one thousand numbered copies, it doesn't command a high value on the second hand market. The fact that this album isn't highly sought after gives you an indication as to why Karl doesn't seem to release any music any more: nobody buys it.

This album is a collection of tracks that were recorded over many years but never released. Some were written whilst Karl was a member of Kraftwerk, some whilst recording as Elektric Music and some with the group Electronic. Accompanying the discs is a large booklet which provides a wealth of information about each song in Karl's own words.

The single "Atomium" is an ode to the iconic building in Brussels and features the now familiar computer voice effects Karl employs. Next up is the fabulous "Nachtfahrt" which could have been culled from any Kraftwerk album circa 1979-1983. This track is the clearest indication that the sound of Kraftwerk in the early eighties was heavily influenced by Karl. The Mellotron infused "International Velvet" is a tribute to artist Isabelle Dufresne that derives its melody from a Kraftwerk soundcheck in 1981 (I told you the booklet was good). "Without a trace of emotion" sounds like an out-take from the Elektric Music album "Esperanto" - and that's a good thing. The next rack is a short piece called "The Binary Code" which was included on a cover disc of a magazine. One of my personal favourite tracks is "Musica Ex Machina" which is based on the initial idea for the Electronic track "Imitation of Life". Whilst there are some  similarities between the two songs, this is definitely a different composition from the one released by Messrs Sumner and Marr.

"The Tuning of the World" is melancholy, brittle and strangely affecting. The instrumental "Instant Bayreuth" continues with the slower pace of the preceding track and is recognisable as being recorded on analogue equipment. I'm less enamoured with "Vox Humana" which is a series of drum patterns from an old beatbox with scattered electronic sounds and vocal snippets. The familiar Kraftwerk Polymoog organ is coupled with the rhythm pattern from "Numbers" to create "Rhythmus" - but it doesn't quite hit the mark. "Silence" is actually 6 seconds of very quiet ambient noise which is followed by the the final track "Hausmusik". Don't expect a 'hands in the air' piano tinged dance stomper, this a song about the music people make at home and it wouldn't have sounded out of place on the Depeche Mode album "A Broken Frame". A good album that is highly recommended for Kraftwerk aficionados who will find the music, and the accompanying booklet, both fascinating and entertaining. 4/5

One record at a time: 17. Karl Bartos - Communication

As an admirer of Karftwerk (I'm not a 'fan' in the truest sense of the word), I found it only natural to buy the Karl Bartos album "Communication" when it came out in 2003. I really enjoyed this record as it was one of few truly electronic albums being released at the time. This was also one of the first CDs I remember which contained a link to download additional tracks - which I duly did over my shiny new 1 mbps broadband connection. As a bonus the CD also came in a funky 'drawer' card sleeve (no doubt it has a proper title but I have no idea what it is). I wasn't an avid consumer of vinyl in 2003 (apart from Pet Shop Boys releases) so I had to wait until the album was re-released in 2016 to acquire this remastered LP. 

Things kick off with the single "The Camera" which is a traditional Kraftwerk/Electric Music jaunt with cliched lyrics about taking a picture of the world. "I'm the Message" is a good track that uses the same computer voice that we will hear on the majority of tracks. "15 Minutes of Fame" is another single and is one of the highlights of the album for me (I must track down the CD single some time). "Reality" is a bit more contemporary and provides a nice change of timbre. The first (of many) digs at former bandmates starts with the catchy "Electronic Apeman" which remains a good song below the veneer of cynicism. The second barb is delivered with "Life" where Karl tells us he has to get on with his life; which seems a bit late to say it was recorded more than 10 years after he left Kraftwerk. But there you go.

As we flip over the vinyl I'm beginning to tire a little of Karl's continued use of the same sounds. This album employs the same sonic palette as the first Elektric Music album and, whilst it is strongly derivative of Kraftwerk, it gets a bit wearing. Don't misunderstand, it's not that I dislike the sounds, its the lack of variety that gets a little boring. Which is a bit depressing as all of the remaining songs seem to use the same patches and voice effects. I like this album but a little variety wouldn't have gone amiss. 3/5

Aventures in vinyl

I recently acquired a new turntable. Consequently I have spent quite a lot of time collecting new vinyl from a wide variety of sources. I have bought from eBay, collector web sites, charity shops, big chains like HMV and independent record shops all across the country.

I have bought ‘mint’ or ‘excellent’ records that look like they have been stored in a dust trap and conversely I have bought 30 year old vinyl that plays and looks as good as the day it was pressed. I have received flimsy 12” singles that I won for 50p wrapped in the sturdiest and most frustratingly secure packaging known to man. I have also received much anticipated eBay victories stuffed in a jiffy bag without a stiffener and its fate trusted to the Royal Mail (it turned up with a heavily creased sleeve but vinyl intact). I have bought record cleaning brushes, a new stylus, cartridge protractors and all kinds of protective covers. So what have I learned from all of this?

The remastered Kraftwerk LPs are by far the best I have bought

Modern remastered vinyl sells at a premium: Most modern pressings are often of a very high quality and that is reflected in the price. You get what you pay for I guess. The soundtrack to “Blade Runner” by Vangelis (2013) is £28-32 depending on where you shop, but is worth every penny. The remastered Depeche Mode (2007) and Kraftwerk (2009) LPs are fine examples of what is possible with brilliant mastering and virgin heavyweight vinyl but average out at £20 each. However….

Brand new 180g vinyl doesn’t guarantee quality: The reissues of Mike Oldfield albums such as “Crises” (2013) are lamentably inferior to the Kraftwerk repressings and quite disappointing. In 2011 Jean Michel Jarre’s first three LPs were released on vinyl for the first time in 20 years. Vinyl does have its limits and these releases highlight the compromises that must sometimes be made. The higher frequencies seem attenuated making the music sound dull, especially in tracks such as Equinoxe Part IV (with a terrible edit at the end of Part VII ruining the second side of the disc).

Not many people understand how to grade a second-hand record: When buying records, major suppliers and collectors use the system created by Record Collector Magazine. The average seller, who is often ignorant of the grading system, will commonly list a record as “good” when it should be graded as “excellent” and vice vesa. Buying vinyl on eBay from private seller is something of a minefield as a result. It took me 5 attempts to secure an “excellent” condition of one LP. Most people simply don’t refer to the condition of the record and this should be a warning!

Kraftwerk sell me a box

“Without them there would be no hip hop, no house, no ambient music, no electro.” Q Magazine

Like them or not, you cannot deny the influence of Kraftwerk on electronic music and a whole generation of musicians. Personally, I find a large part of their work cold and impenetrable. Whilst “Computer World” and “The Man-Machine” are two of my favourite albums of all time, little of the rest of their back catalogue sounds nearly as good to me. Part of my ambiguity towards Kraftwerk is as a result of their attitude towards the press, their fans and the world in general. I hate it when people are aloof ‘just to be interesting’ or ‘arty’. It’s wank. Grow up and get on with life. Yet, I am constantly drawn back to Kraftwerk and their music as if it were some irresistible force.

In order to appreciate their music more I felt I needed to know more about the band. Thus, a few years ago I purchased the book “Man, Machine and Music” by Pascal Bussy. I purchased the second edition of the book in 2001 when Flür and Bartos had departed, but the integral duo of Hütter and Schneider remained intact. Reading the book did give me a greater insight into the band and also an appreciation of the experimental nature of albums I did not like such as “Radioactivity” and “Autobahn”. Yet I still had limited admiration for people I could not connect or associate with in any way.

Consequently, I decided not to purchase any of the remastered albums or the box set ‘The Catalogue’ when it was released last year and was content with my motley collection of original releases and imports. Yet something has drawn me back to ‘The Catalogue’ and during one late night shopping trip on amazon, that irresistible force acted once again. Almost before I knew what was happening I had ordered ‘The Catalogue’ on CD and was contemplating the vinyl versions of my favourite albums.

I really didn’t think too much about what the package would actually look like or consist of and thus when my box set did arrive, I was very impressed indeed. You see, like the ultimate edition of the Pet Shop Boys album ‘Yes’, ‘The Catalogue’ is as much a thing of beauty, as it is a collection of music. As an item it is very nice to own.

But the music: the remastered audio. You will read contradictory reports about the audio on the internet. This is with good reason. Some of the albums sound better thanks to their digitalisation and some sound worse. Personally I like the dynamic range of the new ‘Computer World’ and the noise reduction on ‘Radioactivity’ makes it a more pleasurable experience for me. Yet some bemoan the lack of background noise and dislike the new mixes and reconstructed tracks. Its all a matter of taste. For some albums I will revert to my old versions, for others I will go to the remastered ones.

Tag your mp3's correctly or beware of the consequences

When I first dipped my toes into the pool of the Internet back in the late 90’s, Napster was the peer-to-peer network everyone used. Suddenly it was possible to download and hear “Music for Supermarkets” by Jean-Michel Jarre, I could find any obscure Pet Shop Boys mix and I downloaded all the ‘one hit wonders’ I had been searching for for years.

One of the pitfalls of downloading mp3’s illegally was that some people were not exactly accurate in labelling their files. Very odd tracks would appear that were clearly nothing to do with the artists they were attributed too.

For instance:
Vangelis and Jarre collaborating on a version of ‘Crocketts Theme’ anyone?
The previously unheard of Depeche Mode remix of New Order’s ‘Bizarre Love Triangle’?
Kraftwerk’s recording of the synthesizer classic ‘Popcorn’ sound good to you?

By far the most annoying (to me anyway) miss tagging was the ubiquitous “One Night in Bangkok” by the Pet Shop Boys. “One Night in Bangkok” became an international hit for Murray Head in 1984 and is seemingly regarded by many as a classic of the era. However, it has absolutely no links to the Pet Shop Boys. Not only do labels such as this rob the original artist of the credit but also tarnish the unfortunate recipient.

How this, and other bizarre tags, originated is quite a mystery. Obviously, the ignorance/stupidity of one person contributed and as the file was copied, the error spread like a virus.

Yet in this age of legal downloads and consumer shrewdness this irritation is no longer a major problem. Yes, iTunes frequently miss labels tracks, but that is down to the record company submitting them and not Apple as such. Yet if you look closely at the files people are listening to on last.fm, it seems there are STILL some dumb asses listening to ‘One Night in Bangkok’ by the Pet Shop Boys or Jean-Miche Jarre’s version of the ‘Miami Vice’ Theme.