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