Feb 09

KRAFTWERK – “The Model”/”Computer Love”

FT + Popular68 comments • 7,078 views

#494, 6th February 1982

Cometh the hour, cometh the robots: there is no other moment in pop history when Kraftwerk could have got to number one here – and were it not for those meddling DJs, they wouldn’t have. It still feels slightly odd and unlikely to be writing about them – it’s like Noel Edmonds deciding to champion “Jesus” and giving the Velvet Underground a chart-topper.

Not that “The Model” isn’t an obvious hit: it’s never been my favourite Kraftwerk tune, but as those DJs realised its translated awkwardness gives it commercial legs as a novelty record. That isn’t to say I don’t like it: all Kraftwerk’s immense virtues are here too. Few bands have ever made cleaner or better designed records, doing just enough with a melody or a rhythm to make a track seem vast without ever crossing the line into bombast. Their music prefigured a clear-lined, contoured decade where the style and architecture of things would come into glossy focus.

Emotional architecture was another Kraftwerk speciality – drawing out surprisingly subtle moods from the scantiest of materials. That’s what drives the gorgeous and far-sighted “Computer Love”, still the best song ever written about the Internet and the atomisation it both enables and heals. Its chiming melodies are tender and hopeful, a reaching out – “just talk!” sang Coldplay when they borrowed the tune, with that special obviousness of theirs – but the long emptiness of the track leaves the question of a reply quite open.

Form following content: the lonely man with a TV for company is the hidden inverse of the bleak celebrity world sketched on the more famous flip. Though the narrators of “The Model” and “Computer Love” may have more in common than it first appears: as the song progresses, you get the idea its singer has never in fact met the girl he at first seems to know.

Kraftwerk gave the impression that their preferred model of human relationships is the peloton, not the nightclub, but in their eyes the fashion and celebrity system is as clearly a machine as anything else they’ve sung about. This could lead to a pat exercise in critique, Scientific Socialism style, but Kraftwerk are careful not to position themselves outside the system: “I’d like to take her home with me, that’s understood”. Desire is the model’s inescapable product (and yes, the song title is a pun!).

Kraftwerk’s inclusion in the (systemic) model accounts for the dispassionate, even fatalist tone the vocalist adopts: it’s an outlier in their catalogue because it’s one of their rare attempts to not let emotion show (compare it to the creepy cabaret vibe of “Hall Of Mirrors”, their other great meditation on celebrity). On “The Model”, Kraftwerk’s mechanoid image is less of a bluff than usual.



  1. 1
    The Wolfmen on 17 Feb 2009 #

    Have you ever heard the Coldplay Krafties mashup? Right here if you fancy lending an ear..


  2. 2
    Conrad on 17 Feb 2009 #

    As a double A-Side, this was a combination of the contemporary – 1981’s “Computer Love”, and the recent vintage – 1978’s “The Model”.

    The Model’s real interest is as a showcase, a model even, of the repetitive but melodic 2 or 3 note synth chorus hook. The idea that the chorus of a pop song could work instrumentally, without the need for a vocal or lyrical hook, was a real breakthrough in creating the electropop/new romantic scene that by early 1982 dominated the UK pop landscape.

    The Model’s instrumental synth figure can be traced in “Love Action”, “Open Your Heart”, “Just Can’t Get Enough”, “Souvenir”, “Enola Gay”, “Messages”, “Cars” and numerous other synth-pop hits of the 79-81 period spanning “Man Machine” and “Computer World”.

    It seemed fitting that at the height of Kraftwerk’s influence, this seminal track from nearly 4 years earlier should see them at the peak of a Top Ten singles chart containing the no-less seminal “Being Boiled” and OMD’s remarkable “Maid of Orleans”.

  3. 3
    Geoff on 17 Feb 2009 #

    What’s the context with the DJs that you’re referring to?

  4. 4
    Conrad on 17 Feb 2009 #

    Tom – who were the meddling DJs? I can’t recall who was championing this at the time.

    I do remember the record’s bizarre chart trajectory that saw it fall from 2 to 3, before climbing up to Number 1, a pattern, as has been eluded to several times on Popular, due in no small part to a brief experiment with compiling the chart at a different time, the upshot of which was to show just how influential “Top of the Pops” could be on a record’s chart-placing.

    In effect, during January and February 1982 an act’s performance on TOTP (or in the case of Kraftwerk, the showing of the video) would not be reflected in its chart placing until two week’s hence.

    Haircut 100 must have worried when “Love Plus One” entered at 36, they appeared on TOTP, and the following Tuesday they were at – Number 36 still! Only to leap up to Number 12 the week after.

    Soft Cell’s “Say Hello Wave Goodbye” was another affected by this phenomenon. Marc’s appearance at the Pink Flamingo only truly reflected in it’s chart showing a fortnight later, when it jumped from 18 to 3, having been at 20 when the video was first aired.

  5. 5
    Tom on 17 Feb 2009 #

    #3 and #4 – sorry, Wikipedia to blame for this, saying that Computer Love got to #36 before DJs started playing the flipside (the reissued Model). Whether this is true or not, I dunno – the DJs were not named!

    My memory of this from the time centres on the video – I thought the black and white presentation quite weird and offputting, and it gave the impression of the song being older too (which of course it was, just not as old as 8YOM imagined)

  6. 6
    Lena on 17 Feb 2009 #

    Seeing as how I fell in love with someone on the computer via ye olde internet, I can’t give this single less than 10, and if its stepson had gotten to number one I’d be inclined to give it a 10 as well, just ’cause. (I’m not sure if the latter’s video is in black & white as an homage, or what.)

  7. 7
    LondonLee on 17 Feb 2009 #

    This getting to the top during the synthpop boom feels like the universe deciding to doff it’s cap to the men who gave birth to it in some sort of Karmic pop justice, even more so considering that ‘Planet Rock’ was to come later this year too. I’ve no idea how this got to #1 at the time, a decade or more later it would have been used in a car commercial and got there that way.

    Brilliant of course, though of the two I always preferred ‘Computer Love’ (and that whole album)

  8. 8
    Mark G on 17 Feb 2009 #

    I believe the German language version is somewhat less dispassionate.

    “She goes to nightclubs drinking SEKT?? KORRECT!!”


  9. 9
    SteveM on 17 Feb 2009 #

    I don’t really recall seeing or hearing Kraftwerk until The Mix in 1991 and by then they seemed relatively antiquated and frankly quite naff (at least to me at the time – even tho I was loving acts with material that clearly owed them a massive debt). Even when I saw them live in ’97 I still didn’t quite get it (to the extent that we left the tent – I wonder if this is the only time Kraftwerk played in a big tent as opposed to a proper outdoor stage or in a building, i know they’ve played a lot of festivals since tho – halfway through) but shortly after that the penny dropped and that was that.

    I thought this might just get a 10 but can see why it wouldn’t. I think the greater aspect of the track is the contrasting coolness vs warmth of the synth patterns and melodies (borrowed, imitated and referenced countless times since, including on Doug Lazy’s ‘H.O.U.S.E.’, Ladytron’s ‘He Took Her To A Movie’ and more recently the Basement Jaxx remix of Adele’s ‘Cold Shoulder’), rather than the vocal which I’ve always found a little irritating here and there (some of the couplets and rhymes feel a little too stilted, forced, maybe too inane for what is otherwise an elegant sober affair) but still compelling after a fashion. As with the Human League, they have several better singles (if not necessarily better “songs”).

  10. 10
    peter goodlaws on 17 Feb 2009 #

    I actually bought “Computer Love” and it flopped. “Krautwerk” then flipped it and it suddenly dawned on me that “The Model” had been hiding on the other side. To be perfectly frank, I wouldn’t have gone near either of ’em if it hadn’t been for the fact that I dug “Autobahn”.

    Arbeit Macht Frei! Nicht War?

  11. 11
    wichita lineman on 17 Feb 2009 #

    Re 9: My take on Kraftwerk in 81/82/83 was also that they were antiquated, if not exactly naff. It simply felt like they’d been superseded, yet the press fawned over them and dissed the likes of Dazzle Ships as Kraftwerk-lite. 5 year old technology always seems rusty. The Model was sweet enough, but not a patch on Souvenir; Planet Rock took Trans Europ Express’s* building block and turned it into pop’s Plug In City. Electro and New Pop were such great, ultra-modern thrills, that paying respects to these gentle pioneers seemed like listening to Robert Johnson because you dug Get Off Of My Cloud.

    *And I remember gigs where the soundman would stick on Trans Europ Express or Autobahn between the groups and they seemed to last for-EVS!!! Yawn….!!!!

    It took me until as recently as the late 90s (thanks to the pre-glitch, Anglo/German/Californian wave of Electronica) before I began to appreciate what Kraftwerk had done.

    All rather embarrassing. Glad I got that off my chest.

  12. 12
    Billy Smart on 17 Feb 2009 #

    More than any other synthpop hit of the time, this was a source of fascination to the boy Billy. Nothing else ever seemed quite so other, to leap so far into a different, electronic, perception of the world. The tremendous stateliness and order of the riff was balanced by the measured, calm, nature of the foreign-sounding vocals. This seemed to make the story told much clearer than other pop to me; He saw the model in a magazine and wants to see her again: What could follow more logically than that?

    As a grown man I respond in the same way to the form of the thing, but it takes a few years of lived adult experience to really get the intense poignaincy of Kraftwerk – The awareness that the sense of order, harmony and balance in the music and the world evoked is hard to attain apart from experienced as fleeting epithanies of grace, and that life is more often a disspiriting mess. There’s often a kindliness and childlike gentleness to Kraftwerk, as opposed to the visionary harshness which you might expect if you’d only read descriptions of them.

    I can’t add much to Tom’s writing about what is great about ‘Computer Love’. Being ahead of your time doesn’t always equate to making great art, but it is just astonishing how prophetic that album is, in theme and arrangement a document of the way we live now, and the way which nobody lived in 1981.

    (For evidence of how much people were buying this for ‘The Model’ and not ‘Computer Love’, consider the chart placing of ‘Pocket Calculator’, the first single off ‘Computer World’ – a less than earthshaking #39)

  13. 13
    Tom on 17 Feb 2009 #

    “Pocket Calculator” is a bit rub though ;)

  14. 14
    Lex on 17 Feb 2009 #

    9 – I don’t really recall seeing or hearing Kraftwerk until The Mix in 1991 and by then they seemed relatively antiquated and frankly quite naff

    ^^This is pretty much my exact feelings re: Kraftwerk (except make the year 2002 or 2003). I can hear how they’re hugely important &c, especially to music I now love, but the production just seems thin and dated to ears attuned to 00s electronic music. Not their fault of course* but it just means I never feel like listening to them.

    *although having said that, I don’t feel the same way about other electronic producers from around this time or before – Moroder, Jam & Lewis etc – so maybe it is their fault!

  15. 15
    wichita lineman on 17 Feb 2009 #

    I like the way two of us have referred to Kraftwerk as “gentle”.

  16. 16
    anatol_merklich on 17 Feb 2009 #

    Re 8: Yeah, hearing Kraftwerk actually do a COMEDY VOICE was a major “WTF” moment for me!

  17. 17
    lonepilgrim on 17 Feb 2009 #

    having spent my early teens listening to Tangerine Dream (and seeing them in concert twice) I think I regarded Kraftwerk as a bit populist when they first appeared.
    Nowadays I think of that as more of a positive thing and I enjoy their music when I hear it played but have rarely felt compelled to invest time and/or money in them – although come to think about it I did buy a cut-price copy of the Tour de France single. I agree with earlier posts that many of the bands who were inspired by the K-Meisters were more compelling.

  18. 18
    Jungman Jansson on 18 Feb 2009 #

    My first contact with Kraftwerk was in the late 80’s. I borrowed copied C64 games from a friend in order to make even more copies of them, and some of these games were recorded on tapes that had previously contained Kraftwerk songs.

    The word “Kraftwerk” sounded slightly frightening and I assumed it to be some kind of German metal. A few years later, The Mix was released and i realised that they were something else entirely.

    “Thin” or “dated” are words I would never use to describe Kraftwerk’s music. “Minimalist” and “timeless” are a much better fit. I assume that they sound just as out of place now as they did in 1982, and that they will sound just as out of place in 30 or 50 years’ time. The comparison between Kraftwerk and minimalist, modernist abstract art might be tired and worn-out but is nonetheless apt. It’s the kind of stuff that will prompt people to say “This is not REAL art, it doesn’t require any talent, anyone could have done that” – but “anyone” didn’t.

    Listening to the German and English language versions of Kraftwerk songs are actually quite different experiences. When singing in German, Ralf Hütter sounds self-assured and sometimes even sneery (as commented on by Mark G, #8), but the English version often comes across as frail and insecure, or at times almost comical. “The Model” might be the most obvious example. Sometimes I prefer the German version, sometimes the English one – it differs from song to song.

  19. 19
    AndyPandy on 18 Feb 2009 #

    No 53 watch:a new entry this week for the very first electro hit D-Train “You’re the One for Me”*

    a nice coincidence in the week Kraftwerk hit the top…

  20. 20
    Mark G on 18 Feb 2009 #


    For years, I thought it was their “Benny Hill” moment, however…

    I read in Wolfgang Flur’s autobiog that it was meant to represent the voice of the club owner that KW frequented.

    Basically the guy would meet them at the door and shout “My friends! Celebrating? YES! And your order is… (Champagne) SEKT? KORRRRECT!!”

    (I can’t recall if it’s actually the club owner on the record or not)

  21. 21
    Billy Smart on 18 Feb 2009 #

    I wonder if 1991’s ‘The Mix’ did more harm or good to Kraftwerk’s reputation for those who hadn’t heard them before? For me, I think its one of the most fundamentally misconceived albums that I’ve ever heard…

  22. 22
    a logged-out pˆnk s lord whatnot on 18 Feb 2009 #

    haha billy you must expand on that position! i had a theory at the time that (from title on in) it was a conceptual and a contrarian move on their part (but i have forgot the details of my theory, which *may* have been a bit conceptual and contrarian on my own part)

  23. 23
    Tom on 18 Feb 2009 #

    The Mix was my introduction to Kraftwerk and I wuvved it Billy! I think I still prefer some of the Mix versions now.

  24. 24
    SteveM on 18 Feb 2009 #

    re #14 i think it is your fault ;)

    I absolutely adore the Tour De France 03 album fwiw, and Expo 2000…it’s been a great decade for the lads (I even loved Karl Bartos ‘I’m A Message’)!

  25. 25
    Billy Smart on 18 Feb 2009 #

    I have a feeling that my dislike of The Mix may be autiobiographical – It cost me nine pounds or whatever it was when I was a sixth former living off minimal pocket money and a weekly paper round, and when I listened to it IT WASN’T THE GREATEST HITS EXPERIENCE THAT I EXPECTED and I wished that I’d just bought second hand copies of The Man Machine, Computer World, etc instead.

    Attempting to analyse ‘The Mix’ more objectively, I think that the more prominent basslines and faster beats are fine in themselves but detract from the sense of order and harmony that is a large part of the tactile appeal of the originals to me. This may be a reluctance to let go of the associations that I’ve built up surrounding the original records. When ‘Tour De France Soundtracks’ came out I wasn’t attracted to the reworkings of ‘Tour De France’ but was entranced by the new stuff.

  26. 26
    Jack Fear on 18 Feb 2009 #

    @25: A lot of people have covered “The Model” – as compared to other Kraftwerk songs, anyway. Chris Whitley used to do a solo banjo version in his live shows, and it holds up beautifully – and it’s surprisingly faithful, to boot. Oppose that to, say, Siouxsie’s version of “Hall of Mirrors,” which pinches the lyrics from the original but has to create a new musical context to frame them. That “The Model” comes through relatively unchanged, even when transformed into a front-porch stomp, is a testament to the sturdiness of the tune beneath the atmosphere.

  27. 27
    logged out Tracer Hand on 18 Feb 2009 #

    The Mix takes the impossible tech from Blade Runner (where photo enhancement can help you see around corners) to its musical conclusion, giving these old songs the basslines and subtleties that today’s demanding experimental microhorse fans expect. Actually I wouldn’t be surprised if they came out with yet another “Mix” of their old stuff – and on and on! Talk about “timeless”! This re-sharpening prefigured 1) the enhanced versions of Star Wars 2) Blu-Ray discs and 3) Mad Men, if you accept early 1960s America as a blurry popcult object, and I do. In any case what’s lovely about The Mix for me is that it’s really something to see a band as deliberately modernist as Kraftwerk pull the rug out from their own (and their own fans’) essentialism. The Mix really does sound better to sensibilities raised on the actual thriving genre of electronic dance music. That said, I like the stubbornness of the originals. No one would ever produce tracks like those today – they’re stuck in their time, not quite right. I love it. And perhaps unsurprisingly, I like them even better now that The Mix exists.

    As long as we’re talkin cover versions, “Model” fans may want to listen to one from 1979 by Snakefinger, a guitarist for the Residents. You can look at the cover and listen to it here – http://learning2share.blogspot.com/2008/04/two-7-inch-singles-from-snakefinger.html

    It’s a woozy, churning, rock rendition that in 1999 was given, in a final coup de something, an electro treatment by DJ Hell as a white label single.

    EDIT — Included link and correct year for Snakefinger

  28. 28
    Billy Smart on 18 Feb 2009 #

    Cover Version Watch: Ride, 1992! On the ever-erratic NME Ruby Trax compilation. They, um, failed to improve upon the original.

  29. 29
    peter goodlaws on 18 Feb 2009 #

    Tom, is it just me or have you finally got rid of that horrid pink background, which caused a lot of rude comments from some of my builders when they caught me using Popular in my site office?

    Which ever it is, HURRAH!!!!!!!

  30. 30
    Tom on 19 Feb 2009 #

    The pink is back for now I’m afraid – it was a server glitch!

    But a redesign is on the way I’m told.

  31. 31
    a logged-out pˆnk s lord whatnot on 19 Feb 2009 #

    pˆnk is as pˆnk does

  32. 32
    DV on 20 Feb 2009 #

    I still do not understand why this was released as a single so long after the album.

  33. 33
    Chris Brown (not that one, obv) on 21 Feb 2009 #

    @DV (the comments aren’t numbered any more, are they?) – ‘Computer Love’ was only released a few weeks after the album, it just so happened that the old album track they’d stuck on the B-side proved to have a life of its own a few months down the line, for whatever reason. The reference books now treat them as a single entity because the catalogue number didn’t change, although the cover suggests that EMI must have chosen to focus on ‘The Model’. Any one old enough to correct me is welcome to do so, of course.

    Weren’t the Kraftwerk albums all going to re-released in upgraded versions about six years ago? I put off buying any of them when I heard that, so I’ve still only got Autobahn.

  34. 34
    swanstep on 22 Feb 2009 #

    I remember hearing/reading at the time that it was Human League’s Phil Oakey talking up ‘The Model’ in various interviews (rather than meddling dj’s per se) that led to this surprise #1. Can anyone confirm? Anyhow, cracking tune with nifty inter-twining synth bass-lines…. As for direct steals from it: Eurythmics’s ‘Who’s that girl?’ is pretty close.

  35. 35
    lonepilgrim on 22 Feb 2009 #

    it’s fade to blue sitewise now – I’m not sure it matches the mood somehow

  36. 36
    admin on 22 Feb 2009 #

    this too will pass. we’ll be back in our usual palette when we sort out our server issues.

  37. 37
    Snif on 23 Feb 2009 #

    Tom, if you’re redesigning the site, can you bring back the original Freaky Trigger logo – I never liked that remake/remodel.

  38. 38
    SteveM on 23 Feb 2009 #

    We get millions of e-mails from children all over the world praising the current logo.

  39. 39
    Conrad on 23 Feb 2009 #

    ….can you make it look like a very dull contract so it can appear as if I’m actually doing some work

  40. 40
    mike on 23 Feb 2009 #

    It’s nice to think of “Computer Love” as a UK #1, but of course it was “The Model” which got all the airplay – and speaking as someone who was There At The Time, I’m also a little baffled as to how it broke through in such a spectacular fashion. Sure, the “futurist” DJs would have been playing the track for months, but it would be foolish to over-estimate their importance in direct commercial terms.

    Much as I might tip my hat to Kraftwerk, I also carry a vague sense of guilt at never having fallen for them as hard as the critical consensus tells me I should. And I can’t help feeling that people read more into their work than is actually there, Peter Sellers in Being There style. Yes, OK, so they like computers. But let’s not credit them with too much clairvoyancy.

    “The Model” is an OK little pop tune, but it’s not a particular favourite and even in early 1982 it was beginning to curl a little round the edges. But as others have commented, 1982 was the year when Kraftwerk’s influence made itself most keenly felt, with the arrival of “Planet Rock” and the paradigm-shifting glories of electro-funk.

    And MY GOD, did that stuff rock my world. The day I brought home 12″ copies of “Planet Rock”, “The Message” and Arthur Baker/John Robie’s brilliant cover of Eddy Grant’s “Walking On Sunshine” (as credited to Rockers Revenge) was every bit as personally significant as the day I brought home The Damned “New Rose”, just under six years earlier. My student housemates thought I’d lost the plot, just as my schoolmates had done with punk rock…. always a good sign!

  41. 41
    Erithian on 23 Feb 2009 #

    Pete – re the pink background – a colleague asked me about that one day, and I was telling her it wasn’t what she thought. “There’s all kinds of different stuff on here – look, either side of Blondie there’s Barbra Streisand and Abba. OK, bad example.”

    Moving swiftly on to the record under discussion… It wasn’t generally the done thing to make a grand entrance to an RHC Stomp night, but around that time there were four girls who came in wearing identical shirt/trouser combos with a pocket calculator in the shirt pocket, as in the latest Kraftwerk “look”, and got a round of applause.

    The thing I most loved about this one was the subtlety of the beat, as if the electronic drums were being hit with brushes as opposed to drumsticks. It makes the whole affair, in the word used twice upthread, “gentle” – you can imagine the fat, indeed phat, beats that some acts would have given it. (Kraftwerk themselves elsewhere – I played The Mix version of “The Robots” to a 13-year-old who’d never heard it, and he took on a severe twitch in his seat – enjoying it, mind.) The German accent has an arch quality of detachment that goes well with the subject matter.

    Anyone else remember the joy of sitting between speakers or wearing headphones and hearing “Autobahn” for the first time, as they explore the possibilities of stereo in pop? Typical of them that when you see clips shows, the ‘Werk are featured not on TOTP, The Tube or anything like that, but “Tomorrow’s World”.

  42. 42
    Erithian on 23 Feb 2009 #

    BTW, which came first – Kraftwerk’s “Showroom Dummies” or Doctor Who’s Autons?

  43. 43
    SteveM on 23 Feb 2009 #

    Conrad re “….can you make it look like a very dull contract so it can appear as if I’m actually doing some work”

    Unfortunately not as this would be discrimination against our increasing amount of unemployed readers.

  44. 44
    LondonLee on 23 Feb 2009 #

    I once had a schoolmate regale me with the out-of-body experience to be had listening to Vangelis on headphones while lying on the floor. Luckily I had already been snared by The Jam so thought he was talking a lot of hippy tosh. Otherwise it could all have gone pear-shaped for me musically after that.

  45. 45
    Conrad on 23 Feb 2009 #

    The Autons were in Spearhead from Space…Pertwee’s first Dr Who – in 1970, some years before Trans-Europe Express.

    Mike’s comment about the success of The Model being a little baffling is kind of how I recall it. There really doesn’t seem to have been any one particular underlying reason for it suddenly going to Number 1.

  46. 46
    lonepilgrim on 23 Feb 2009 #

    The Autons were definite hide-behind-the-sofa creatures at the time. I remember being quite excited as a kid as parts of those episodes were filmed at Gatwick airport – just up the road from where I lived. I never much cared for Pertwee – particularly when he introduced Bessie(?) the car although I did take a shine to Katy Manning as Jo Grant.

  47. 47
    mike on 23 Feb 2009 #

    Anyone else remember the joy of sitting between speakers or wearing headphones and hearing “Autobahn” for the first time, as they explore the possibilities of stereo in pop?

    Yes, totally: the Autobahn album and Queen’s A Night At The Opera were the first two new albums I played on my first proper stereo system, a Xmas present from my Dad in 1975. And as an introduction to the concept of stereo sound, the album version of “Autobahn” is about as perfect as it gets.

    I once had a schoolmate regale me with the out-of-body experience to be had listening to Vangelis on headphones while lying on the floor.

    I once had to field a couple of excited schoolmates who came bursting into my study with a copy of Tangerine Dream’s Rubicon, demanding that I play it immediately for them. We listened to an entire side in silence – theirs reverential; mine politely masking boredom and irritation.

    As the side finished, one of them sighed deeply and began the analysis.

    “You know, I actually felt scared during that final section.”

    “Yes, yes, me too”, chimed the other. “It was like I was…. drowning.”

    “Yes, like drowning! That’s exactly how it was!”

    Meanwhile, as I approached the trusty Garrard SP25 Mark IV, I realised that the whole album had been playing at 45rpm….

  48. 48
    Erithian on 24 Feb 2009 #

    So Mike, you and I both spent part of Christmas ’75 going “wow” at “The Prophet’s Song”?

  49. 49
    lonepilgrim on 24 Feb 2009 #

    when I saw Tangerine Dream at the Brighton dome back in the 70s they made a big deal of ‘rotating’ the sound around the theatre which seemed quite impressive to my teenage ears but less so with hindsight.
    I’d be happy to go back to mono.

  50. 50
    The Green Shroud on 24 Feb 2009 #

    Another beautiful Kraftwerk tune which examines the emotional paradox of communications technology and the inherent emotional disconnection is The Telephone Call on Electric Cafe. That and Computer Love have to be two of my favourite tunes of all time- when CL reaches it’s instrumental half, it’s just sheer bliss for me.

  51. 51
    Billy Smart on 24 Feb 2009 #

    I have an awful feeling that I must have been a latterday 1991 shoegazing version of Mike’s schoolmates. My advocacy of Slowdive “It’s amazing – It’s like your swimming in sound!” was continually quoted back to me in derision by my best friend for many years after…

  52. 52
    Billy Smart on 24 Feb 2009 #

    The Autons go on to reappear in 1971’s ‘Terror of the Autons’. This time they have smiling carnival faces, wear yellow blazers, cravats and boaters and hand killer plastic daffodils to passers-by. Is there a song which fits this image as well as ‘Showroom Dummies’ does for their first one? ‘The Plastic Age’ by Buggles is the best that I can think of…

  53. 53
    SteveM on 24 Feb 2009 #

    ‘Plastic Man’ by The Temptations?

  54. 54
    SteveM on 24 Feb 2009 #

    wait, that doesn’t sound right… noes where is edit comment feature…

  55. 55
    John on 2 Mar 2009 #

    Scinitalling, in clearly a golden age of number 1s. The deceptively sanguine A-side is amazing in its original and punk cover form (Big Black was it?), but the lesser known one “Computer Love” is exceptionally good. I just wish more people of my generation and below knew of it before Coldplay and their worst album, with their J-Lo/Oasis style song sampling thievery.

  56. 56
    thefatgit on 14 Apr 2010 #

    My first experience of Kraftwerk came from seeing a children’s drama serial shown around ’77/’78 called Break Point, about a teenage tennis prodigy (long before a certain A. Murray of Dunblane was an itch in his Daddy’s ballsack). “Autobahn” was the theme tune. I think they used the double synth-crunch bit with the 8 hissy syn-cymbal hits. Taken out of context, it sounded as alien as anything coming out of Ron Grainer’s potting shed.

    I managed listen to “Autobahn” in its entirety around the same time I got “Computer Love” as well as “The Man Machine” and “Trans-Europe Express”, so virtually a full back catalogue of Kraftwerk for under £15 (bargain!).

    What I found amazing was something Tom touched on; the vastness, that expanse of sound from a small space. I remember seeing a documentary about ELP on tour in the States, with a huge array of keyboards, organs, echo chambers and delay units, being dragged around from city to city along with what must have been THE WORLD’S LARGEST DRUMKIT and enough guitars to sink a battleship. Compare that to Kraftwerk on tour with what is essentially 4 small boxes on trestle tables! Yes, there must be more stuff happening backstage, but the philosophy is economy and clean-ness (not cleanliness). Just the one hook. Let’s just say enough to get the point across. We’ll all dress the same and have the same haircuts. One day, we’ll stay at home and watch TV while robots go on tour in our place. Won’t that be great?

    For some, OMD and The Human League do it better, but without the boys from Germany, we would still have electronic music, but it would have taken the dystopian industrial path, the Normal path, the Cabs path without exploring the shiny pop path at all. We have to be thankful (as do a myriad of artists, Coldplay notwithstanding). I’m glad they got their #1.

  57. 57
    punctum on 14 Apr 2010 #

    Can’t believe I haven’t gotten around to posting about this one (or these two) yet and a lot of good stuff on the comments already but here goes anyway:

    As with “Love Will Tear Us Apart,” there are some records which seem too big to be accommodated in any chart, and their appearance resembles that of the emperor venturing forth from his remote citadel to wander, briefly and amused, among the citizens beneath. Indeed there are certain acts whom I’d deem “above” the charts in the same way that, say, Garbo was “above” cinema.

    Like Garbo, the subject of Kraftwerk’s (then) four-year-old song remains at a kept distance, remote, untouchable and never touched. “I’d like to take her home that’s understood” but the plaintive, weeping sadness of the high synth motif indicates that such desires are doomed to remain in the abstract tense. In their role as passive observers – even though, musically and philosophically, they influenced nearly all pop which succeeded them, maybe more thoroughly and comprehensively than even the Beatles – Kraftwerk may be gazing upon the subject of “Dancing Queen” (“And she has been checking nearly all the men…/She’s looking good, for beauty we will pay”) with sorrow but also compassion and a touch of self-regret.

    When we get to the final (and key) couplet of “I saw her on the cover of a magazine/Now she’s a big success, I’d like to meet her again” we also realise the song’s prescience in that it could be considered a belated sequel to “Don’t You Want Me” – the deposed and disowned Svengali who can only view his creation in common with millions of others, never directly. Or the dispossessed loner sitting and slowly dying behind his computer screen.

    “Computer Love” was the second single from Kraftwerk’s 1981 album Computer World – a record which, together with Grace Jones’ Nightclubbing, pretty much laid down the Ten Commandments of New Pop – and with the track order reversed had briefly appeared in the Top 40 that previous, deserted summer. But “The Model” – one of the key New Romantic-inspiring anthems – continued to be in demand in clubs, and combined with the Human League’s assiduously vocal championing of them as key influences, this led to “The Model” being given prominence on the double A-side and the record, justifiably, becoming Kraftwerk’s first (but sadly, to date, their only) number one. It was a keys to the kingdom moment in pop, and as a single the pure grace and line of these songs make such ambulance-chasing exercises as the Mobiles’ “Drowning In Berlin” appear even sillier than they already were. When the League’s original 1978 Fast Product single of “Being Boiled” was reissued and entered the top ten a week after Kraftwerk it felt as though the postponed revolution was now determinedly under way.

    However, I still think “Computer Love” the sadder and superior song. Absurdly inflated with well-meaning pomp by Coldplay, the warm chill of the original remains resonant. The keyboard melody strokes like an unseen hand reaching out of the PC screen, to try to alleviate the monotone suffering of the protagonist – “The lonely night,” “I don’t know what to do,” “I call this number” – with at least a simulacrum of reassurance. The song in its full album-length form lasts for nearly eight minutes – and it has to because, like all Kraftwerk songs, it is so patient and methodical in achieving its aims – but it never becomes dull; the keyboard lines and drum machines gradually shift in and out of phase with each other, reinforcing and deepening the connection, as though a million lonely computer users are tapping out messages to be sent to each other’s bottle of an email inbox. The melody cuddles and caresses, the movement and animation increase (so gradually)…and then you realise that this vision was foreseen in 1981, when hardly anybody had a computer. Was there ever a more human pop group than Kraftwerk? Shouldn’t Joe Meek have survived to see his dream fulfilled? Wouldn’t Brian Wilson have been flattered nicely by their tactile tributes?

    And twelfthly (pace Morley in Words And Music), Kraftwerk succeeded because they know that all true experiment has to come from deep, deeply within; beyond the wires of their instruments and appliances because even these had to be designed and imagined by a human mind and inspired by the most human of hearts.

  58. 58
    punctum on 14 Apr 2010 #

    #55 – Ah yes, Big Black it was; a fine version too.

  59. 59
    Alan on 14 Apr 2010 #

    “My first experience of Kraftwerk came from seeing a children’s drama serial shown around ’77/’78 called Break Point, about a teenage tennis prodigy”

    my entirely unreliable memory is of a serial called “King Cinder” http://www.imdb.com/title/tt0398500/ using the outgoing crunch/hiss section of Autobahn as the theme.

  60. 60
    thefatgit on 14 Apr 2010 #

    Alan, you could be right. I seem to remember a lot of kids dramas with a sporting theme. It’s contemporary with the early Grange Hill episodes on a Wednesday iirc. The drama serial slot was on Tuesdays with Blue Peter Mondays and Thursdays and Crackerjack on Fridays.

  61. 61
    AndyPandy on 14 Apr 2010 #

    Vagueley remember “King Cinder” when I saw it mentioned (on a TV nostalgia website) a year or so ago dont think I’d thought of it since 76/77.
    My first memory of Kraftwerk was on “Tomorrow’s World” at what must have been the time “Autobahn” was a hit (1975).

  62. 62
    Alan on 14 Apr 2010 #

    if the compilation of clips at Peter Duncan’s site is any guide I was mistaken about it being the theme to King Cinder. But it could still have been the END credit song instead of this funky number :-)

    and a dude here http://www.metafilter.com/69140/Early-Kraftwerk-YouTube remembers it being used “kids drama series back in the late 70s about a gymnastics club on the BBC”

    one thing’s for sure — it was definitely used on some sport-themed kids drama!

  63. 63
    Conrad on 14 Apr 2010 #

    love the use of the word “deserted” in reference to the summer of 1981. the charts of July-early August 1981 have always seemed to me to exist in a kind of void, as if the real business is just around the corner

    Punctum, please take yourself over to the DYWM thread when you have a moment, I’d like to hear your thoughts on The Model’s ‘prequel’

  64. 64
    woolrich jacket on 8 Dec 2012 #

    Let bygones be bygones.If Tom cannot keep his promise, he’ll lose face.We are divided in our opinions.He invited me to dinner yesterday.She dressed herself hastily.I have a headache, and she has a stomachache.I have just finished the book.Our school is in the east of Beijing.You have my word.As you know, I am a very kind person.

  65. 65
    Weej on 8 Dec 2012 #

    An odd sensation reading the (presumably) spam message above as I am right this moment working in a “school in the east of Beijing.” Have I been sleep-commenting, or worse sleep-spamming? If so then I can only hope it pays well.

  66. 66
    Lazarus on 8 Dec 2012 #

    I don’t know about that, I just want Tom to keep his promise – I’m sure he doesn’t want to lose face!

  67. 67
    hectorthebat on 20 Oct 2014 #

    Critic Watch:


    1,001 Songs You Must Hear Before You Die, and 10,001 You Must Download (2010) 1-1001
    Treble (USA) – The Top 200 Songs of the 1970s (2012) 162
    Gary Mulholland (UK) – This Is Uncool: The 500 Best Singles Since Punk Rock (2002)
    NME (UK) – The 100 Best Songs of the 1970s (2012) 28
    NME (UK) – The 500 Greatest Songs of All Time (2014) 55
    Paul Morley (UK) – Words and Music, 210 Greatest Pop Singles of All Time (2003)
    Q (UK) – The 1001 Best Songs Ever (2003) 248
    XFM (UK) – The Top 1000 Songs of All Time (2010)
    Nils Hansson, Dagens Nyheter (Sweden) – The 48 Best Rock Songs (1998) 15
    Musik Express/Sounds (Germany) – The Best Single 1980-89 (1989)
    Musikexpress (Germany) – The 700 Best Songs of All Time (2014) 234
    Gilles Verlant and Thomas Caussé (France) – 3000 Rock Classics (2009)
    Rock de Lux (Spain) – The Top 150 Songs from the 20th Century (1998) 21
    Cameron Adams (Australia) -The Best Songs from the 100 Must Have Albums (2013)
    Giannis Petridis (Greece) – 2004 of the Best Songs of the Century (2003)


    1,001 Songs You Must Hear Before You Die, and 10,001 You Must Download (2010) 1-1001
    Bruce Pollock (USA) – The 7,500 Most Important Songs of 1944-2000 (2005)
    Slant (USA) – The 100 Best Singles of the 1980s (2012) 67
    Musikexpress (Germany) – The 700 Best Songs of All Time (2014) 57
    New Musical Express (UK) – Singles of the Year 48

  68. 68
    Kinitawowi on 6 May 2020 #

    RIP Florian Schneider, cancer at 73.

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