1.The Voice Of Energy 
2.Spacelab
3.Pocket Calculator 
4.Europe Endless 
5.Neon Lights 
6.It's More Fun To Compute 
7.The Robots 
8.Radioactivity	 
9.Metropolis 
10.Home Computer
11.Airwaves 
12.Kometenmelodie 2 
13.The Model 
14.Antenna 
15.Computer Love 
16.Transistor

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01. Ruckzuck (Hütter/Schneider-Esleben) – 7:46
02. Stratovarius (Hütter/Schneider-Esleben) – 12:05
03. Megaherz (Hütter/Schneider-Esleben) – 9:26
04. Vom Himmel Hoch (Hütter/Schneider-Esleben) – 9:58

Personnel:
- Ralf Hütter – organ, tubon
- Florian Schneider-Esleben – flute, violin, electric percussion
- Andreas Hohmann – drums
- Klaus Dinger – drums
- Konrad "Conny" Plank – sound engineer & production

Y'know, it really can't be emphasised enough just how important Kraftwerk are to electronica. As The Beatles were to rock, as Black Sabbath was to metal, these guys really pretty much are the original archetypal electronic band. Seriously. And extending the tortured analogies with other bands, if Pink Floyd had The Dark Side Of The Moon, and Led Zeppelin had IV, Kraftwerk had Autobahn. Unlike both of those 2 albums, however, Autobahn is also Kraftwerk's best album, and therefore truly definitive for anyone who has never heard anything by the band before. In typical Kraftwerk fashion they also managed to completely confound expectations with this record. For a start, although this is actually their 4th album, their first 3 have all been deleted at the request of the band, meaning that they are now basically impossible to find, meaning that their first song now readily available is a true masterpiece. The title track of Autobahn is their Echoes, their Stairway To Heaven, their A Change Of Seasons; in other words, their legacy. (Seriously, I'll stop with the comparisons now). Weighing in at over 22 minutes long it's an epic in every sense of the word, and somehow completely encapsulates the feeling of a road trip. With stuttering electronica interspersed with sounds of horns blaring, wind rushing by and the simple lyrics of "fahren fahren fahren auf der Autobahn", this sounds like it could be a truly boring piece of music, and yet it's simply near perfect in its brilliance. As is well known Kraftwerk would later toy with the boundaries between machine and man on their later albums, but there's something near inhuman about how artificially brilliant this song is. You know what's even more surprising about the song though" The fact that it was a hit single in both the USA and Europe. Somehow it was cut down to approximately 3 minutes in length, really catapulting Kraftwerk to fame. This was possibly helped by the fact that the lyrics sound very much like "Fun fun fun on the Autobahn", turning one of the greatest electronic songs of all time into a sing-along for children in English-speaking countries. While it may not have been intentional, it's undeniably effective.

While the title track has become completely ubiquitous with the album, band and genre, it would be grossly inaccurate to paint this album as merely a "one song wonder". Autobahn is followed by Kometenmelodie 1 and Kometenmelodie 2, forming another 12 minute plus suite of music. Part 1 of this is hugely eerie, with a chilling synthesised effect moving over a thudding bass and slightly discordant collection of sounds. This is possibly the most overtly experimental song on the album, as well as being strangely soothing. Although Kraftwerk may sometimes be criticised for making music which is hard to relate to, this song definitely does not fall into this category, evoking a wide range of emotions in the listener in its 6 1/2 minute running time. Part 2 of the song is far warmer, initially carrying on from where Part 1 left off before developing into a truly majestic song over a melody that just about every band would sell their guitarist to be capable of writing. As with so much of Kraftwerk's work the layering on this track really is quite exceptional with the combination of many instrumental effects and sounds forming a mighty wall of noise in which every individual aspect of the music is still very discernible.

By the standards of this album, Mitternacht is something of a oddity, being a very doomy, claustrophobic song. Now I think of it, you know what this reminds me of" It should be the soundtrack to a horror film set in a disued nuclear power plant, with the disproportionately hunched over bad guy creeping around while gas is ejected from vents in the walls and water drips down from the roof. That's the sort of thing that we're talking about here. Just when we seem set for another longer song it ends very suddenly, just as the listener is really getting into the track-possibly the only near-significant criticism that I have of this album. The final track on this album, Morgenspaziergang is completely different from Mitternacht, opening with a "Mini Moog" (giving the effect of bird whistles), the song builds with flutes, keyboards and bass, all belying the band's reputation for producing pure electronica, in one of the most natural songs that they'd ever produce. This track clearly shows the diversity of the album, and indeed of much of Kraftwerk's material as a whole, sounding completely different from anything that has appeared thus far, and ending the album on a strong note.

Along with Trans-Europe Express this is one Kraftwerk's truly great albums, providing a blueprint for all future electronic based bands to examine. As a band Kraftwerk play the role of both John The Baptist and Jesus; preparing the way for no-one other than themselves to follow, constantly subtly experimenting with their sound, and although they may have recorded their best album at the start (well, now anyway) of their recording career, this in no way acts as a criticism of their subsequent material. --- Med57 EMERITUS, sputnikmusic.com

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01. Klingklang - 17:25
02. Atem - 2:52
03. Strom - 3:45
04. Spule 4 - 5:25
05. Wellenlänge - 9:33
06. Harmonika - 3:16

Personnel:
- Ralf Hütter – organ, electric piano, bass, rhythm machine, xylophone, harmonica
- Florian Schneider-Esleben – flutes, violin, guitar, effects, xylophone
- Conrad Plank – sound engineer

This one is rather slow moving, minimal and experimental at times, but the two longer tracks make up for that with some good melodies on both. Klaus Dinger has left to form the band NEU! with Mr.Rother, and instead of replacing him they use a drum machine. Unlike the first album there is bass and guitar credited on this one though.

"Klingklang" for me is the highlight of this album. Even if it is repetitive, it is melodic with flute, keys, bass and other sounds. It begins with what sounds like bells and chimes with no real melody until 2 minutes in. The tempo picks up 10 minutes in until it seems to just die. It starts over with a different melody. Percussion and waves of sound lead the way now. This stops before 14 1/2 minutes and a new, more uptempo melody takes over to the end.

"Atem" features these loud sounds that expand and retract throughout. "Strom" opens with raw, distorted guitar. A beat takes over a minute in that is joined by some spacey waves of sound. Good song. "Spule 4" is a tough one after a minute to the end as there just isn't much going on. "Wellenlange" opens with guitar sounds,bass and other sounds at a slow moving pace. The tempo picks up a little after 3 minutes. It gets a little louder 6 minutes in and we have a melody a minute later. Some nice bass in this one. "Harmonika" has no melody as sounds slowly pulse in and out. ---Melotron Storm, progarchives.com

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01. Elektrisches Roulette – 4:19
02. Tongebirge – 2:50
03. Kristallo – 6:16
04. Heimatklänge – 3:40
05. Tanzmusik – 6:34
06. Ananas Symphonie – 13:52

Personnel:
- Ralf Hütter – vocals, keyboards, electronics, string instruments, drums and percussion
- Florian Schneider-Esleben – vocals, keyboards, electronics, 
string and wind instruments, percussion
- Konrad "Conny" Plank – sound engineer

Well this is more melodic and less experimental than their first two records. Electric piano, electronic percussion, guitar, violin, flute, synths and xylophone are some of the instruments they employ. So yes there is more of an organic sound here when compared to the albums that follow this one. I think it would be fair to say that this record is a bridge between their old sound and the new sound that would follow.

"Elektrisches Roulette" opens with sounds that pulse as well as some high frequency noises. A melody arrives before a minute.Great sound. Drums 1 1/2 minutes in with piano a minute later. The tempo picks up 3 minutes in. "Tongebirge" features flute and synth sounds that come and go. This is a spacey song that drifts along. It recalls earlier albums. I like it.

"Kristallo" features an electronic beat with what sounds like processed piano. It settles right down before 5 minutes briefly before kicking back in even louder. "Heimatlklange" opens with some beautiful piano as waves of sound come in. Great tune. "Tanzmusik" is an uptempo and catchy song. Some hand claps late. "Ananas Symphonie" is the 14 minute closer. Harp-like sounds early with processed spoken words a minute in. An electronic soundscape takes over. It changes 2 minutes in to a pastoral, spacey climate. Nice. Another change 7 minutes in as we get an electronic beat with gentle guitar as the spacey winds blow.

Well this would be my second favourite KRAFTWERK album after their debut, although if we're counting Ralf and Florian's album under the name ORGANISATION I would rank IT second and this third. ---Mellotron Storm, progarchives.com

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01 - The Robots
02 - Spacelab
03 - Metropolis
04 - The Model
05 - Neon Lights
06 - The Man-Machine

Musicians:
Ralf Hütter – voice, vocoder, synthesizer, keyboards, orchestron,
 synthanorma sequenzer, electronics, cover (i.e. art direction)
Florian Schneider – vocoder, votrax, synthesizer, electronics,
 Prophet 5 , Prophet 10, Yamaha CS-80, minimoog in "The Robots"
Karl Bartos – electronic drums
Wolfgang Flür – electronic drums

The Man-Machine is closer to the sound and style that would define early new wave electro-pop -- less minimalistic in its arrangements and more complex and danceable in its underlying rhythms. Like its predecessor, Trans-Europe Express, there is the feel of a divided concept album, with some songs devoted to science fiction-esque links between humans and technology, often with electronically processed vocals ("The Robots," "Spacelab," and the title track); others take the glamour of urbanization as their subject ("Neon Lights" and "Metropolis"). Plus, there's "The Model," a character sketch that falls under the latter category but takes a more cynical view of the title character's glamorous lifestyle. More pop-oriented than any of their previous work, the sound of The Man-Machine -- in particular among Kraftwerk's oeuvre -- had a tremendous impact on the cold, robotic synth pop of artists like Gary Numan, as well as Britain's later new romantic movement. --- Steve Huey, allmusic.com

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01. Autobahn (22:43)
02. Kometenmelodie 1 (06:25)
03. Kometenmelodie 2 (05:51)
04. Mitternacht (03:45)
05. Morgenspaziergang (04:04)

Vocals, Electronics – Florian Schneider, Ralf Hütter
Violin, Guitar – Klaus Roeder
Percussion – Wolfgang Flür

Although Kraftwerk's first three albums were groundbreaking in their own right, Autobahn is where the group's hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing. The 22-minute title track, in a severely edited form, became an international hit single and remains the peak of the band's achievements -- it encapsulates the band and why they are important within one track -- but the rest of the album provides soundscapes equally as intriguing. Within Autobahn, the roots of electro-funk, ambient, and synth pop are all evident -- it's a pioneering album, even if its electronic trances might not capture the attention of all listeners. ---Stephen Thomas Erlewine, AllMusic Review

There is an overriding feeling of bliss that transcends over the atmospheric driving anthem of the 22 minute title track on Kraftwerk's fourth album. There is no other choice but to get saturated in the rhythm and mood of the music, something which could be the equivalent to going for a long floating drive while escaping through the effects of ecstasy, while comfortably aware and accepting of the dangers... The lines float in and out and all around your head, the transient lyric which at first sounds dated then functions to hypnotise the listener with a beautiful ease....The B side draws another facet of the band, shorter pieces bringing a darker tone, which bridge both sides together even if it is still a little low key when compared with the lengthy trip of "Autobahn". "Kometenmelodie 1" is certainly an experimental mechanical piece but by the end of Autobahn a more organic tone winds down the journey with a haunting solo flute to end the drive. ---Philo, progarchives.com

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01. Tone Float – 20:34
02. Milk Rock – 5:15
03. Silver Forest – 3:13
04. Rhythm Salad – 4:03
05. Noitasinagro – 7:39
Bonus:
06. Vor Dem Blauen Bock - 11:15

Personnel:
- Ralf Hütter – Hammond organ
- Florian Schneider-Esleben – electric flute, alto flute, bell, triangle, tambourine, 
electro-violin, percussion
- Basil Hammoudi – glockenspiel, conga gong, musical box, bongos, percussion, voice
- Butch Hauf – bass guitar, shaky tube, small bells, plastic hammer, percussion
- Alfred Mönicks (credited as "Fred Monicks") – drums, bongos, maracas, cowbell, 
tambourine, percussion
- Konrad "Conny" Plank – sound engineering, producer

Tone Float is a very unusual record for 1969. There is no blues-rock, no guitar solo, and no catchy single hit at all. Though it contains some familiar parts, it is not easy to classify. The organ suggests early Pink Floyd, perhaps from the Piper at the Gates of Dawn album. And there is some flute and violin, sometimes played in a jazzy way. But suddenly the music leads into a percussion inferno, where the drum set sounds like kettledrums, with heavy gongs echoing, bells tinkling, and instruments altered past recognition. There are no common song structures; the tracks develop slowly and this can last even 20 minutes. The music is partly free in rhythm, as a title like "Rhythm Salad" already suggests. Sometimes there is an indication of the sound that Ralf Hütter and Florian Schneider would develop later on the first Kraftwerk albums, but here there was no synthesizer. ---Klaus Kehrle, AllMusic Review

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