Ralf Hütter (born 1946, Krefeld, Germany) and Florian Schneider (born 1947, Düsseldorf, Germany) met while they were studying improvised music in Düsseldorf, Germany. In 1967 Ralf Hütter (organ), Florian Schneider (violin, flute), Basil Hammoudi (vocals), Butch Hauf (bass) and Fred Monics (drums) formed the group Organisation, released the album Tone Float and split shortly thereafter. The album features repetitive percussion and bass drum patterns embellished with guitar, flute, violin and organ.
After disbanding Organisation, Ralf Hütter and Florian Schneider adopted the name Kraftwerk. Early Kraftwerk line-ups from 1970–1974 fluctuated, as Hütter and Schneider worked with around a half-dozen other musicians, most notably Andreas Hohmann (drums; 1970), Houschäng Néjadepour (guitar; 1970), Charly Weiss (drums; 1970/71), Eberhard Kranemann (cello, bass, hawaii-guitar; 1970/71), Klaus Röder (electric guitar, electronic violin; 1974), Michael Rother (guitar; 1970-71) and Klaus Dinger (drums; 1970-71). For a short period in 1970/71 Ralf Hütter left the band to complete his degree in architecture. There were some sessions/concerts with the line-up "Schneider, Kranemann, Weiss", "Schneider, Hohmann, Kranemann, Rother, Dinger" and "Schneider, Rother, Dinger" in that time. In 1971 Rother and Dinger left Kraftwerk to form the band Neu!.
Their first three albums were more free-form experimental rock without the pop hooks or the more disciplined strong structure of its later work. Their debut album, Kraftwerk, released in 1970, and Kraftwerk 2, released in 1972, were mostly exploratory jam music, played on a variety of traditional instruments including guitar, bass, drums, electric organ, flute and violin. Post-production modifications to these recordings were then used to distort the sound of the instruments, particularly audio-tape manipulation and multiple dubbings of one instrument on the same track. Connie Plank co-produced the first four Kraftwerk albums. Emil Schult has also collaborated on many releases, contributing both lyrics and graphics.
Live performances from 1972–73 were made as a duo, using a simple beat-box-type electronic drum machine, with preset rhythms taken from an electric organ. These shows were mainly in Germany, with occasional shows in France. In 1973, Wolfgang Flür (electronic percussion) joined the group.
With Ralf und Florian, released in 1973, the band began to move closer to its classic sound, relying more heavily on synthesisers and drum machines. Although almost entirely instrumental, the album marks Kraftwerk's first use of the vocoder, which would, in time, become one of its musical signatures.
In 1974, they issued the fourth studio album, Autobahn. This critically acclaimed album marked Kraftwerk's breakthrough and established them as purveyors of electronic music. The title track is intended to capture the feeling of driving on the Autobahn: from travelling through the landscape, the high-speed concentration on the fast lane, to tuning the car radio and the monotony of a long trip. An edited version of "Autobahn" song reached #25 on the US Billboard Hot 100 chart and #11 in the UK.
In 1975, Karl Bartos (electronic percussion, live vibraphone, live keyboards) joined the band. The Hütter-Schneider-Bartos-Flür formation is now regarded as the classic line-up of Kraftwerk, which remained in place until the late 80s.
In 1975, Kraftwerk released the concept album Radio-Activity (German version: Radio-Aktivität). The hyphenated album title displays Kraftwerk's typical deadpan humour, being a pun on the twin themes of the songs, half being about radioactivity and the other half about activity on the radio. The title track "Radioactivity" was released as a single, and became a hit in France after it was used as the theme to a popular music show. This was the first Kraftwerk album to be entirely self-produced by Hütter & Schneider in their Kling Klang studio, and the first one to be performed by the classic line-up of Kraftwerk.
In 1977, Kraftwerk released the highly influential album, Trans-Europe Express. Critics have described the album as having two specific themes: celebration of Europe and the disparities between reality and image. Musically, the songs on this album differ from the group's earlier Krautrock style with a focus on electronic mechanized rhythms, minimalism, and occasional manipulated vocals. Two singles supported the album: "Trans-Europe Express" and "Showroom Dummies".
By the time of 1978's The Man-Machine (German version: Die Mensch-Maschine), Kraftwerk had created their own unmistakable brand of "robot pop". NME said of The Man-Machine: 'It is the only completely successful visual/aural fusion rock has produced so far". Kraftwerk spent three years building their own Kling Klang studios in the late 70s, complete with, inevitably, scores of computers. The single "The Model", gave the band a surprise hit when it topped the UK charts in 1982.
In 1981 Kraftwerk released their eight studio album, Computer World (German version: Computerwelt). This album combined the use of the sequencer to create the sound now known as electro, inspiring the first producers in Detroit in creating techno, as well as innumerable other artists including Gary Numan, Depeche Mode, and New Order, among many others. This album had the theme of computers taking over the world in the future. It was a commercial success, spawning the singles "Pocket Calculator", "Computer World" and "Computer Love". For this album, the band embarked on the massive Computer World world tour.
The EP Tour De France was issued in 1983. This song was featured in the film Breakdance and became the theme for the cycling event of the same name in that year. In 1986, the ninth studio album Electric Café was released. The album received mixed reviews. Two singles were issued from the album: "Musique Non-Stop" and "The Telephone Call".
In 1987 Wolfgang Flür departed and it was replaced by Fritz Hilpert. In 1991, Kraftwerk's best known songs were collected together and re-recorded on the compilation The Mix.
The single Expo 2000 released in December 1999 came as a surprise for Kraftwerk fans. A brand new song, although low key, sparked hopes of a new album. A video was released for this track, showing the band playing in wireframe suits, but no public appearances or interviews until 2003.
In 2003 the band released Tour de France Soundtracks, its first album of new material since 1986's Electric Café. The album was recorded for the 100th anniversary of the first Tour de France bicycle race, although it missed its original release date during the actual Tour. A completely new recording was made for the "Tour De France" track, based on the original 1983 arrangement.
In June 2005, Kraftwerk released Minimum-Maximum, their first official live album. It features two CDs and tracks recorded on their world tour during 2004, including concerts in Warsaw, Moscow, Berlin, London, Budapest, Tallinn, Riga, Tokyo and San Francisco. The band also released a live DVD.
Florian Schneider officially left the band in January 2009, though news of his departure was reported as early as April 2008. His place was taken over by Stefan Pfaffe.
In 2009, the band issued The Catalogue (German version: Der Katalog), a box-set comprising eight albums by Kraftwerk that were released from 1974 to 2003. All albums were digitally remastered, with most of the cover art redesigned, including rare photographs in the liner notes that were not part of each album's original release.
Following the release of The Catalogue and Florian Schneider's departure, Kraftwerk began a series of live tours, in which they would perform the entirety of the eight albums included in that box set. These performances featured surround sound and live video in 3D with provided glasses. During these tours, in 2012, Falk Grieffenhagen replaced Stefan Pfaffe as live video operator. In 2017, Kraftwerk released 3-D The Catalogue (German version: 3-D Der Katalog), containing the live performance versions of the tracks on The Catalogue, available with visuals on Blu-ray. It won a Grammy Award that year for Best Electronic/Dance Album.
Kraftwerk's influence has been incalculable. Hundreds of artists today in nearly every electronic music subgenre bear witness to their work. They are also reclusive, rarely giving interviews and making no media appearances. To this day Kraftwerk continues to tour precisely crafted sets of their classic songs with 3-D visuals.
Official site: http://www.kraftwerk.com
The Model
Kraftwerk Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'd like to take her home, that's understood
She plays hard to get, she smiles from time to time
It only takes a camera to change her mind
She's going out to nightclubs, drinking just champagne
And she has been checking nearly all the men
She's playing her game and you can hear them say
She's posing for consumer products now and then
For every camera, she gives the best she can
I saw her on the cover of a magazine
Now she's a big success, I want to meet her again
Kraftwerk's "The Model" is a song about beauty, fame, and the modeling industry. The lyrics describe a woman who is a model and is attractive. The song is sung from the perspective of someone who wants to take the woman home, but they realize that she plays hard to get. However, a camera can quickly change her mind. The song is a commentary on how the modeling industry and fame can affect one's behavior and priorities.
The woman described in the song is portrayed as someone who goes out to nightclubs and drinks champagne. She has also been seen checking nearly all the men, playing her game, and remaining highly selective. The lyrics suggest that her beauty comes at a price, and people will pay to be in her company. She is also constantly posing for consumer products and giving her best to every camera. The song concludes with the singer seeing her on the cover of a magazine and wanting to meet her again, now that she is a big success.
Overall, "The Model" by Kraftwerk is a commentary on societal values concerning beauty and the modeling industry. The lyrics describe how fame and beauty can affect one's behavior and how people will do anything to be in the company of an attractive person. The song shows how easily influenced people can be by the media and the beauty industry.
Line by Line Meaning
She's a model and she's looking good
The woman is a model and her appearance is considered attractive.
I'd like to take her home, that's understood
The singer is attracted to the woman and wants to take her home.
She plays hard to get, she smiles from time to time
The woman is not easily won over but may show occasional interest.
It only takes a camera to change her mind
The woman may have reservations, but can be persuaded by the prospect of being photographed.
She's going out to nightclubs, drinking just champagne
The woman frequently goes to nightclubs and only drinks champagne.
And she has been checking nearly all the men
The woman is surveying the men around her, potentially for romantic or social purposes.
She's playing her game and you can hear them say
The woman is seemingly engaged in a game of flirtation or seduction, which others notice and discuss.
She is looking good, for beauty we will pay
The woman's beauty is highly valued, perhaps to the point of monetary compensation.
She's posing for consumer products now and then
The woman models for various consumer products, intermittently.
For every camera, she gives the best she can
The woman is highly skilled at posing and presenting herself for photo shoots.
I saw her on the cover of a magazine
The singer saw the woman featured on a magazine cover.
Now she's a big success, I want to meet her again
The woman has achieved significant success, and the artist desires to reconnect with her.
Lyrics © Warner Chappell Music, Inc.
Written by: Emil Schult, Karl Bartos, Ralf Hutter
Lyrics Licensed & Provided by LyricFind
@10hetitor
Kraftwerk - The Model (Official Video) 1978 - March 14, 2021
The Model
She's a model and she's looking good
I'd like to take her home that's understood
She plays hard to get, she smiles from time to time
It only takes a camera to change her mind
She's going out tonight but drinking just champagne
And she has been checking nearly all the men
She's playing her game and you can hear them say
She is looking good, for beauty we will pay
She's posing for consumer products now and then
For every camera she gives the best she can
I saw her on the cover of a magazine
Now, she's a big success, I want to meet her again...
Writer(s): Karl Bartos, Ralf Hutter, Emil Schult
@HWRasmussen
Das Model
Sie ist ein Model und sie sieht gut aus
Ich nähm sie heut gerne mit zu mir nach Haus
Sie wirkt so kühl, an sie kommt niemand ran
Doch vor der Kamera da zeigt sie was sie kann
Sie trinkt in Nachtclubs immer Sekt (Korrekt!)
Und hat hier alle Männer abgecheckt
Im Scheinwerferlicht ihr junges Lächeln strahlt
Sie sieht gut aus und Schönheit wird bezahlt
Sie stellt sich zur Schau für das Konsumprodukt
Und wird von Millionen Augen angeguckt
Ihr neues Titelbild ist einfach fabelhaft
Ich muß sie wieder seh'n, ich weiß sie hat's geschafft
@jerseyhidalgo7421
[Verse 1]
She's a model and she's looking good
I'd like to take her home, that's understood
She plays hard to get, she smiles from time to time
It only takes a camera to change her mind
[Verse 2]
She's going out to nightclubs, drinking just champagne
And she has been checking nearly all the men
She's playing her game and you can hear them say
She is looking good, for beauty we will pay
[Verse 3]
She's posing for consumer products now and then
For every camera, she gives the best she can
I saw her on the cover of a magazine
Now she's a big success, I want to meet her again
@christianlwensprung2722
One of the best songs ever made. Just a diamond of a song, and diamonds last forever.
@andreasehrman
So, soo , sooooo True !!!❤❤❤
@Timo-15
An absolutely excellent quote about Krartwerk and this song. Lang Lebe Kraftwerk!
@xFateDash
wait are u chrisitian wensprung from the DMV area? I hit u up on grindr for som party n play and u never hit me bak. ?? you giid
@christianlowensprung3149
Think you got me confused with somebody else.
@HWRasmussen
Great song indeed, but must say, that I prefer the German version.
@squarepeg9484
A lot of young people think electronic music is modern, I was dancing to this in 1982. There would have never been 80s Acid House or the 90s raves like Creamfields or the dance music scene now, without this. Kraftwerk were making electronic music in the 70s. Thanks for the music, Florian! 😘
@sharonbarry8878
My first exposure was in 1976, I was 16 and hung out at Ginos in Hollywood Ca. It was a gay club for teens. The 70's where some memorial times.
@fortheloveofnoise9298
To be fair, the 70s in the grand scheme of thing was not that long ago (this is coming from a 25 year old)
@sadduck28
80's ????? https://www.youtube.com/watch?v=hWUiLJnEYJI
try 1970