Moroder Week: Pt 3: Giorgio says "Kraftwerk sold out"

If Giorgio invented House (sort of), then Kraftwerk invented Techno (definitely). Giorgio hired programmers to get the sounds he wanted, Kraftwerk built their own studio and patented new gear. Giorgio wanted hits, Kraftwerk wanted art.
So I was amazed to read this NME interview from 1978. In it, Giorgio lays into Kraftwerk, accusing them, basically, of selling out: "Kraftwerk? Well, I think they thought that they must start selling more. I guess they are making a simple mistake. They still reckon that with an easy melody and a synthesiser they can have a hit."
"We are always trying very hard to improve the overall quality of our work, while Kraftwerk are still holding on to the older ways of recording. I just met one of the guys from Kraftwerk in New York once, but it is very difficult to talk with them. They obviously speak German and I speak German, but..."
CLICK FOR PART 3.5

Posted by Tom Whitwell.

Comments:

Very interesting considering that Moroder did a very much Kraftwerk-esqe LP in 1975 that I find to be his best, if least influential, work. The article you mention has a blurb about it at http://homepage.ntlworld.com/clive.hocker/moroder/mor_1978/pic%2312.htm It was called Einzelganger. It has nothing to do with disco, is quirky, quaint and experimentatl . . . but very much Kraftwerk influenced.

# posted by

Anonymous : 10:00 pm

Giorgio's Bass line on Chase (Midnight Express theme) is very similiar with Kraftwerk's main melody on "The model" song.

# posted by

Anonymous : 9:49 pm

Giorgio's bass part on "Chase" is actually incredibly similar to the bass parts he used on his own 'From Here To Eternity" (1977) and even, slowed down somewhat, his own 'Nights In White Satin" (1976).

I don't think Moroder was really listening to Kraftwerk during this period - I think he was more influenced by the bubblegum production values of RAK's Chinn/Chapman and even Andersson/Ulvaeus (Abba).

Using a synth was just a means to commercial success for Moroder. I've always preferred "inclusive" his approach to the Moog rather then Kraftwerk's rather po-faced, priest-like attitude. And he wrote better tunes!

# posted by

Anonymous : 11:59 pm

Moroder used to loan Eberhardt Schoeners modular moog 3C (first to own one in germany at the time), it's one of the programmers named Robby who
found a way to trigger the moogsequencer by tape following a pulse from moroders very tight drummer. Moroder was more influenced by tangerine dream than kraftwerk.
A trademark sound of his is this phaseing/backward sweep wich colors most of his tracks. I wondered if this is the actual moog modular phaser or a standalone Mxr.

# posted by

Anonymous : 12:34 pm

I'm pleased to see that you think Moroder is the creator of dance music instead of Kraftwerk. I still like both of them, I just don't see how Kraftwerk did anything towards dance music. Ok, they provided a few loops?

# posted by

Finlay Shakespeare : 7:57 pm

I love Moroder, especially his work with Sparks, but i have to give Kraftwerk their share of praise. There's a very direct line from the squelchy bass on "The Robots" straight to the acid house bass, but really, who cares who was "first." Eddie Phillips may have been the first rock guitarist to play with a violin bow, but it's Jimmy Page that everybody remembers for that trick. Link Wray may have been the first guitarist to play with a distorted guitar sound, but everybody thinks Dave Davies invented that sound. Ech, I'm ranting.

Just because Moroder may not have liked Kraftwerk doesn't mean you have to choose one or the other. This is kind of like the Stones/Beatles debate--they were both great but for different reasons.

# posted by

Anonymous : 4:20 pm