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Progressive Rock CD Reviews


Grand Prix

Review by Gary Hill

Fans of Kraftwerk will dig this album. It’s a reissue of the 1972 disc. There is a lot of the kind of electronic music that Kraftwerk created here. But, flutes and guitars add a different angle. So, it’s similar but with a different edge. It’s a good disc and worth having for those who enjoy such electronic creations.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2013  Volume 5 at

Track by Track Review
Grand Prix

Opening with race car sounds, electronic music (like Kraftwerk) comes out from there. Processed vocals add to that kind of vibe. That Kraftwerk like electronica is the basis for the whole song. There’s more racing at the end, though.

With a bit more of a world music vibe in place, this is more of that electronic sound. Flute grounds this into more organic sounds later. There are some other “real” instruments in the mix. In some ways, this almost feels like some kind of cross between older Hawkwind and Kraftwerk with some world music.
Transatlantik Non-Stop
Kraftwerk merge with Vangelis on this thing. Some flute brings a bit of Jethro Tull into the mix. In some ways this almost feels like medieval music, but done with modern instrumentation.
There is sort of a bouncy vibe to this bit of electronic music. This isn’t a big change, but it is fun.
Jet Set
With more of a dreamy atmosphere to it, there are some vocals to this one. They are processed, but less so than some of the other ones here. Some of the keyboard work is tied more closely to classic prog, too. In fact, there are some moments here that remind me of Rick Wakeman a bit.
Bermuda Dreieck
There is some jazz in the mix on this. The backdrop is more of the same type of electronica, but some fusion seems to dance across the top at various points. Flute is featured on a mellower section here later, too. Some Asian elements seem to creep across this later.
Robot Secret Agents
Based on more of that Kraftwerk like music, there are real vocals on this. Those vocals remind me a lot of some Hawkwind stuff. The flute solo section really does feel quite a bit like a cross between Tull and Kraftwerk.
The percussion is very much forward in the mix on the first part of this cut. That section is a bit noisy. Then it works out to another arrangement that has a lot in common with Kraftwerk.
Rockwarts (Bonus Track)
Noisy and very electronic, this is weird, but also quite intriguing. There are some symphonic elements here.
Mellotron Mystique (Bonus Track)
This might be a bonus track, but I think it’s my favorite piece here. It’s mellow and measured and quite dramatic. It’s also pretty. There’s a real majesty and beauty to this.
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