Editing Autobahn (album) (section)

==Legacy==
[[File:Kraftwerk autobahn.JPG|alt=Four figured in shadow on a stage behind a screen projecting the autobahn album cover from the reissue behind them.|left|thumb|Kraftwerk performing "Autobahn" in 2013]]
Kraftwerk later signed with EMI to establish the Kling Klang company.{{sfn|Bussy|2004|p=69}} This worldwide licensing deal placed them with [[Electrola]] for Germany, Austria and Switzerland, EMI in the United Kingdom, Vertigo in the United States and [[Pathé-Marconi]] in France.{{sfn|Bussy|2004|p=69}} Kraftwerk followed-up ''Autobahn'' with ''[[Radio-Activity]]'', which was released in 1975.{{sfn|Schütte|2020|p=76}} Kraftwerk did not repeat the high sales of ''Autobahn'' on any subsequent album in the 1970s but were one of the most commercially successful groups in their style, selling well throughout Europe.{{sfn|Walker|1978}} Hütter and Schneider later dismissed Kraftwerk's earlier music; according to Hütter, ''Autobahn'' was "really the first", and Schneider called the earlier music "history, archaeology".{{sfn|Hemingway|2003}} 
''Autobahn'' was Conny Plank's final work with Kraftwerk.{{sfn|Bussy|2004|p=69}} At the home studio where he worked on ''Autobahn'', Plank later worked with groups and artists such as [[Killing Joke]], [[Clannad]], [[Brian Eno]], [[The Eurythmics]] and [[Devo (band)|Devo]], as well as German groups such as [[Neu!]] and [[Deutsch Amerikanische Freundschaft|DAF]].{{sfn|Bussy|2004|p=69}}{{sfn|Bussy|2004|p=70}}

In his review of ''Sequencer'' (1976) by [[Larry Fast|Synergy]], critic Michael Hooker noted the increasing interest in synthesizer composition since the release of ''Autobahn''.{{sfn|Hooker|1976}} Other artists, such as [[David Bowie]], began noting ''Autobahn'' as an influence. Bowie said: "the preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further".{{sfn|Chapman|2015|p=124}} [[Michael Rother]] stated ''Autobahn'' had an impact on his band [[Harmonia (band)|Harmonia]], and led him to starting thinking about adding voices on tracks; he said: "on Harmonia's ''[[Deluxe (Harmonia album)|Deluxe]]'' you can hear an echo of that".{{sfn|Dalton|2016b|p=5}} Producer [[Arthur Baker (musician)|Arthur Baker]] first heard Kraftwerk's "Autobahn" when working at record store in high school; he later used a medley of the group's songs for "[[Planet Rock (song)|Planet Rock]]" for [[Afrika Bambaataa]].{{sfn|Toop|2000|p=115}}

According to [[Patrick Codenys]] of the band [[Front 242]], in the early 1970s most "creative groups, were virtuosos like [[King Crimson]] and [[Yes (band)|Yes]] whose music was based around sophisticated jam sessions. When I bought ''Autobahn'' I had the feeling that it was changing. For the first time, it was music that was impossible to touch&nbsp;– not being made up with the usual components of rock."{{sfn|Bussy|2004|p=62}} Codenys said the music was made by only one person, which helped encourage him to make music on his own.{{sfn|Bussy|2004|p=62}}{{sfn|Bussy|2004|p=63}} Music critic [[Simon Frith]] stated [[disco]] heralded the future of music, and said "Autobahn" was the bridge between five minutes of unchanging rhythms of [[AM radio]] and the 24-hour concerts by avant-garde musicians like [[Terry Riley]].{{sfn|Calder|1977}} Author Thomas Jerome Seabrook named the album among the "finest [[kosmische musik|kosmische]] records."<ref name=seabrook>{{cite book |last1=Seabrook |first1=Thomas Jerome |title=Bowie in Berlin: A New Career in a New Town |date=2008 |publisher=Jawbone Press |page=85 |isbn=978-1-906002-08-4 |access-date=25 April 2019 |url=https://books.google.com/books?id=xsSHjTf_-F8C}}</ref> In 2014, it was inducted into the Grammy Hall of Fame, a diverse collection to represent historically significant recordings that reflect the changing climate of music through the decades.{{sfn|Larsen|2014}}