Moby - Last Night
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Music CD Cover
Artist: MobyBrand: Baker
Edition: Music CD
CD Release Date: 2008-04-01
Music Label: Mute
Soundtracks:
- Ooh Yea
- I Love To Move In Here
- 257.zero
- Everyday It's 1989
- Live For Tomorrow
- Alice
- Hyenas
- I'm In Love
- Disco Lies
- The Stars
- Degenerates
- Sweet Apocalypse
- Mothers Of The Night
- Last Night
Free Music Notes for Last Night
Free Music Review: The Diffrent Sides Of Moby
Hit: 5 Stars
Few Dance artists can compare to Moby in popularity and mainstream success, Moby is equally famous for the versatility in his music that uses elements from Rave, Techno, Rock, Pop and Lounge and for his lifestyle which includes strong religious believes and animal activism. Although his early beginnings with eponymous debut album Moby and Everything Is Wrong sound nothing like his worldwide breakthrough albums Play and 18 you can say that Moby is the most recognizable dance artist in the world cause he was able to blend so many diffrent styles into his album "Play" that even people that normally don't like dance music got their eyes on him and his music, Moby also manufacted his music well with good music videos and borrowing a handful of songs to tv commercials. Kind of like non-rap fans enjoying Kanye West cause his lyrics differ from the average rapper and he's able to sell himself better then anyone else. However, As important as "Play" was for dance music it was giant steps away from the more traditional Rave/Techno that Moby made in the early 90's with songs like "Go", "Drop A Beat", "Everytime You Touch Me" and "Feeling So Real". And for old time fans it was even harder to accept the more exprimental rock oriented flop album Hotel that simply became the last straw. But 3 years later Moby realized that singing ain't his thing and fans rather prefer him doing dance music then rock. "Last Night" goes way back in time and celebrates New Yorks openminded night life and it also pay tribute to a lenghty career full of rich influences, but it's the first studio album since his 1995 album "Everything Is Wrong" that is more dedicated to uptempo electronica/Techno and it couldn't be more suitable at this point of his career.
While a big number of songs here are dance oriented uptempos there's also plenty of songs that don't fit into that pattern that are taken from diffrent parts of Moby's career. First song "Oh Yeah" is a quite typical Moby song with a repetitibe voice saying oh yeah some sexy female backround voice and both guitar riffs and electro keyboard beats. A good start, I expect to hear this one in a commercial soon. One of the highlights is the secons song "I Love To Move In Here" with some sensual female vocals and a rap verse from Grandmaster Caz in a laidback midtempo sound. "257.Zero" is retro dance with a female voice briefly mentioning those number. It works incredibly smooth. "Everyday It's 1989" sound a little like "In This World" from "18" with distorted female vocals but soundwise it reminds me more of early 90's Moby with fast techno beats. It's works fine even if it's on fammilair territory. "Live for Tomorrow" is simular but more melancholy and is yet another good number. On the single "Alice" Moby sings a little and got this rapper with him aswell. it's much harder then most of the ofter things here and sounds like electro meets metal rap or something. Not my cup of tea. "Hyenas" is a guitar driven slow tempo with a lush female vocalist in almost lounge sound. "I'm In Love" is simular in slow sound featuring a female vocalist.
A strong uptempo in "Disco Lies" with a female vocalist singing it once more but this time she sings plenty. This one was a single. "The Stars" got trademark Moby sound with chants, techno beats and distorted female vocals but halfway it becomes darker with almost hardcore beats to shortly go back to how it started again. Very nice. "Degenerates" is instrumenal lounge and sound a little like film music. The same with "Sweet Apocalypse" which is more electro sounding and "Mothers Of The Night" a mesmerizing slow tempo that sound like Air at their best. The closer "Last Night" is the slowest cut here, with it's lush and elegant sound it couldn't be a better thing to play in the wee small hours at some after party.
Overall, No album has been able to sum up Moby 17 year old career any better then this one, it demontrates Moby's versatility in sound, richness in production and many influences among the years. Almost every song here is memorable enough to be good, wether it's back to back Disco or lush lounge music. But what strikes me most is that it's way more more entertaining then anything he did in a long time. It sounds like he's taking his experience and just offering the best of himself and his diffrent musical eras without exprimenting too much. This is the real Moby. And it offers something for anyone. It could hardly get better based on the few expectations that I had.
Last Night Poster
2008 release of Moby's sixth studio album. The unassuming studio genius follows 2005's Hotel and has been described by the man himself as a return to a more electronic and dancefloor oriented feel. Guest vocalists on this album includes the original 70's MC Grandmaster Caz (one of the writers of Rapper's Delight), Sylvia from Kudu, UK MC Aynzli and S.O. Simple and Smokey from the Nigerian 419 Squad.After three albums that seemed to find Moby in some sort of creative stasis, Last Night sees the once-restless DJ/producer changing the record and returning to one of his first loves: the heaving dancefloors of his native New York. Soulful, uplifting piano rave is the order of the day here, and while some hallmarks of Play remain--Moby still has a fascination for long, tearful synth lines and sampled vocals, which he drops in here and there, seemingly to yield the maximum emotional response--Last Night still feels like a clean slate. "I Like to Move in Here" shimmies along on a languid house beat that doffs a cap to early hip-hop in the shape of a cameo from MC Grandmaster Caz, one of the writers of "Rapper's Delight", while "Everyday It's 1989" is the sort of overdriven, ecstatic piano house that Moby perfected on his 1995 classic Everything Is Wrong. There's more guest spots in the shape of British MC Aynzli, the Nigerian 419 Squad and Sylvia from dark NYC disco band Kudu, but the most impressive thing about Last Night is the peaks that Moby can reach when he's working alone: see the grand, emotive swell of "Sweet Apocalypse", cold synths and driving beats that, were it released by James Murphy, would be hailed as genius--and rightfully, too.--Louis Pattison
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