Track Listing

1. Ooh Yea
2. I Love To Move In Here
3. 257.zero
4. Everyday It's 1989
5. Live For Tomorrow
6. Alice
7. Hyenas
8. I'm In Love
9. Disco Lies
10. The Stars
11. Degenerates
12. Sweet Apocalypse
13. Mothers Of The Night
14. Last Night

Product Details

• Amazon Sales Rank: #610 in Music
• Released on: 2008-04-01
• Number of discs: 1

Album Description
Last Night - the fifteen track album was recorded in Moby's home studio in Manhattan NY and mixed by Dan Grech - Maguerat who has also worked with Radiohead and the Scissor Sisters. The new album features guest vocalists and includes the original 70's MC Grandmaster Caz one of the writers of Rappers Delight, Sylvia from Kudu, the UK's MC Aynzli and S.O. Simple and Smokey from the Nigerian 419 Squad. EMI. 2008.

Amazon.co.uk
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

Customer Reviews

Soulful dervish
I got Moby for the radio-like electronic sounding grooves - and yeah I got 'em on this album. The media of CD is just fine.I don't think I will get it on vinyl to be a superfreak for the real thang 'cause this unreal sounding funkedelic CD does it for me.

There are some Donna Summer-ish artists hollering[just like Donna would]on this CD -- so just when you think, as the song begins if all Moby offers is these divas holler something soulful over and over in your hear about you leaving her and not loving and she being in love so crazy it doesn't make any sense ... the violin comes in.

And that is what is so satisfactory about this album is that the old school joints gonna come back to haunt ya but then he throws in some refined,operatic means of letting your emotions loose - not necessarily in the soulful way that the album predominently is -- the vegan dj defies and imrpovises.

Listen to it in the car as you drive in your cruel concrete jungle who you live and love. She breaks your bones but you keep driving and giving her the bad air she needs back to keep her swaying palm trees surreal.

Or take a shower and gyrate-dry to the hip dancy beat.

Moby - Last Night 7/10
Strict vegetarian and eternally bald hipster Moby returns to his platinum-selling roots on Last Night, turning toward a more electronica/dance style that characterized his hit club record Play way back in 1999. Moby has stated in interviews that this decision came about as a result of his return to DJing in the New York club scene, and Last Night definitely is a DJ's dream.

Beginning with the catchy "Oh Yeah" and continuing nearly unabated to the album's closer, the epic "Last Night," the record chronicles an all-night romp through New York's clubs, anchored by Moby's diverse, eclectic range of beats and his obscure list of guest artists, from Nigerian MCs to "Rapper's Delight" lyricist Grandmaster Caz.

Strong points include the 80s-tastic "Disco Lies" and the Nintendo-mimicking sounds of "257.zero," but the record bogs down a little with the slow jam "Degenerates," and the second half of the record overall takes the energy level down a notch. Last Night's potential for dusk to dawn bootyshaking, however, remains much higher than most of Moby's contemporaries.

This isn't even a Moby album
When Moby first started out, he was a talented techno-induced DJ. Although I don't really care for techno, his early music is still quite unique from other techno 'artists'.

But this isn't techno, not going back to early Moby, as some think of it. This album is lost in the expansive catalogue of songs and ideas Moby has created in a relatively short period of time. It's uninspiring, dancey pop music that mimics older pop styles (basically you're listening to 30-40 years of dancey pop music thrown together).

And the worst part about this album is hearing Moby's 'inspiration' for making the album: one night in New York City. How callously shallow! Moby is a deep thinker, a heavy animal/human rights activist, and overall an extremely talented musician. But you don't see any of that in this album. I have to admit I haven't listened to the entire album, only about half, but I was so bored with the few songs I have heard, namely the singles, that I dared not waste my time with the rest. I did find 'Alice' catchy, but its repetitiveness just ruins the experience.

When Moby came out with the single 'New York New York' I'll admit I don't care for it extremely, but it does have more merit than all of what I've heard from this album combined.

Oh yeah, and hurray for the numbness-inducing amount of remixes we get from this album's singles. Now all those rave-loving nimrods can have even more for the dance floor (while the real Moby fans are sitting at home cuddling their 'Play' albums reminiscing of better times).