Track Listing

1. We Are All Made of Stars
2. In This World
3. In My Heart
4. Great Escape (Featuring Azure Ray)
5. Signs of Love
6. One of These Mornings
7. Another Woman
8. Fireworks
9. Extreme Ways
10. Jam For The Ladies (Featuring Angie Stone and MC Lyte)
11. Sunday (The Day Before My Birthday)
12. 18
13. Sleep Alone
14. At Least We Tried
15. Harbour (Featuring Sinéad O'Connor)
16. Look Back In
17. The Rafters
18. I'm Not Worried at All

Product Details

• Amazon Sales Rank: #2364 in Music
• Released on: 2002-05-14
• Number of discs: 1

Amazon.com
Following one of the most licensed CDs in history, 18 delivers more of the gospel samples and spiritual exploration that made Play Moby's breakthrough album. But keep your expectations in check. On 18 there is barely a body-rocker in the bunch. This is often a somber, melancholy disc, blanketed in the washed-over cinematic orchestral melodies Moby's been fond of since his classic self-titled debut. It requires several listenings before the gems shine through the ambient fog--and most depart from Play entirely. On the deceptively minimalist opening track, Moby delivers a powerful message through his thin little voice. "We are all made of stars," he sings, and indeed he's believable. MC Lyte punches out an infectious rap over old-school beat-box rhythms on "Jam for the Ladies," offering one of the disc's few roof-raisers. "At Least We Tried" is a tear-jerking swan song of the highest order, and, finally, "The Rafters" resurrects early-‘90s house piano, which will make any of Moby's career-long fans pine for his earliest club hits. The diminutive DJ needn't have produced Play Pt. Two to keep his new fans engaged. Fortunately, his greatest talent for cooking up interesting sounds is still audible; you just need the patience to find it. --Beth Massa

From URB Magazine
Face it, Moby's the one. He's our star, the public face in America for all that is electronic music/culture, the prototypical inspired DIY raver of the early '90s who used determination and unmitigated gall to become a bona fide icon and sell over 10 million copies of his groundbreaking last album, Play. And he did it in inimitable style (remember his cover of Mission of Burma's "That's When I Reach For My Revolver" on 1996's Animal Rights?), so there's no reason to hate on him for it.

So it's impossible to talk about 18 without serious referencing of its predecessor, an album that slowly and methodically revolutionized what we know as "future music" by primarily sampling rural Americana from the turn of the 20th century and literally selling the results back in a litany of fashions. Moby notoriously (and without apology) licensed every track from Play for use in everything from movies to commercials, a move that spurred the album's meteoric rise.

Such stratospheric success affords one considerable clout, and it shows. Moby takes the opportunity to craft a sprawling, ambitious 18-track effort that's hardly the cash-in it could've been. Still, his mother obviously didn't raise a fool, so he's quick to reference the sounds and ideas that propelled Play into so many music collections. Opening with the uplifting New Wave-y pulse of "We Are All Made of Stars," "In This World" and "In My Heart" pick up where Play left off. Both are rife with swelling soundtrack strings and mournful female voices riding a rhythm reminiscent of something from Side Two of Duran Duran's Seven and the Ragged Tiger. Along with the weepy hip-hop of "Another Woman" and the tear-drenched pianos of "Sunday (The Day Before My Birthday)," a good chunk of 18 is a perpetuation of the electronic blues Moby has turned into a signature.

The irony of being born on Sept. 11 is not lost, and the thick, oft-somber mood of 18 can be traced to that infamous date. "Sleep Alone" (which commences what could be considered the album's second half) sounds like Leonard Cohen moaning over a Portishead instrumental, with Moby intoning "At least we were together/holding hands/flying through the sky," the 9/11 reference easily apparent. That's followed closely by "Harbour," where an unaffected electric guitar and stark drum machine beat play host to an amazingly engaging Sinead O'Connor vocal performance. Lounging reflectively like the Blake Babies or even Yo La Tengo gone hi-fi, it's the finest moment 18 has to offer, even with the slightly overwrought chorus.

"Jam for the Ladies" is the one straight-up party tune, with soul sisters Angie Stone and MC Lyte hyping the crowd on this obvious single. Think "Body Rock Pt. II."

Ending on the barn-storming "The Rafters" and an experienced "I'm Not Worried At All," 18 is not Moby's masterpiece, as many might have hoped/feared/expected. But it is an exceptional work that shows definite progression from Play but ultimately falls short of his potential. For an artist, that's the highest compliment I've got.

Scott Sterling

Customer Reviews

Another leap into the spiritual world for Moby
Another 18 tracks -thus the name of the album- put together by pop-superstar Moby in this, his newest production, give the listener plenty of material to choose from. It might be questioned how original he has been this time around, when the norm of his previous works has almost always been innovation: at least I confess I had a hard time getting over my initial impression of "Oh, my God! This totally sounds like 'Play'." But after a few listens, it starts to pick up speed and take on a totally different meaning inside of you.

With '18' Moby has taken a two-fold approach: a good half of the album picks up where 'Play' and its B-Sides left and the other half brings a handful of new elements. Lots of gospel vocals and spiritual lyrics can be found in songs such as "In This World," "In My Heart" and "One Of These Mornings," all of which could easily have been produced back in 1999. "Another Woman," though not as gospel in tone, does have that R&B flavor to it, and "I'm Not Worried At All" reminds a lot of "Natural Blues" both due to the lead vocals and to the overall spirit of the song and the lyrics. The New Wave-y opening track, "We Are All Made of Stars" and "Extreme Ways" both have that super-hit flavor for '18' that "Porcelain" and "Why Does My Heart Feel So Bad" brought to 'Play' but it mixes some elements which are somewhat alien to Moby's music (except for the "element" of eclecticism). On the other hand, "Great Escape," "Sunday (The Day Before My Birthday)" (consider his b-day is 9/11) and "Harbour" all have one thing in common: beautiful female vocals (surprise tip: "Harbour" has Sinead O'Connor on vocals).

Finally, tracks such as "Signs of Love," "Fireworks," "18," "Sleep Alone" and "Look Back" bring into the mix that exquisite ambient sound that tunes such as "Down Slow," "Everloving" and "The Sky Is Broken" were so special for. The tracks I could easily live without: "Jam For The Ladies," "At Least We Tried," "The Rafters," so, as far as I'm concerned, the album could be called '15.' Overall, obviously the album doesn't break much new ground, as 'Play' did, but it stands out as a very good work by NY's finest DJ.

Worth the 18 dollars
After the dynamite Play, Moby continues the sound of Play in some areas except that this follow-up is a bit lighter and has more Gospel samples giving the album somewhat a bit of a 60s or 70s feel to it. Play was great, 18 is just as great.

1)We're All Made Of Stars_Excellent lead off single. Very similar to South Side. Excellent nighttime travel music.
2) In This World- This song is a mix of jazz/pop with ol school hip hop beats and a Gospel vocal in the background. Kind of a bit 60s sounding.
3)In My Heart- Anyone remember Rushing off Play? This song has a similar piano crescendo loop only this song is not quite as eerie and more upbeat.
4)Great Escape- A very simple song with a cello and a female vocal. Not too bad but not that memorable
5)Signs Of Love- A very beautiful song. Reminiscent of Porcelain.
6)One OF These Mornings- This song also uses a Gospel sample voice. A very nice song.
7)Another Woman- One of my favorites. AW has a kind of an early 90s old school R&B sound and a strange organ playing. Sort of like linking the sounds on 1990 and 2002 together.
8)Fireworks- Music with atmosphere. This song is captivatingly beautiful. Makes me think of standing out on a field on a cloudy afternoon.
9)Extreme Ways-An upbeat R&Bish song with a weird orchestra sound in the background. Kind of 70s sounding.
10)Jam For The Ladies-Moby dives into the old school hip-hop realm. This song is absolutely great. Satisfies my desire for hip-hop is fun.
11)Sunday- Another atmospheric track with a wierd vocal sample.
12)18- An ambient slow track with echoing pianos. This song can be kind of depressing sometimes.
13)Sleep Alone- One of the highlight songs on 18. It starts off as a mellow jazzy song and then builds up into an ambient almost New Agey song.
14)At Least We Tried- A dreamy track that samples a drum loop from Marvin Gayes 1982 hit Sexual Healing. While nowhere near as great this song is kind of like a slowed down version but much simpler.

15)Harbour-WOW! Most of the other songs are enjoyable but Harbour beats the rest of 18 and is one of the best songs I,ve ever heard from Moby. It's a mellow, dreamy song with a guest vocal appearance from Sinead O'Connor.
16)Look Back In-This song has a weird echoing beat to it. While this song isn't bad it doesnt strike achord with me.
17)Rafters- Well I'll be damned. I kind of feel like being taken back to the 70s. The vocals alone give this song a 70s feel. Definately one of the oddest tracks on this CD.
18)I,m Not Worried At All-A nice closer to this CD. This song has a darker more atmospheric sound like the sun setting for the day.

On an overall scale I would say 18 is an excellent CD for the music lover. While not as groundbreaking as Play 18 is a worthy album of checking out.

Definately one of the best CDs of 2002!

GRADE:B+
I was a convert of Moby's music after the ubiquitous "Play".
A stunner whose purity and true emotion complexities touched me so that buying "Play"'s followup,"18",wasn't even a question for me.

Fortunately,"18"-while not as stunning as "Play"-is a very impressive album.Like "Play","18" is very emotional and pure sounding.Like "Play",it also features emotive vocals-from Angie Stone to Sylvia Robinson to Sinead O'Connor-over contemporary
beats.Yet it works.

Among the standouts is the first single "We Are All Made of Stars",a smart New Wave-influenced track which is greatly arrangened,"In This World" which features a hauntingly beautiful
vocal from Jennifer Page,"One Of These Mornings",which like "World" features a hauntingly beautiful soulful Gospel-esque vocal(this time courtsey of Dianne McCaulley) over a convincing beat equipped with a moving sythnizied string setting.

"Sunday(A Day Before My Birthday)"-a symbolic nod to September
11th(Moby's birthday is September 11th)-and "At Least We Tried"
(featuring a beautiful vocal from Freedom Bremner) will get the tear ducts open."Harbour" featuring Sinead O'Connor is yet another moving passage.

But I can't speak of standouts without mentioning "Jam For The Ladies".A superb cut featuring the smooth,silky vocals of
Angie Stone and a infectious rap from the now legendary MC Lyte
(I haven't heard from her in so long,it's geat to hear from her!) with a old-school hip hop beat and funky slap beat.
This is easily the most likeable track on "18".This has a slightly similiar vibe to Moby's hit "Bodyrock".I predict that this'll be a big hit for Moby if released as a single.

"18" does have a couple setbacks though(just a couple).
It's kind of redundant after a while and instrumental tracks
like "Fireworks" and the title track don't work as well.Also,"18" is very melancholy and it might drop your mood a bit.But the pensive vibe makes the music even more beautiful and moving.

Moby does it again.Another top-knotch release.Even though it doesn't surpass "Play" this is a very above-average album.
Some may not understand it but nevertheless,"18" proves that Moby makes emotive music with purpose.