Last Night by Moby

Street King Immortal by 50 Cent


Last Night is basically a love letter to dance music in New York City. What I love about the New York approach to dance music is the eclecticism and the open minded-ness on the part of the musicians, the DJ’s, and the people in the bars and clubs. In making Last Night, I essentially tried to take a long 8 hour night out in New York City and condense it into a 65 minute long album.”


#1. Ooh Yeah 5:18
#2. I Love to Move in Here 4:45
#3. 3:38
#4. Everyday It’s 1989 3:40
#5. Live for Tomorrow 4:02
#6. Alice 4:27
#7. Hyenas 3:35
#8. I’m in Love 3:43
#9. Disco Lies 3:23
#10. The Stars 4:21
#11. Degenerates 3:58
#12. Sweet Apocalypse 5:19
#13. Mothers of the Night 3:19
#14. Last Night 4:53
Hidden Track:
#15. Lucy Vida 3:54


Richard Melville Hall: Turntables, Keyboards, Vocals, Guitar, Bass Guitar, Drums




29th May, 2008


Disco Lies
I Love to Move in Here
Ooh Yeah


Which makes Last Night a concept album of sorts, and the intent to compose one of those couldn’t have come at a more suitable point in Moby’s career. 1995’s Everything is Wrong was the last release that was dedicated to uptempo music which was a long while ago, and 2005’s Hotel was a flawed effort at many levels, Moby’s lead vocals on many of the tracks notwithstanding. And most importantly, steering away from the multi-platinum Play from 1999 was still a work in progress – after all, who wants to be remembered as a one-trick pony?


And that zeal and mission statement above serves the album well starting out. Very well, in fact, as Moby lays down some excellent electronic beats interlaced with poppish sounds. Opener Ooh Yeah features some rather sexy female vocals that renders a delicate flow to the track, topped only by I Love to Move in Here that follows, that spices things up with a rap verse half-way through.


This encouraging, experimental trend persists across the next couple of tracks as well – possesses a neat countdown theme of sorts, and Everyday It’s 1989 cranks up the pace with a keyboard jig in the background, all good stuff.


The album only lifts another gear with a darker or number or two being churned out by the time #6 and #7 have rolled by, I’d liken Alice to the equally bizarre misfire that was Jam for the Ladies in the rather more conservative 18 from 2002, and that’s to its credit, mind you.


Sadly, it is after aroundabout here that the album starts floundering somewhat, and degenerates to a general aura of repetitiveness and overall monotony. Hyenas with lush French vocals is a lounge track and is the last of the good ones, while further efforts like Disco Club come off as too animated for their own good. Sweet Apocalypse cries out to graduate into something grand at about the three minute mark but to no avail, while predecessor Degenerates at #11 gives its instrumental tag a better chance.


Ultimately, the fact that the last four tracks are all downtempo is a downer to what was primarily intended to be a dance album. This also makes the closer Last Night – at close to ten minutes long, very difficult to listen to. A comparison to youknowwhat is inevitable, and it’s not unfair to allege that Play succeeded because it managed to plug these holes, and the end product didn’t resemble a half-dressed carcass with some debris floating about at its feet. It’s of little surprise then, that this effort sold a mere 200,000 copies worldwide during its first month of sales before fading quickly off of the charts. It probably deserved a little better than that in all honesty, but that was the general sentiment from its audience.





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