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Customer Reviews

4.2 out of 5 stars
4.2 out of 5 stars
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on 5 October 2002
Before I write this review, I must admit that I have never listened to Moby's previous work bar of course all the great singles I've seen on T.V.
Perhaps after I have done so I might change my standing on this record. But I really have to say, the first time I played this album, I was totally moved by it! It was exactly what I wanted, its groovy and relaxing. Every track just allows u to simply melt away.
I feel a slight reference to Pink Floyd on some tracks. Some of these tunes particularly 'In this world' make me think about them and no doubt they have influenced Moby. And thats not a bad thing because this album has shown me what a great talent this man is. This album is brilliant!
One thing that is a little annoying is the fact that Moby only sings on three tracks, the best of which is 'Extreme Ways'. All of them are really good.
Another thing I do feel is that no track really stands out. They all just seem to blend into one brilliant piece of chill out music.
This record does the trick for me. You can just do what ever you want to get up to and have this album playing in the background.
Alternatively you can just sit back and let this grand bunch of '18' tunes let u forget about lifes worries and just melt away. Moby lets you reach the stars and like he says 'We are all made of stars'.
5 stars in my book...... but then again......it is my book!
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on 25 April 2002
With this new album, Moby has surpassed what he achieved with "Play". To me, play, was an album that ran out of steam after track 8. This album is a lot more complete, maybe not so many obvious singles (or songs to be used in adverts etc.), but it is what I'd call an "album". 18 great tracks, showing his ability to contrast different styles of music with all kinds of vocals. I'd like to think that this is more reminiscent of Moby's album before "play", which was "everything is wrong". It is an atmospheric album which, with repeated listening, will just continue to grow and grow. This may not be the success that "Play" was (I think that certain members of the public will take almost instant dislike), but for me, it's a return to form for the wee-man.
Without a doubt many people will certainly hear tracks on this album on various "Chillout" albums, but that is to be expected I suppose.
People, take a chance on this album, it is everything "Play" was and more. It's a complete album, the tracks in between the songs are cinematic, like many tracks on "everything is wrong" (some of the tracks on that album were used in films such as "Heat").
This is an excellent album and all should buy it, but why 4 stars and not 5 if I'm raving about it. I think I gave it four because I thought, while it is excellent, it could do with a "Find my baby" or "Southside" which will have the vast commercial appeal people had with "play".
If I had to sum up the album in a word, I'd say SUPERIOR
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on 12 November 2002
Having read other reviews about how this is simply a watered down version of 'Play', I had to write my own viewpoint.
'Moby' did not set out to explore the extremities of the musical universe with this album. He wanted to create a nice consistent album. That is what this album is. If Moby created a completely different album people would write how it is not as good and say he should have stuck to the same formula. But he chose the other alternative; to draw on his previous efforts and create an album on similar lines. But he still gets criticised for not being experimental. Why is this? Moby has searched for the type of music that he likes playing most and that is popular. He has found it.
'We Are All Made Of Stars' is a great upbeat opener for '18'. Quite different from any other song on the album, Moby mixes the effects of numerous instruments and his vocals with a solid beat. Next is 'In This World', a typical Moby song combining blues with a lovely swirling melody. As already mentioned by other reviewers this has a hint of 'Why Does My Heart Feel So Bad' in it. But that isn't a bad thing. All artists create similar songs. The only way you can avoid this is to change musical genre after writing every song, and what you'd end up with would be a mess.
'Signs of Love' is a personal favourite of mine. Moby provides gentle warming vocals against a beautiful drifting backdrop.
'Extreme Ways' is a more powerful record than most on this album, yet it still retains the subtlety.
Making a brief return to his disco days, 'Jam For The Ladies' sees Moby creating a more upbeat track. Mid-album, this acts as a nice interlude between the predominant blues theme. 'At Least We Tried' is a good example of this theme. The vocals are very soulful, and the melody is simple but effective. The next track, 'Harbour', has an echoing voice against a more definitive guitar and piano melody, which drifts you away by the end of the song.
This album is more than just a continuation of 'Play'. In ways this is in fact better. 'Play' was an experimental album, and so it deviated a lot. '18' is a much more solid attempt. Don't criticise it just for being similar. Just sit back, relax, and enjoy his latest offering, because next time, we may find Moby somewhere completely different in the musical universe.
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on 13 May 2002
Well, thats a phrase used by many a music critic, so i'll borrow it for my own use i think!
And, not a truer word said, for this album is one that u will either leave in the cd player/changer, always grab when u need to escape the world, or just let spin when u want to relax and unwind.
The album is more from Moby's amazing talents of film score music, and lends itself to the dramatic mood music style, far more than PLAY did. The tracks follow one another perfectly and it all comes together like a movie soundtrack in itself.
PLAY made u sit up and take notice of what was happening, 18 makes u sit back and listen to what is happening.
Pop this disc in your player, put your feet up and let it absorb you.
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"18" new songs by Moby and it's about an equal match for his previous "Play" release - and that's a good thing.
The first hit, "We Are Made Of Stars" is very close to Bowie's "Heroes" with the guitar work and the repititious vocal arrangements (Bowie and Moby are buddies). "In This World" is close to "Play"'s, "Why Does My Heart Feel So Bad" with superb vocals by guest Jennifer Price who seems to be singing through the spirit of Janis Joplin. Shauna and Lorraine Phillips check in with their sound bytes on "Rafters", both continuing Moby's white soulfulness. "One Of These Mornings" brings on another great soul-filled, multi-layered song with Dianne McCaulley on vocals - a nice mood piece. For those still in need of a Moby instrumental ambient piece, there's the short "Fireworks" and the somber Vangelis-like title track "18". Need a little rap? Try "Jam For The Ladies". Looking for Motown? Moby covers that as well with "Sunday (The Day Before My Birthday)" with Sylvia Robinson bringing in a Billie Holiday sound-alike.
The entire album benefits from all the guest vocalists who seem to understand Moby's direction, but then, he uses most of their talent in precorded snippets - and that's fine.
"Im Not Worried At All" finishes off the album with a great Gospel rendition by The Shining Light Gospel Choir.
Moby has managed to match his previous work with another collection of satifying works. This is a album worth repeated listenings.
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Moby's 2002 follow-up to 1999's internationally successful `Play' is an essentially similar but more even album, with an eclectic mix of styles. `We are all made of Stars' kicks off 18 great, memorable songs (the album's title comes from the number of songs chosen for inclusion). Highlights would be `Harbor', `In this World' and by way of contrast the witty rap number `Jam for the Ladies'.

Sadness and poignancy lie at the heart of some of these songs, giving '18' a haunting character. The recordings were laid down just before and shortly after 9/11/2001 which as fans will know was the native New Yorker's 36th birthday, made memorable-not-in-a-good-way.

In addition to his own just-OK but distinctive voice, the vocal talents of Sinead O'Connor and Jennifer Price bring real feeling to some numbers. Moby is an excellent producer with a fine ear, always knows when enough is just enough and never over-does it.

1998-2002 was Moby's most creative period, the time when he delivered memorable songs by the dozen with consistency. Though he's never put out a `bad' album, `Play' and `18' are the cream of the crop. Some of his later material (like `Hotel') is good, but he's never quite repeated the seminal result achieved with `18'.
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on 1 January 2017
I only bought this cd for the Bourne title track, but all the tracks are different from each other and make good background music, although not my usual taste. Nevertheless, good to sample other musical genres, especially at these prices.
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on 13 May 2002
If you're looking from an innovative album which pushes music into unexplored territory then, sadly, this album is not what you want. In reality this album is 'Play II' - you could probably take the average track off Moby's new album and squeeze it somewhere in the 2nd half of 'Play' and only the most attentive listener would notice.
But the fact that this isn't a new style from Moby shouldn't take away from the gently emotional atmosphere that his established tunes are able to create. This album has a number of beautiful moments, and the rest is high quality background music!
As everyone else will tell you - if you liked 'Play', then buy '18'.
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Moby is the antichrist. I don't need to tell you about 1999's gigamillion, original selling 'Play' do I? Well at least it was original once, before it was licensed to 417 adverts, before it came bundled with every coffee table sold in the country, and even I, a fan of maverick genius, got sick of him.

18 is more of the same. For the first time in his career, Moby has stopped moving. Every album prior to this was a enormous leap forward in style and content; be it 1990's minimalist house of 'Instinct', 1995's eclectic ambient gabba rave of 'Everything Is Wrong', 1996's psychotic-metal 'Animal Rights', or 1997's gentle, electronic 'The End Of Everything', Moby was always trying something new, moving somewhere. And now he's reached the end of his journey. He sold about 6 million of 'Play', and only a fool, or someone with integrity, would dare mess with the formula.

18 is a sequel to 'Play', and like all sequels it contains the same ingredients rehashed in a slightly different way to fool the people. Sampled gospel vocals rebuilt over mellow grooves? Check. Guest vocals from anonymous session musicians? Check. A complete lack of excitement throughout the whole of the second half? You betcha.

There are a handful of great tracks on here - the title track '18' and 'Look Back In' are interesting excursions into a territory he visited briefly on 'The End Of Everything', but other than that, this isn't a record that has any sense of urgency, vision, or personality in it.

In the booklet he claims he has 3,000 unreleased songs. 3,000! And this is the best he can do? Anodyne, uninspired, catatonic repetition of an idea that was interesting in 1999, but now just seems oddly past its sell by date.

It seems with this release he's lost his vision, and is travelling rudderless in circles. I know the album's only been out a day, but it's got none of that niggling, infectious sense of wonder or innovation - the compelling desire to listen to it again - that 'Play' had on it's first few exposures.

Great albums feel as if every time you hear them you're discovering something new in the sonic painting. This just feels like I've heard it all before, and done better, on another record Moby made.

18 might be a competent, well performed, well produced record, but its lacking the vital ingredient that makes records great: passion, vision, and the quest to take music somewhere it hasn't been before.

Come in Moby, you've lost the plot and your time is up.
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on 31 August 2002
Unlike many of the reviews, I was more than satisfied with Moby's latest offering. However, I can sympathise with those who expected him to embark on an entirely new musical path and were therefore disapointed to learn that the successful 'Play' formula of old blues vocal sample played over a beat was used to create '18'. Nevertheless, as an album '18' has no significant standout tracks, but instead is much more of a solid album than 'Play' is.
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