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Last Night

4.0 out of 5 stars 25 customer reviews

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Product details

  • Audio CD (12 May 2008)
  • Number of Discs: 1
  • Label: Mute
  • ASIN: B001265P2Y
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (25 customer reviews)
  • Amazon Bestsellers Rank: 8,786 in Music (See Top 100 in Music)
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Product description

Product description

Moby
Last Night

01. Ooh Yeah 5:18
02. I Love To Move In Here 4:44
03. 257.Zero 3:37
04. Everyday It's 1989 3:40
05. Live For Tomorrow 4:02
06. Alice 4:26
07. Hyenas 3:35
08. I'm In Love 3:42
09. Disco Lies 3:22
10. The Stars 4:21
11. Degenerates 3:58
12. Sweet Apocalypse 5:18
13. Mothers Of The Night 3:19
14.1. Last Night 4:54
14.2. (silence) 0:20
14.3. Lucy Vida 4:10

Format: CD, Album
Label: Mute
Bestell-Nr./Catalog#: CDSTUMM275 / 5099951830724
VÖ/Released: 2008
Land/Country: UK
Interpret/Artist: Moby
Titel/Title: Last Night
EAN/UPC: 5099951830724

(Hagewitt)

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

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Customer Reviews

Top Customer Reviews

Format: Audio CD
This is a deeply romantic album -- in the sense that it's a journey through memory, a conceptual stroll through the sensations of a typical night out in NYC in the 80s or 90s.

So the night starts wild and jubilant with the old school "I Love To Move In Here", featuring Grandmaster Caz of the Cold Crush Brothers and moves onto a homage to every crazy rave anthem (Black Box's "Ride on Time", anyone?) with "Everyday It's Like 1989". And the mechanistic "257.zero" evokes a haunted landscape of digital bewilderment before lapsing into the rich, weary sophistication of "Live For Tomorrow" and "Hyenas", the latter featuring a swooning Algerian French vocal; Piaf meets Grace Jones at 4am under a stuttering streetlight.

Elsewhere Moby revisits early 90s house with "Disco Lies" and employs a rap from Ainzli Jones and Nigerian hip-hop act 419 Group for futuristic hip-hop outing "Alice". The guttural desperation of the Moroder-ish "I'm In Love" recalls Crystal Waters "She's Homeless" more than it does the smooth sensuality of a Donna Summer.

But as the album swoops to a blissfully exhausted close with its lovely title track, the elegiac quality of the album is clear as first daylight. "If this be my last night on earth," sings Kudu's Sylvia Gordon, "let me remember this for all that it's worth."

Self-referential maybe - but not dated so much as a romantic elegy for a vanished elysium.
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Format: Audio CD Verified Purchase
It's a shame that Moby has become almost the ubiquitous sound of advertising to the point that even though the music on Play and 18 were great, they will forever be remembered for the products they advertised.

By way of comparison Last Night is a return to the dance music that characterised Moby's early releases. The tunes themselves have the feel of early Moby like 'Go', 'Feeling So Real' and 'Anthem' which is fantastic. The album itself feels as if it winds its way through a night out, from the euphoria of preparing and getting to a club, and eventually coming back down to the late night reflection on what was and might have been. While the tunes hint at the past the production and quality of music and vocals (from the myriad of different guest vocalists) are bang up to date.

If you only buy one dance music album this year make it this one!
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By Picard TOP 500 REVIEWERVINE VOICE on 23 Jun. 2008
Format: Audio CD
Like the previous reviewer, I would also like to start in questionable fashion... Why on earth are people comparing this to the likes of Play and Hotel? What you all fail to realise is that Moby release's albums centred around a different theme, a feeling. To call him an individual artist to a specific genre is wrong; the likes of Play and Hotel demonstrated his freedom to cross many different sub-genres, whereas this album, (as it CLEARLY explains in the CD booklet, if anyone even bothered to read it) is inspired by his days clubbing with friends until the early mornings around the late 80's/early 90's. 'Nuff said really.

The album itself is quite a refreshing change for todays market, inspired by typical Roland synths from the 80's and 90's, that for Moby, summed up his years of partying and clubbing. Such is the case it brings back joyful memories of an era gone by; "Everyday its 1989", "The Stars" and "Disco Lies" are structured in retro fashion, sounding like many of the rave tunes from the summer of love. More typical 'Moby-esque' tracks such as "Ooh Yeah" and "Hyenas" make a welcome return to form and help complete a quite uplifting album, where the likes of "Degenerates" complete a downward chill near the end of the album.

It's wrong to rate such a CD poorly when people clearly miss the point, and wave fingers because it doesn't meet "their taste". The album is clearly centred around the journeys that surround a night on the town, and focusses on the character of the night-time in the land of dancing - 4 x 4 beats, looping vocals, but above all the classic Moby rhythms to go with them.
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Format: Audio CD
May I just start by saying that I wish people would stop expecting another 'Play'. It has been and gone and Moby is the type of artist who is never going to repeat himself. As much as I loved 'Play', I think that this album is on a par with it, although it is completly different. My favourite song on the album would have to be 'I love to move in here' which I instantly fell in love with for it's floaty, easy listening, but still danceable beat. However, there is not a bad track on this album, all in there own diverse way brilliant, with many talented guest vocalists; particularly the afroed diva belting out disco lies!
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Format: Audio CD
moby back to his ecclectic best.
this album helps you choose your outfit, put your make up on, get down the club, have a great time, get back home, chill out and think on about the wonderful night you've had and cool people you've met.
all in 60mins.
powerful, emotive and most importantly FUN!
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Format: Audio CD
`Last Night' from 2008 has the trademark Moby sound, but harks back to the dance era of the 1990s and in places sounds like this mould-breaking artist's early recorded work pre-`Play'.

The album contains some great dance tracks (`Ooh Yeah' might have come straight from the recording sessions for `Everything is Wrong'), but the last few numbers are - if not exactly `ambient' - slower and less up-beat.

This is not one of Moby's more original efforts, but it's not bad either. If you're new to the music of this distinctive and mildly eccentric artist (the antithesis of everything a `celebrity' is supposed to be) I would recommend the seminal `Play' as a good starting point, or the equally good and generally underrated follow-up `18'. His most outstanding release to date is probably `Destroyed' from 2011, which mines an emotional landscape deeper than `Last Night' with some great music as well.
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