Customer Reviews
Soulful dervish 
2008-08-12
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 
2008-08-10
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 
2008-08-06
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).
Vintage Moby Repackaged 2008-08-02
Old sounds mixed with new ones - this CD is a good blend of classic Moby sounds. My favorites - "Ooh Yeah" and "Disco Lies". Good stuff!
It's not too bad 2008-08-01
I was waiting more from this album of Moby. He is always trying to find the master song. But not in this case, is my point of view. In any case Moby always is worthy.
GOOD 2 HEAR THA RETURN 2 THA ROOTZ! 2008-07-11
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.
Okay but nothing to write home about 2008-07-02
LAST NIGHT is the first Moby album which left me leaving me bored and unimpressed. I knew that this album would be more dance orientated than its predecessors, and I liked his earlier albums pre-PLAY. Unfortunately I am not like most people here who enjoyed LAST NIGHT. There were some songs that I did like on the cd, like the catchy electro-pop "Ooh Yeah" with its chirpy female vocals and percolating dance beats. The dance-friendly grooves of "257.zero" is another song that I like. "Live For Tomorrow" reminds me of EVERYTHING IS WRONG and the GO era with its mix of gospel vocals and techno beats. Sadly though there are more songs that left me bored and stopping the cd before it ends. For me personally this is Moby's weakest album. It is uneven and lacks the beautiful melodies of his previous albums.
Very good album...NICE MIX OF LATE NITE MOOD AND DANCE 2008-06-17
This album is a little bit retro, a little bit dance, a little bit mood music. The more I listen to it the more I like it. There are even revists to older Moby styles....like "Everyday it's 1989" which reminds me alot of his eighties classic dance hit "Next is the E".
I get more of a 1978-1980 feel on some of the songs. Some of that feel is intentionally late years Disco. But there other influences on here too. It's goofy, but "OOH YEAH" sounds more to me like an early Cars song. And check out that cover art....an homage to The Cars cover art if I ever saw one.
Standout track has got to be "I Love to Move in Here". Most contemporary and groovy track on the album. At first it seems like the weakest and the most repetitive, but then you get hooked on it. Great track and best on the album.
257.zero is a pretty good track too (in that Kraftwerk kind of way when they were their most New Wavey Danceable...does that make any sense?)
That said, there is alot on here (especially towards the end)that sounds like "Play". Nothing wrong with that. Overall, I think it's pretty much on par with "Play", if not better in some respects.
Exactly what I like!! 
2008-06-11
This album is so good that I need to review it. I love Moby since I was 14 when I bought "Play", I have all the other albums and "18" was always my personal favorite, until now. I can say that "Last Night" is even better than all the other albums because it takes the best of each one, feels like if you are listening to a "best of" compilation. This album don't have the same effect on you if you listen to it at night or day, but in both cases it is a great experience, althought I think this fits better for a cold night. There are no fillers in this album, you won't want to skip a song!
Best songs:
Ooh Yeah
I Love To Move In Here
Live For Tomorrow
Hyenas
The Stars
Mothers Of The Night
Last Night
Enjoyable, But No "Hotel" 2008-06-09
I bought this album two or three weeks after it came out, and wrote a review of it then, but I'm only now getting around to posting it. Odd how the two years and ten months that separated "18" and "Hotel" seemed so much longer to me than the three years that separated "Hotel" and "Last Night." "Play" is good, "18" is almost excellent, and "Hotel" is probably one of the twenty most perfect albums ever put out by anyone in any genre. Each is almost completely different from its predecessor, and I suppose "Last Night" continues that pattern, but it often recalls Moby's pre-"Play" singles and E.P.s, as well as individual tracks of his albums, making it seem less unprecedented than "18" or "Hotel."
I'll start with the basics. "Last Night" has fifteen songs (two of which are on the same track, something I hate) with an average length of 4:21, compared to "Play"'s 3:27, disc 1 of "Hotel"'s 3:46, and "18"'s 3:57. But the increased song length doesn't hurt it, and the album actually feels much shorter than "Play," despite being three minutes longer.
The first half is fast-paced, and none of the songs have a full set of audible lyrics, while at the same time none of the instrumentals are devoid of at least some vocal samples or background talk. One of these is a rap by members of 419 Squad, and a rap by Grandmaster Caz pops up randomly in the middle of another, but neither are particularly intelligible (the full rap sounds like it's done through one of those filters Beck always uses).
The second half begins with two fully audible and fully vocal songs which strongly recall Moby's past sound (although no specific song in the latter). Then the rapid tempo of the music falls and we are treated to four instrumentals, three of which have no singing or talking whatsoever. Then Sylvia Gordon comes in for the finale, which recalls "Temptation" from "Hotel" (perhaps a little too much) yet has a very sparse musical backing reminiscent of "Doctor Who" background music. After about half a minute of silence there's another four-minute song with shades of David Bowie's "Bring Me the Disco King." The final count is seven vocal songs, three semi-instrumentals, and five instrumentals. As far as structure and cohesion go, "Last Night" is good, better than "18" or "Play."
But on an individual song level it's something of a letdown. Actually, it's at about the same level of quality as "18;" probably a little better. Three years ago I would have been joyous, if not elated, to hear "Last Night." But after "Hotel" it seems weak, like a waste of Moby's talent. Only "Ooh Yeah," "Everyday It's 1989," and "Live for Tomorrow" would even have been worthy of inclusion on "Hotel." Listening to "Last Night," I could often tell where it was going, in stark contrast to "Hotel." It also lacks the wild eclecticism of "Play" or "18." One thing I do love is how it contains a lot of retro synthesis, with tone colors you don't hear much these days and many notes that sound like they were sampled from pre-mid-Nineties video games.
This time around Moby doesn't show off his gifts as a singer, lyricist, rocker, or crafter of ambient textures. While it's inevitable that any one album will fail to use a few of his diverse talents, the absence of lead vocals from him is one disappointment that's hard to get past. Instead he uses eleven guest vocalists and more sampled singing than I care to tally. Not only is this a wasted opportunity since he's such a good singer, it diminishes the sense of it being his album.
Another thing bothers me. The samples, as previously noted, are back with a vengeance, but, whereas the liner notes of "Play" and "18" had meticulous documentation of whose voices are sampled and from what songs, "Last Night"'s liner notes don't tell me anything of the sort. If you unfold them, there's a poster that says "Disco lies." I don't know what that's all about.
Overall, "Last Night" is a good album; the best new album I've bought since the Postmarks' debut sixteen months ago. No plodding, no skip-worthy tracks, plenty of energizing and uplifting sound, and some heavily layered songs I can listen to endlessly and still pick up new things. But it clearly doesn't take full advantage of Moby's artistic potential, and the lack of his friendly, familiar voice leaves me somewhat cold.
