Moby, Borders.com in Music

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"Everything Is Wrong" (03/14/1995) Electronic Moby, Elektra EntertainmentPersonnel: Moby (classical & electric guitars, keyboards, synthesizers, electric bass, drums, congas, programming); Mylm Rose, Kochie Banton, Nicole Zaray, Rozz Morehead, Saundra Williams, Mimi Goese (vocals). Includes liner notes by Moby. At some point, every musical movement produces a work so evocative, inclusive, and challenging that it stands out as a reference for what is best in an entire musical genre. EVERYTHING IS WRONG is the WHITE ALBUM of dance music. On this album, Moby's interests in techno, ambient, punk rock, and gospel mix together in a sonic stew of epic proportions that not only holds together, but seems perfectly natural. As such, the beautifully moody "Hymn" is followed by the diva-driven "Feeling So Real," which is followed by the techno-punk of "All That I Need is To Be Loved." These tracks flow seamlessly together without a sense that genres are even being mixed, much less jumbled. But EVERYTHING's brilliance lies not so much in Moby's eclectic taste in rhythm and melody, but in the nuances of the vocals, most of which are contributed by a variety of female singers. In particular, Moby's collaborations with singer Mimi Goese on "Into the Blue" and "When it's Cold Out I'd Like to Die" are among the most revealing and humanistic moments in Moby's career. A masterpiece.

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"18" (02/01/2006) Electronic Moby, V2 Records (USA)Personnel includes: Moby (vocals, various instruments); Jennifer Price, Azure Ray, Dianne McCauley, Angie Stone, MC Lyte, Freedom Bremner, Sinead O'Connor, Shauna & Lorraine Phillips, The Shining Light Gospel Choir (vocals). Includes liner notes by Moby. "18" was nominated for the 2003 Grammy Awards for Best Pop Instrumental Performance. Continuing to deliver the kind of soulful electronica with an ethereal sheen that made PLAY such a breakthrough album for him, Moby keeps the good vibrations going on the equally engaging follow-up 18. Having previously drawn from such disparate sources as subtle dance beats and samples of African-American spirituals, it's not surprising that this devout Christian once again looked to the church for recruits. This time around the talents of The Shining Light Gospel Choir (the revival-like "I'm Not Worried At All" and the sweeping "In My Heart") and the recently ordained Sinead O'Connor (the lush "Harbour") get tapped. Moby avoids making 18 a strictly austere affair by throwing some beats onto the barbie in the shape of the thumping Angie Stone/M.C. Lyte collaboration "Jam For The Ladies" and the subtle cut-and-paste funk of "Sunday (The Day Before My Birthday)." Moby does a fine job manning the mike himself for the striking '80s-style electro-pop meditation "We Are All Made Of Stars" and the equally gorgeous soundscape "Signs Of Love." Ever the sonic chef, Moby has once again succeeded in whipping together a collection of songs that are the musical equivalent of comfort food.

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"Rare: The Collected B-Sides 1989-1993" (08/20/1996) Electronic Moby, InstinctRARE: THE COLLECTED B-SIDES collects the B-sides of the records Moby recorded for the Instinct label. Personnel: Moby; Nicole Zaray (vocals). Collectors. You can usually spot them skulking their way through the darkened streets at night, wearing their official tour jackets and clutching to their bodies a stack-load of obscure Belgian-only 12" dance remixes of their favorite songs. No one knows where exactly these rarities are obtained, and the true collectors never reveal their sources. The vast majority of fans are usually left forced to watch and drool in their frustration. Luckily, Moby understands the anguish that his fans go through in trying to catalog his prolific body of work. RARE: THE COLLECTED B-SIDES is manna from heaven for those unable to find those Moby rarities. Moreover, Moby's throwaways could move even the Amish onto the dance floor. With fat grooves like "Voodoo Child (Poor in NYC Mix)" and the "Next is the E (Club Mix)," it's easy to see why these b-sides have finally been collected together on one CD.

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"Play: The B-Sides [Limited]" (02/01/2006) Electronic Moby, V2 Records (USA)Personnel: Moby (vocals, various instruments). Liner Note Author: Moby. Moby broke new ground in electronica with the 1999 release of PLAY, which found him delving into old field recordings of gospel singers, blues shouters, and work songs, while adding his own electronic wizardry. This mix of past and future spoke solidly to the present, and cast Moby as an individualist in a field too often filled with lemming-like trend-followers. This limited-edition version of PLAY is a two-CD affair that contains not only the original album tracks, but also a wealth of B-sides from PLAY's single releases. On the latter, Moby experiments even further with his unique mixture of organic and electronic sounds. To sweeten the pot still further, photographs and new essays by Moby are included in the elaborate package.

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"18: B Sides" (02/01/2006) Electronic Moby, V2 Records (USA)Contains a bonus DVD which features videos from "18:..", a live concert from Glastonbury in 2003, outtakes & bonus songs, and a megamix. Personnel includes: Moby (vocals, various instruments); Azure Ray, Jennifer Price, The Shining Light Gospel Choir, Angie Stone, MC Lyte (vocals). Displaying a knack for keeping his name in the public eye and his music in their ears, Moby once again follows the path blazed by his PLAY with b-sides reissue. This time around, 18 B SIDES ups the ante by also including a bonus DVD chock-a-block full of extras, including a complete live set from a 2003 Glastonbury show. As for the CD side of the coin, the Connecticut native continues to traffic in the kind of compelling dance music that kicks off enough of an ethereal edge to blend in and soothe rather than disrupt a cool mood. "Nearer" brings together swirling synths and a gospel vocal that'll make you feel like you're waiting to meet a higher power, the gorgeous "Stay" comes off like a Velvet Underground-era Lou Reed outtake, and the lush "String Electro" features an unobtrusive beat gilded by an anonymous female vocal. With the music serving as an appetizer for this collection, the bonus DVD serves as a meaty main course that not only includes the aforementioned concert, but outtakes and demos from his last two albums, videos, and much more.

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"Moby" (07/18/1995) Electronic Moby, Elektra EntertainmentThis is an enhanced audio CD which contains regular audio tracks and multimedia computer files. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

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"Ambient" (07/12/1993) Electronic Moby, InstinctSolo performer: Moby (various instruments). Sure, we all know that Moby can drop a beat like he was the house DJ at the funkiest warehouse party this side of the South Bronx. But that's not all the Evil Little Ninja (which along with Voodoo Child is one of Richard Melville Hall's many aliases) can do. For within Moby there exists a classic dichotomy; on one hand, there's Moby the rock-the-house DJ, and on the other hand there's a quiet and meditative musician. AMBIENT is a collection of some of the most beautiful atmospheric music one can hear this side of early Brian Eno (who, along with Kraftwerk, is a clearly a formative influence). Moby, a frequent contributor to various soundtracks (see also I LIKE TO SCORE, a collection of his soundtrack contributions) seems to be writing soundtracks this time for the movies in his head. And what soundtracks they are! "My Beautiful Blue Sky" is the perfect soundtrack to the long lost sequel to 2001, while "Heaven" could be the background to a cheerier BLADE RUNNER. AMBIENT is a meditative flip side to Moby's usual party and perfect for mellowing out to after dancing.

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"Drop a Beat [Maxi Single]" (07/25/2000) Electronic Moby, Instinct

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"Animal Rights" (02/11/1997) Electronic Moby, Elektra EntertainmentThe two guitar-based, pseudo-hardcore punk songs on EVERYTHING IS WRONG whetted Moby's appetite for destruction enough to yield ANIMAL RIGHTS, an album that is chock-full of guitars. Although ANIMAL RIGHTS is book-ended by two melancholy acoustic guitar and violin duets ("Now I Let it Go" and "Love Song for My Mother"), the rest of the record contains the kind of raucous and loud music Moby made with the obscure punk band the Vatican Commandos. Fans of Moby's ambient work might not find this record as appealing as those who favor Moby's aggressive side. However, it might be hard for anyone to resist the hard soloing on songs like the Prince-meets-Minor Threat thrash-fest "Come on Baby" or the slam-fests that are "Someone to Love," "Heavy Flow," and "You." "Soft" and "Say it's All Mine" bring the pace down for a few moments to allow those slam-dancing in their bedrooms to rest for a moment. "Face it" could almost pass for a Black Sabbath cover. The excellent "That's When I Reach for My Revolver" is a Mission of Burma cover.

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"The String Quartet Tribute to Moby" (04/30/2002) Electronic Vitamin String Quartet, Vitamin Records (USA)Performers include: Janna Jacoby, Pam Jacobson (violin); Tom Tally, Pam Jacobson (viola); Steve Velez (cello); Frederick Charlton (bass). Tributee: Moby.

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"Hotel" (02/01/2006) Electronic Moby, V2 Records (USA)Initial pressings included a bonus disc. Personnel: Moby (vocals, various instruments); Laura Dawn (vocals); Scott Frassetto (drums); Shayna Steele, Brian Sperber, Jason Candler, Kurt Uenala, Orion Simprini (background vocals). Following the runaway success of PLAY and 18, Moby takes a detour into pop/rock that leaves his signature sample-heavy electronica by the side of the road. Keyboards and drum machines are still prominent here, but they are used as background for Moby's songs, which often aim for a majestic, redemptive atmosphere. With the exception of live drums, Moby plays every instrument on the album, and sings lead on numerous tracks. Although, he's not a natural singer, Moby manages to make his half-spoken phrasing fit surprisingly well with the music, leaving the more emotive vocal tracks to Laura Dawn, as on her drowsy rendition of New Order's "Temptation." The anthemic "Lift Me Up" and "Spiders" are prime examples of Moby's pop-savvy direction, revealing what seems like a yearning to get in touch with his inner U2 and Coldplay. On HOTEL's second disc, however, Moby returns to the ambient work that garnered him attention in the early 1990s. These wonderfully quiet and dreamy instrumental tracks make for an excellent counterbalance to the songs on the first disc, proving that Moby remains an intriguing, multifaceted artist.

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"Hotel" (03/14/2005) Electronic Moby, Mute Records (UK)U.K. issue features a bonus track. Following the runaway success of PLAY and 18, Moby takes a detour into pop/rock that leaves his signature sample-heavy electronica by the side of the road. Keyboards and drum machines are still prominent here, but they are used as background for Moby's songs, which often aim for a majestic, redemptive atmosphere. With the exception of live drums, Moby plays every instrument on the album, and sings lead on numerous tracks. Although, he's not a natural singer, Moby manages to make his half-spoken phrasing fit surprisingly well with the music, leaving the more emotive vocal tracks to Laura Dawn, as on her drowsy rendition of New Order's "Temptation." The anthemic "Lift Me Up" and "Spiders" are prime examples of Moby's pop-savvy direction, revealing what seems like a yearning to get in touch with his inner U2 and Coldplay. On HOTEL's second disc, however, Moby returns to the ambient work that garnered him attention in the early 1990s. These wonderfully quiet and dreamy instrumental tracks make for an excellent counterbalance to the songs on the first disc, proving that Moby remains an intriguing, multifaceted artist.

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"Wow/Grape Jam" (02/10/1992) Rock & Pop Moby Grape, San Francisco Sound2 LPs on 1 CD. Moby Grape: Skip Spence, Peter Lewis, Jerry Miller (vocals, guitar); Bob Mosley (vocals, bass); Don Stevenson (drums). Moby Grape's self-titled 1967 debut album remains one of the most enduring works to have emerged from any band in the '60s. From the outset, however, the band was saddled with problems on every front. The album's release was confounded by record company over-hype and by inter-band, outer-band, business, and personal complications. Moby Grape was allotted a larger budget for its second album, WOW/GRAPE JAM, and the initial release featured two full albums shrink-wrapped together. WOW is the true sophomore release, with GRAPE JAM being 20 minutes of in-studio jamming by Grape members with Al Kooper and Mike Bloomfield. Even with the band's widening divisions and track record of consistently bad decisons, all five members of the band contribute to WOW--with some absolutely stunning results. The album is filled with great songs that are sympathetically arranged and performed, among them the fragile "He," the bluesy "Murder In My Heart For The Judge," and the soulful "Bitter Wind." Moby Grape ends the album with a new version of "Naked, If I Want To"--a strutting, funky take on an acoustic track from their debut.

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"Moby Grape: The Heart Album" (03/25/2008) Rock & Pop Moby Grape, San Francisco Sound

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"Go Remixes [Maxi Single]" (07/25/2000) Electronic Moby, Instinct

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"Next Is the E [Maxi Single]" (07/25/2000) Electronic Moby, InstinctAdditional personnel: Nicole Zaray (vocals).

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"Moby Grape (1st LP)" (03/16/1994) Rock & Pop Moby Grape, San Francisco SoundMoby Grape: Skip Spence, Peter Lewis, Jerry Miller (vocals, guitar); Bob Mosley (vocals, bass); Don Stevenson (drums). Though Moby Grape came blasting out of San Francisco at the height of the Haight-Ashbury scene, they are more related to LA bands like the Byrds and Love, stressing songwriting, arrangements, and multi-part vocals rather than jamming. This debut album stands as one of the finest debuts by any band of the '60s rock era. The Grape's three-guitar line-up is known to have inspired a similar approach with Buffalo Springfield. From the first blast of "Hey Grandma" to the mesmerizing electric closer "Indifference," Moby Grape moved fearlessly from country-tinged romps to blue-eyed soul, with plenty of pounding-in-the-chest rockers throughout. It's all anchored with tight and inventive instrumental interplay and no less than four songwriters, each with a vocal character that would've made them the center of any band. However, from this enduring peak it all went downhill, with sad swiftness. The usual litany of in-fighting, bad management, label pressures, and drugs began undoing this great band as soon as this album appeared. While created in the late '60s, this is an essential album by the measure of any decade.

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"Lift Me up Pt.2 [Single]" (02/28/2005) R&B Moby, Mute Records (UK)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

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"We Are All Made of Stars Pt.2 [Single]" (04/29/2002) R&B Moby, Mute Records (UK)This first single--and smash hit--from Moby's 2002 album 18 includes remixes from DJ Tieto and Timo Maas.

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"We Are All Made of Stars Pt.1 [Single]" (04/29/2002) R&B Moby, Mute Records (UK)In this U.K. edition of Moby's hit single WE ARE ALL MADE OF STARS PART 1 features two tracks not found on the original album: "Landing" and "Soul to Love."

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"Hotel" (03/14/2005) Electronic Moby, Virgin Records (Japan)Japanese edition includes enhanced multimedia features, and the bonus track "Put On The Headphones." This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Following the runaway success of PLAY and 18, Moby takes a detour into pop/rock that leaves his signature sample-heavy electronica by the side of the road. Keyboards and drum machines are still prominent here, but they are used as background for Moby's songs, which often aim for a majestic, redemptive atmosphere. With the exception of live drums, Moby plays every instrument on the album, and sings lead on numerous tracks. Although, he's not a natural singer, Moby manages to make his half-spoken phrasing fit surprisingly well with the music, leaving the more emotive vocal tracks to Laura Dawn, as on her drowsy rendition of New Order's "Temptation." The anthemic "Lift Me Up" and "Spiders" are prime examples of Moby's pop-savvy direction, revealing what seems like a yearning to get in touch with his inner U2 and Coldplay. On HOTEL's second disc, however, Moby returns to the ambient work that garnered him attention in the early 1990s. These wonderfully quiet and dreamy instrumental tracks make for an excellent counterbalance to the songs on the first disc, proving that Moby remains an intriguing, multifaceted artist.

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"Sailing & Whaling Songs of the Days of Moby Dick" (11/22/2005) Folk Clayton, Paul, VI Music