Last Night Reviews

• Disco nostalgia with a qurky smile !

  
  By A18OE7O70LINA on 2008-04-01
  It's easy to forget that before Moby's multi-million-shifting 1999 album "Play", he was a fading rave artist.Putting his patented electro-blues on hold, he now re-embraces clubbier material, glitter-spraying it with lush synthesized strings and sweeping melodies.
  The bald vegan god-botherer Moby has fallen back in love with dance music and with this album he shows how his disco faith remains fervent from the big rave anthem of "Everyday It's Like 1989" to the quizzical slow groove of "Ooh Yeah".
  "Last Night", stuffed as it is with old-skool house and hedonistic club bangers, has more than a certain whiff of nostalgia about it.
  The track "Alice", a low-end rumble of electronica and hip hop, is the killer track, but the rest of the album covers quite a different spectrum of sound. At least half of it is day-glo rave in nature, from opener, "Ooh yeah", to "I'm In Love" and "I Love To Move In Here"..
  The album , while tinted with hip-hop, primarily celebrates the nebulous utopianism of acid-house nightlife, explicitly so on "Everyday It's 1989".
  Pumping beats and sensual grooves abound, including several knowing throwbacks to Italian rolling pianos and belting diva vocals of late 1980s house music, which ring out on a paean to good times gone. But there are also pulsing electronic torch songs, lustrous instrumentals and woozy ballads.
  Big on melodies and upbeat moods, "Last Night" is Moby's most non-rock, disco-friendly, purely pleasurable album since "Play".
  Collaborators include Grandmaster Caz, the man who provided most of the rhymes for the first hip-hop hot Rappers' Delight, but, though this is supposed to be Moby, erm, letting his hair down, there is an air of detachment about this concept album which fosters, rather than dispels the idea of Moby as some intellectual knob-twiddler.
  "Last Night" is, loosely, a concept album that seeks to conjure up a night of multiple clubbing and walking home woozily through Manhattan at dawn - and, by that measure, it's a triumph. It charts an evening out, spanning hands-in-the-air rave to elegantly trashed comedown
  It has its great moments, and they're usually when he reveals his sense of fun.
  Fortunately on the CD there's enough Mobyesque quirk to save it from banality.
  
  

• Good, but not Great

  
  By AY12DBB0U420B on 2008-04-08
  Moby is one of those individuals who generate an abnormal amount of attention. I've never been a Moby fan but I've enjoyed his music, especially as represented in the 1999 album "Play." I'd regard it as a classic in the electronica genre. Very well done! Thus, I recently noted his new "Last Night" release and saw it compared favorably to "Play." I had to have it. On first listen, I was struck with two things. First, Moby indicates (in the album notes) that the album is based on his 25 years of visiting New York nightspots and says the music is derived from that experience. Well, I haven't been in NYC during that time, but I'd say some of the music is strongly reminiscent of the waning disco days in San Diego. Second, many of the songs in "Last Night" indeed resemble those in the "Play" album. I'd have to regard the "Play" album as a considerably stronger piece of work, but I think those who enjoyed "Play" would also enjoy "Last Night." I'm trying not to be too critical here, let's just say that "Play" was a truly outstanding CD and "Last Night" is good CD.
  
  "Ooh Yeah" is my favorite song and a great way to start the album. Unfortunately, nothing else in the album is able to top it, although "Disco Lies" gets a nod for being the closest. "Alice" is a song I can't bear listening to more than twice. My CD has an unnamed 15th track. It's a throwaway. All of the other selections are good, but of no particular distinction. So, what do I end up with? The CD has a good beginning, but is a so-so album. The music is acceptable, I just wouldn't spend much time listening to it. Fans, particularly those who most liked the "Play" album, would probably enjoy the CD the most. Three stars is probably a little harsh for a rating. OK, I could see 3 1/2, but 4 would be too much.
  
  Gary Peterson
  
  

• The Diffrent Sides Of Moby

  
  By A3SV72ZAHH2IDH on 2008-04-07
  Few Dance artists can compare to Moby in popularity and mainstream success, Moby is equally famous for the versatility in his music that uses elements from Rave, Techno, Rock, Pop and Lounge and for his lifestyle which includes strong religious believes and animal activism. Although his early beginnings with eponymous debut album Moby and Everything Is Wrong sound nothing like his worldwide breakthrough albums Play and 18 you can say that Moby is the most recognizable dance artist in the world cause he was able to blend so many diffrent styles into his album "Play" that even people that normally don't like dance music got their eyes on him and his music, Moby also manufacted his music well with good music videos and borrowing a handful of songs to tv commercials. Kind of like non-rap fans enjoying Kanye West cause his lyrics differ from the average rapper and he's able to sell himself better then anyone else. However, As important as "Play" was for dance music it was giant steps away from the more traditional Rave/Techno that Moby made in the early 90's with songs like "Go", "Drop A Beat", "Everytime You Touch Me" and "Feeling So Real". And for old time fans it was even harder to accept the more exprimental rock oriented flop album Hotel that simply became the last straw. But 3 years later Moby realized that singing ain't his thing and fans rather prefer him doing dance music then rock. "Last Night" goes way back in time and celebrates New Yorks openminded night life and it also pay tribute to a lenghty career full of rich influences, but it's the first studio album since his 1995 album "Everything Is Wrong" that is more dedicated to uptempo electronica/Techno and it couldn't be more suitable at this point of his career.
  
  While a big number of songs here are dance oriented uptempos there's also plenty of songs that don't fit into that pattern that are taken from diffrent parts of Moby's career. First song "Oh Yeah" is a quite typical Moby song with a repetitibe voice saying oh yeah some sexy female backround voice and both guitar riffs and electro keyboard beats. A good start, I expect to hear this one in a commercial soon. One of the highlights is the secons song "I Love To Move In Here" with some sensual female vocals and a rap verse from Grandmaster Caz in a laidback midtempo sound. "257.Zero" is retro dance with a female voice briefly mentioning those number. It works incredibly smooth. "Everyday It's 1989" sound a little like "In This World" from "18" with distorted female vocals but soundwise it reminds me more of early 90's Moby with fast techno beats. It's works fine even if it's on fammilair territory. "Live for Tomorrow" is simular but more melancholy and is yet another good number. On the single "Alice" Moby sings a little and got this rapper with him aswell. it's much harder then most of the ofter things here and sounds like electro meets metal rap or something. Not my cup of tea. "Hyenas" is a guitar driven slow tempo with a lush female vocalist in almost lounge sound. "I'm In Love" is simular in slow sound featuring a female vocalist.
  
  A strong uptempo in "Disco Lies" with a female vocalist singing it once more but this time she sings plenty. This one was a single. "The Stars" got trademark Moby sound with chants, techno beats and distorted female vocals but halfway it becomes darker with almost hardcore beats to shortly go back to how it started again. Very nice. "Degenerates" is instrumenal lounge and sound a little like film music. The same with "Sweet Apocalypse" which is more electro sounding and "Mothers Of The Night" a mesmerizing slow tempo that sound like Air at their best. The closer "Last Night" is the slowest cut here, with it's lush and elegant sound it couldn't be a better thing to play in the wee small hours at some after party.
  
  Overall, No album has been able to sum up Moby 17 year old career any better then this one, it demontrates Moby's versatility in sound, richness in production and many influences among the years. Almost every song here is memorable enough to be good, wether it's back to back Disco or lush lounge music. But what strikes me most is that it's way more more entertaining then anything he did in a long time. It sounds like he's taking his experience and just offering the best of himself and his diffrent musical eras without exprimenting too much. This is the real Moby. And it offers something for anyone. It could hardly get better based on the few expectations that I had.
  
  

• Makes You Want to Bump and Grind

  
  By A1HBVFI5G2X1G2 on 2008-05-24
  Moby is probably electronic music scenes' most famous vegetarian and he has put out album after album over the years. He is up to his typical tricks again with this release. He has a way with beats and is known for being extremely outspoken (he's had verbal fights with the rapper Eminem on television more than once).
  
  With this album nothing has changed. He has a way of putting down excellent electronic beats with smooth pop vocals into each song. This album has a body moving vibe in a more traditional structure without being "mainstream". His songs make you want to bump and grind but not in the rap/dance sense. "Ooh Yeah" which features a rather sexy female voice has a delicate flow to it that you can't help but love and dance to because it has a rather nice delicate flow to it. Last Night is the perfect ambient mood CD to put on when your tryin' to get someone in "the mood".
  
  

• The Boundlessly Talented Moby Returns In Glory !

  
  By AXZ60GNHLQMT9 on 2008-04-01
  Moby, the compassionate Christian vegan, also happens to be boundlessly talented. "Last Night" is an eclectic mesmerizing dance CD that is elaborately composed and musically infectious. "Last Night" is not a trite, commercial sounding CD. It's vintage Moby and some tracks are frenetic and others have a melancholic vibe. Moby is a master of this genre and "Last Night" is at once captivating and akin to an audio stimulant.
  
  
• Best Moby CD since Play
  By A1R3VM07705OQP on 2008-04-02
  Most CD's you have to listen to a few times to get into the groove, not this one. I was hooked the first listen. Much better than Hotel(which I never really listened to that much), better than 18, and on par with Play. Get this one. Maybe his best ever. Eclectic, hip, rocking, moody, jazzy, you get it....
  
  
• Moby returns to club land in a time machine.
  By A2E5QMRP1ZYCMZ on 2008-04-02
  After a few years of producing uplifting downtempo, Moby set out to go back to his club roots. Unfortanately, he did not update his sound to 2008 but instead it is like he took a time machine back to 1993. Most of these songs would have been great house hits right up there with C & C Music factory, but they just fall flat in todays crisp mature edgier sound. This album is like an old man trying to be cool but falling flat. Most of it sounds like he just used a yamaha keyboard electric piano. The drum loops sound like the preprogrammed drum settings on a casio keyboard. It's almost like Yanni trying to make house music. We love and respect Moby as a pioneer and we love Yanni too but you need to know when to hang up the headphones and ride into the sunset. Final summation: If you're itching for some "come on ride the train, come ride it" 90's house then buy this cd.
  
  
• Just terrible...
  By A32JGNK1JNUSST on 2008-04-12
  The genius and creativity of 'Play' are gone, as Moby returns to his dance roots. The problem is. most of these songs are barely dance worthy, and fall into some strange middle ground of electronica.
  
  Not recommended.
  
  
• Amazing.
  By A1J1XN2ZRQEWQU on 2008-05-04
  This Moby cd is the most amazing yet! You can really feel the music the way Moby wants it to be felt. There are very few words, but the words and phrases used are just right for each song. Moby features a couple different artists for this, with fantastic voices. I absolutely love it and play it every chance I get!
  
  
• Still Going Strong After Many Years of Musicmaking (4 1/2 stars)
  By AAG3WH6O2F926 on 2008-04-02
  There are only a handful of music artists whose new releases I would buy without sampling beforehand, and Moby is justifiably among them. After only a day of owning Last Night I've already been able to appreciate it as yet another praiseworthy installment in Moby's extensive discography, and was not disappointed in the least. Although Last Night is not necessarily Moby's strongest work, it still succeeds in pleasurably combining a lot of his past styles with some new elements as well to create an overall excellent listening experience. A few of my all-time favorite Moby tracks can be found on this album, including the great mystic techno piece "257.zero" (which has layered electronic quirks and a female voice speaking numbers in the background) and "Disco Lies", which has some soulful female vocals and a really catchy bass riff. There were only a few melodies that were weak in my opinion; the opening track, for example, is primarily composed of a really irritating voice repeatedly going "ooh yeah" which makes an otherwise great melody a bit degraded. Although it's one of the singles for the CD, I also wasn't too impressed with "Alice". This track relies a lot on a rap segment, which seems like it would have been better replaced by the vocals from Moby which are heard intermittently throughout it. Last Night is a lot less focused on Moby's vocals than Hotel, which is a mild disappointment since I enjoy Moby's voice but all in all the vocals on this CD are still perfectly satisfactory. A number of the tracks contain vocal samples similar to the ones found on Moby's older albums Play and 18, which often use pieces of soul singers that tend to be catchy. Last Night is strongest for its most techno-oriented songs in my opinion, but the four mellow songs at the end are commendable also for their soft, soothing sound. Conclusively, Last Night is an album any diehard Moby fan cannot do without and that any electronica fan will likely enjoy also. I would rate it four and a half stars, and highly recommend it.
  
  
• Reminiscent of late 80's classic dance discs
  By AB073YS7FTWCA on 2008-04-03
  Remember Snap, and Black Box? Both groups or better yet collaborations were fantastically popular one disc wonders. Every cut on the Black Box debut was a huge club hit. I remember dancing hours to those discs. I don't do much dancing these days, but this is better than Play even. It is an instant classic. Not a weak cut. And I have no doubt it will attract a new generation of dancers that won't be able to get enough of Moby's incredible talent. I believe that at least a portion of the cd is an homage to that late 80's house music which is best exemplified in 'Everyday it's 1989"and "Disco Lies". The last few cuts on the disc are more electronic and less dance oriented, but they comprise some of his better work. As an artist Moby has experimented with a lot of sounds and has made some less than enjoyable discs, but this may be his finest work.
  
  
• At least it has cute women on the cover...
  By A3U41ZL33SS92P on 2008-04-15
  Speaking as a pre-Play fan, I was happy to hear that Moby was getting "back to his roots", and was really looking forward to this album.
  
  But after listening to it beginning-to-end twice, I'm left wondering "What happened?"
  
  Listening to "Go: The Collected Mixes" (which is 14 remixes of the song Go, not Go: The Very Best of Moby) is an infinitely more diverse and interesting experience than Last Night.
  
  Although not completely awful (I Love to Move In Here, Everyday It's 1989, and The Stars are fairly redeeming), the album sounds like someone else's idea of what a Moby album should sound like.
  
  
• aw c'mon, it's good!
  By A2JOGIBJ0M11Q on 2008-05-11
  alright, i picked this up impulsively, which i almost never do because it sucks when you get a cd and like only few or none of the songs. but the cover got me. liked it. and i liked "play." i liked it a lot. i tried to get into "18" but couldn't--even after several sincere listenings... i'll give it a few more listens before i make my final judgement... anyway, "last night" is good. (i've gone ahead and tossed the receipt)! i've listened to "last night" thoroughly now, again and again, and my final judgement is: it's good! it's fun! it's intelligent! bear with me on that last part, because like a lot of electronically-driven music, it can be monotonous. but don't focus on that single layer of sound. these tracks have many layers. these tracks are multi-colored. THIS MUSIC IS THE PRODUCT OF VERY THOUGHTFUL COMPOSITION. that's right! COMPOSITION! good cd. go ahead and spring the 15 or 20 bucks and buy it. put it in your cart. go ahead!
  
  
• I was expecting something a little different...
  By A1EEG7YJIYN60B on 2008-05-22
  Last Night is Moby's first album released by Mute US. When I was hearing reports that this was supposed to be more of a "dance album" compared to his more recent albums, I was excited to hear this. Unfortunately, after hearing Last Night, I was rather disappointed. While it's not a bad album, it definitely wasn't what I thought it was going to be.
  
  In the liner notes, Moby included an essay explaining what his intent with the album was; he said he wanted to make an album that sounded like a night out in New York. While I understand that this is the sound that Moby was trying to achieve, it ultimately didn't work for me.
  
  On Last Night, it sounds like Moby is trying to re-tread the sounds of several eras in his back catalog. "Ooh Yeah" sounds like Moby is trying to return to the sound from his Instinct Records days. I could also hear that some songs sounded like they could have fit onto albums in Moby's back catalog: Everything is Wrong ("I Love to Move in Here," "Everyday It's 1989," and "The Stars"), Play ("Alice"), and 18 ("Live for Today"). The song "Degenerates" sounded like it could have appeared on one of the ambient CDs that was released as part of limited edition versions of some of Moby's albums. Ultimately, it didn't feel as if Moby really brought anything new musically to this album.
  
  The last four tracks on the CD are all downtempo, which seems to go against the idea of Last Night being a "dance album." Also, it really makes it much harder to listen to the end of the album, especially with the last song on the disc ("Last Night") running for almost ten minutes. "Sweet Apocalypse" and "Mothers of the Night" sound like they really should have been relegated as B-sides. If they had been, it really would have helped to improve the flow of the overall album.
  
  Again, while Last Night isn't a bad album, it really wasn't what I was expecting. I will probably only pull this album out to listen to it if I need some background music, because it's just not the type of album I can really listen to unless it's in the background.
  
  
• well, disappointing
  By A1CN75YTG23HA1 on 2008-05-23
  I love Moby. Neary everything he does, and how he does it, and his personal style as well. However, I think I'm falling out of love, finally.
  
  He's phoning it in now, folks. But I'll still forgive him every time, regardless.
  
  Perfect example. At the 1:18 mark into "257.Zero", these movie soundtrack strings swell-up from the background. That sorrowful, sappy, "borrowed soul" routine and chord progression (in all it's forms) has now become his bread and butter for oh, now about 3 maybe 4 full albums. Sometimes it's actual voice he's sampled (on Play and 18), sometimes just a few string or synth string samples, but the pallet of paint he's drawing from has too few colors, it's now becoming more clear.
  
  The guy's got mad talent, that can never be denied. And he's as much a DJ and producer as any kind of ol' skewel, guitar-slingin' George Thoroughgood.
  
  But man, it's finally starting to get tiring. And the worst sin of all, boring. That gushing self-promo text copy Moby released a month before the album (became part of the album's liner notes) helped get the cash outta my pocket, but that was, in hindsight, the true scent of the fully packaged product that Moby has molded himself into.
  
  I've now listened to "Ooh Yeah" about a hundred times and am still not tired of it. A lot to love about the construction of this single, but just today started to hear the sloppy sample envelopes (the "cut-off's", for samples). When you're listing on headphones and already have ears like a bat, the slapdash work starts to expose itself.
  
  So I'm wondering, "doesn't Moby hear the subsonic grind or muffle in this sample, why didn't he filter that out...", or, "the freakin' sample stops a 1/4 second too soon, and it's a repeated loop!..." I'm thinkin', "he HAS to be able to hear this amateur cr*p too, and either he actually did it that way on purpose, or he doesn't care anymore (or never did?), and figures oh well, it's product meant to sell, get the masters to the record company, dress up for another photo shoot, and take the money and run!..."
  
  When Play dropped, IMO, at the time, it was practically revolutionary in several ways. That's when I was head over heals in love. Couldn't get enough. Loved 18 too, even though it was basically just Play again. Those old, authentic soul voices, over minimalist tech beats worked, very well, and Moby is the one person who put it together that way.
  
  But I'm getting bored Mr. Moby, and I don't buy your records to support your vegan issues. I buy 'em for good dance music, or just good electronic music. Though, that you put yourself out there, political issues and all, is part of your appeal for me, so, keep spinnin' it!
  
  
• Moby Returns Home! 4.5 STARS
  By AXUXDOMNA5EVC on 2008-04-02
  This CD is much better than I expected. Which keeping in mind this is not a 22 year old Moby, but 42. After a decade of experimenting with roots rock/electro, the vegan eater has come back home. This is as close to the Moby of the 90's as he has been. Of which has made him unique. And additionally he has given up on the notion of being a singer, by yielding to divas. Last Night is also similar to the recent Felix da Housecat albums (Virgo Blaktro, Kittenz & Thee Glitz.)
  
  The common link between albums "last night" & "play"; on "Play" he experiments the soul of the Mississippi Delta. Whereas, on "Last Night" he touches on the soul of NYC. That is where the comparisons end; with exception for his piano, which navigates the layered soundscape.
  Disco Lies and Alice are cool songs. But as a whole the album is solid, but it slows down and changes direction on the last 3 songs.
  
  
• A Bridge Between the Old and the New
  By A2C7M79A9NKF5E on 2008-04-19
  While I see many people unhappy with this album for whatever I reason, I will have to wholeheartedly disagree. If you want to talk about a disappointing Moby album, look to Hotel, this on the other hand is what I've been waiting for. Overall this album feels like an organic splicing of the work that he had done before Play with that megaselling album. When an artist such as he has had such monumental success all the haters come out and play with the reviews that they've given. If you truly don't like this album then you probably don't like old school dance music. This guy helped put American dance music on the map and he deserves more respect then most reviewers on here are giving him. Here's a suggestion, go back to listening to your Britney Spears albums and let intelligent people decide what music is important and not.
  
  
• Techno? -- Heck No!!!
  By A1KO9OBVZYNGLV on 2008-05-10
  OK, OK -- I have bought pretty much every Moby album in the past 10 years with mixed listening satisfaction which results in now having become used to NOT being disappointed when he releases something that doesn't resonate with me. But on this recording he has returned to some seriously listenable and danceable electronic music. On songs like "Everyday its 1989" and "Alice" and "Disco Lies" Moby's bringing back some of the coolest voices and sounds off of his top-selling 1999 release "Play". If you like the sounds of very well-crafted house sounds and some great ambient music to chill with -- this CD will grow on you with each time you put it on rotation on your player. << GO >>
  
  
• Danny B. "El Coleccionista"
  By A16SCHLEV0RB99 on 2008-05-10
  Cuando compré este disco, pensé en escuchar algo del Moby que existía en "Play", "Hotel" o inclusive en "18"; sin embargo hay de todo un poco de cada uno de estos discos. Moby no canta ni una canción (lo único malo) pero los vocalistas son excelentes, sobre todo la vocalista en Disco Lies, la mejor canción de este disco, y una de las mejores luego de Porcelain y Bodyrock.
  
  En mi opinión es un disco para un fan de Moby. No creo que a muchos les guste, pero si eres fan de seguro te gustará una semi-innovación en su música.
  
  
• Best Moby album since "Play"
  By ANTNA7JTP686X on 2008-05-18
  First, you should know I was blown away by "Play," the first Moby CD I purchased that really hooked me on him as an artist. But subsequent albums left me curious but mostly cold--I enjoyed some of the cuts, but nothing grabbed me like "Play." The good news: This new CD, "Last Night," does engage me and transport me--the sign of a great album in my opinion. It's not perfect, which I thought "Play" was, but there is some terrific stuff here, and I've listened to the CD in its entirety many times since I bought it--and it continues on my iTunes playlist as well--with many of the songs rated 5 stars for heavy rotation.
  
  
• Nice...
  By A3B0LXKS6YQS9A on 2008-04-08
  This new cd is great. It reminds me of some of his popular work from the "play" album. I thought "hotel" was almost a complete waste except the ambient disc. This album is a nice comeback for him, if you liked "play" you will probably love this album.
  
  
• And the drum machine.......
  By A3M4I52598QH3N on 2008-04-10
  This album stinks, as a 'new work', its a total rehash of all Moby's old stuff (which i think is fantastic), but this!!!!
  Some of the tracks sound like he turned on the drum machine and pressed GO! (and I'm not referring to on of the first pieces of 12" vinyl i bought, great track).
  This really is mediocre, at best.
  If you have never heard Moby before, you may hear this and think its great, but its nothing new for someone who has created some of the best electronica ever heard. A real shame.
  
  
  
• MOBY'S LAST NIGHT STAND.
  By A1KNFYE8B0D5E5 on 2008-04-13
  FROM PREACHER TO SPACE MAN TO CONCIERGE TO STUDIO VAGRANT!
  
  MOBY'S LONG AWAITED AND GREATLY ANTICIPATED NEW RELEASE IS
  SADLY NEITHER NEW OR REFRESHING - HE HAS ATTEMPTED NOTHING
  IN SQUEEZING OUT 14 LACK LUSTRE VACUOUS TRACKS THAT LEAVE
  THE LISTENER OR FAN NUMB WITH DISBELIEF?
  
  WE WERE TEASED FROM LAST FALLS BOURNE ULTIMATUM "EXTREME
  WAYS"THEME SONG OF WHAT WE COULD EXPECT HOWEVER NONE OF
  THAT ROCK TINGED INFLUENCE IS EVIDENT ON LAST NIGHT.
  
  FROM THE SLEEVE ART WORK TO EVEN THE TYPE FACE THIS FOURTH
  RELEASE ,NEVER MIND THE MUSIC. MOBY SCRAPES THE BARREL FOR
  FRESH MATERIAL AND IDEAS,ALAS HE DELIVERS ZERO..
  
  FROM AN ARTIST THAT GAVE US PORCELAIN-RUN ON-WHY DOES MY
  HEART FEEL SO BAD-WE ARE ALL MADE OF STARS-.IN THIS WORLD-
  RAINING AGAIN-BEAUTIFUL & SWEAR WE END UP WITH THIS.
  
  THERE ARE ONLY TWO AVERAGE QUALITY MOBY TRACKS - LIVE FOR
  TOMORROW AND I'D LOVE TO MOVE IN HERE - THE REST RESONATE
  IN A SEA OF REPETATIVE PAINFUL SAMPLES,CHORUSES.HOOKS & RIFFS.
  
  TRACKS 3 - 4 - 8 - 9 -10 - GO ON & ON & ON & ON AND YES ON.
  TRACKS 11 THRU 14 MIGHT AS WELL OF BEEN LEFT BEHIND TO MATURE.
  
  THAT'S ELEVEN CUTS IN TOTAL LEAVING THREE MEDIOCRE MOBY TRACKS
  ONE - TWO AND THE FRENCH THING TRACK SEVEN.
  
  I WANTED SPRING TO BE SPRUNG FROM THE MOBY, SOMETHING TO PICK
  ME UP IN THESE MEDIA RIDDEN DAYS ,TO WAKE ME OUT OF HIBERNATION
  
  I THINK I'LL WAIT TILL GROUNDHOG DAY - IS THAT SOON, OH I HOPE SO,
  
  MOBYS LAST NIGHT STAND - BUY IT OR FLY IT ???
  
  IT'S A FLYER - MOBY BACK TO THE STUDIO MY SON YOU CAN DO BETTER.
  A LOT BETTER. - NO I DON'T NEED ANY MORE CHEESE WITH MY WHINE
  
  
• Sounds like 'Play' - the B Sides!
  By ACHBMALZCZOX5 on 2008-04-13
  I think Moby just pulled a fast one on everyone - he hooked up that hard drive of reject B-Sides from the time he was composing Play, picked enough to fill another CD, and hit 'Download and rip off the Public'.
  
  Really average stuff, first track is passable, rest is just drivel, or rip-offs of other people's 80's disco work.
  
  I guess he needed a new pool or vegan retreat or something, because passing this off as 'new work' is somewhat of a misrepresentation!
  
  I'd give it a DON'T BUY IT rating - and now I'm going to have to try and sell my copy on EBAY before the word gets out...
  
  
• Moby is back
  By A2NUC1EYZQT2C0 on 2008-04-22
  If you like 90s dance music, this album is for you. Moby is revisiting his roots with this electronica masterpiece. My favorites are disco lies and everyday its 1989 however there is hardly a miss in this album.I highly recommend it.
  
  
• A solid album, albeit not "traditional Moby"
  By AR32HY447E0EX on 2008-04-14
  Moby had produced a solid album in "Last Night". Getting away from the Rock of "Hotel", Moby seems to have gone back somewhat to his techno/electronic roots, branching off into genres like rap and r&b. While die-hard moby fans (myself included) may be a little disappointed, one should come to recognize and respect that Moby is still trying new things, branching out, and becoming ever more versatile.
  
  
• Longing for the days of "18"
  By AZV6Q51FY9NQ3 on 2008-04-14
  Frankly this album is not very good, even worse than "Hotel". I love Moby and "18" is one of the best albums ever made. This dribble can not even be compared to "18", it does not even sound like it is from the same artist. The only good solid Moby sounding song on this album is "Mothers of the Night", there only two more tracks that sound even remotely close to the Moby of old. The album lacks feeling and emotion, instead you get canned noise.
  
  
• BANKING
  By A238M34Z3X2IBD on 2008-05-01
  If you're looking to LAST NIGHT as either a return to or a breakthrough for MOBY, stop right here, because LAST NIGHT is neither. If anything the title acts as both a warning to MOBY fans as well as a memory trigger for the love of things past, because this new album is really nothing more than comfort food for the ears.
  
  It's a collection of smooth trance / dance music that never really rises above its pop roots and hooks and while never short of entertaining, it really leaves much to be desired from someone with a track record like MOBY. It's almost like a collection of unpublished and unknown B SIDES instead of a new album and will frustrate you in the end... but, despite the lack of any new groundbreaking material, LAST NIGHT is still a solid album with the first track OOH YEAH being by far the best and brightest on the whole album. The rest run from complete wrecks to good ideas that could have either used 30 seconds more running time or 30 seconds less.
  
  All in all, LAST NIGHT feels like a jam session demo that somehow made it all the way to press, and this is not a bad thing, but, in the end, LAST NIGHT lives up to it's title... it's so last night, last week, last year and finally last season. But, sometimes that's a good thing and for that LAST NIGHT is worth having for that day when you find yourself looking backwards.
  
  
  
• Moby does it again
  By A2DXLDNRW1MCF7 on 2008-05-31
  I don't understand how this album can get just 3 and half stars after 37 reviews. This is a quality album. C'mon now, it's Moby.. we all know what he is capable of. Honestly, I do like this album a lot. It has all the stuff we usually get from Moby's music - techno, house, blues, ambient - plus disco! Yes, there is nothing very ground-breaking about this album. I mean, if you are familiar with Moby's music, this album pretty much follows the same pattern. But then, the music itself is still great. As a comparison with his other albums, I would say that this one is less rock-ish. In general the music is more upbeat and there are fewer ambient and downtempo tracks. And while it lacks the depth or spiritual tones of 'Play' or 'Everything is Wrong', it does have some great beats that won't just let you sit still. 'I like to move in here' is a sure crowd-pleaser with a very sexy female voice (wonder who the singer is). The next song '257.zero' is my personal favorite from the album. It's a typical Moby song - techno beats with a sad tone. Many of the other songs - like 'Everyday it's 1989', 'The Stars', 'Degenerates', 'Ooh Yeah' - are also great.
  
  It's a pity that an artist like Moby, so original and talented, gets so less attention. This album surely deserves a better rating. I would say check it out for yourself instead of just going by the rating here.
  
  
• Okay but nothing to write home about
  By ADKHI1TUGAX4 on 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.
  
  

• Accelerate
• Hard Candy
• The Odd Couple
• Funplex
• Third