Tracklist Hide Credits
| 1 |
Ooh Yeah
Vocals – Erin Marszalek, Luci Butler |
5:18 | ||
| 2 |
I Love To Move In Here
Vocals – Chrissi Poland, Grandmaster Caz Written-By – Grandmaster Caz |
4:44 | ||
| 3 | 257.Zero | 3:37 | ||
| 4 | Everyday It's 1989 | 3:40 | ||
| 5 |
Live For Tomorrow
Vocals – Chrissi Poland |
4:02 | ||
| 6 |
Alice
Backing Vocals – Amelia Rose Zirin Brown Vocals – Aynzli Jones, S.O.Simple, Smokey (3) Written-By – Aynzli Jones, S.O.Simple, Smokey (3) |
4:26 | ||
| 7 |
Hyenas
Vocals – Nabila Benladehm |
3:35 | ||
| 8 |
I'm In Love
Vocals – Wendy Starland |
3:42 | ||
| 9 |
Disco Lies
Vocals – Shayna Steele |
3:22 | ||
| 10 | The Stars | 4:21 | ||
| 11 | Degenerates | 3:58 | ||
| 12 | Sweet Apocalypse | 5:18 | ||
| 13 |
Mothers Of The Night
Written-By – Sylvia Gordon |
3:19 | ||
| 14.1 |
Last Night
Vocals – Sylvia Gordon |
4:54 | ||
| 14.2 | Lucy Vida | 4:10 |
Credits
- Design – Chris Ritchie
- Engineer [Assistant] – Andy Marcinkowski
- Mastered By – Ted Jensen
- Mixed By – Dan Grech-Marguerat
- Photography – Dale May
- Written-By, Producer, Art Direction – Moby
Notes
The UK release date was postponed to the 12th May but in some other European countries it was released March 31st.
"Degenerates" previously released under title "It's OK".
Track 14 is 9:24 and contains a hidden track at 5:14.
℗2008 Mute Records Limited ©2008 Mute Records Limited
Printed in the EU
Other Versions (Showing 5 of 15) View All
| Title, Format | Label | Cat# | Country | Year | ||
|---|---|---|---|---|---|---|
| Last Night (CD, Album) | Mute, Mute | ECDSTUMM275, 5099920692124 | Czech Republic | 2012 | ||
| Last Night (16xFile, MP3, Album, 320) | Mute | none | Germany | 2008 | ||
| Last Night (CD, Album) | EMI Music (Australia) | 5099951830724 | Australia | 2008 | ||
| Last Night (CDr, Album, Promo) | Mute | none | UK | 2008 | ||
| Songs From Last Night (CDr, Promo) | Mute Corporation | none | US | 2007 |
Recommendations
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Moby - Play (CD, Album)
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Daft Punk - Homework (CD, Album)
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Massive Attack - Mezzanine (CD, Album)
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Moby - 18 (CD, Album)
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Chemical Brothers, The - Surrender (CD, Album)
▸ show all 3 reviews
Reviews & Discussion
Moby – Last Night is a Great Album, We Love It.(我们很喜欢这张专辑喔）
Club drugs and rock stars abide by the same rule: What goes up must come down. After hitting a massive high on 1999's Play, Moby stopped making dance music, opting instead for the downtempo atmospherics of 2002's 18 and the strummed guitars of 2005's Hotel.
So it's exciting to hear this forty-two-year-old vegan blogger return to form. A concept album about an all-night bender, Last Night solidifies Moby's link in the chain that binds DJ pioneers like Todd Terry to slinky futurists like Justice. From the space-age-Abba shimmer of "Ooh Yeah" to the itchy funk of the brilliant Nineties house throwback "Disco Lies," Moby goes for groove over texture, relying on high-hats, piano and strings while wisely staying off the mike.
The album is billed as a love letter to New York nightlife, but tracks like the dance-hop "I Love to Move in Here" (featuring Grandmaster Caz) feel more like an Irish wake for the era before the city's megaclubs were shuttered.
Appropriately, Last Night's only drawback is the harsh slowdown of the trancelike "Degenerates." After so many body-rocking tunes, it's like any sobering slap: a real downer.
So it's exciting to hear this forty-two-year-old vegan blogger return to form. A concept album about an all-night bender, Last Night solidifies Moby's link in the chain that binds DJ pioneers like Todd Terry to slinky futurists like Justice. From the space-age-Abba shimmer of "Ooh Yeah" to the itchy funk of the brilliant Nineties house throwback "Disco Lies," Moby goes for groove over texture, relying on high-hats, piano and strings while wisely staying off the mike.
The album is billed as a love letter to New York nightlife, but tracks like the dance-hop "I Love to Move in Here" (featuring Grandmaster Caz) feel more like an Irish wake for the era before the city's megaclubs were shuttered.
Appropriately, Last Night's only drawback is the harsh slowdown of the trancelike "Degenerates." After so many body-rocking tunes, it's like any sobering slap: a real downer.
Forgive me if I'm being too critical or God-forbid, patronizing over someone's work but the case of Moby is really something - if you have ears - irresistable in terms he is delivering albums without much substance and still pretending it is very important or actually means something.
Well, maybe 'Last Night' is very important to Moby's self-indulgent expectations people might actually like this crap but being crap and selling it away is not really something we are supposed to take, like or accept Moby for. His last couple of releases, including the massive 'Play', seem to drown in pathetic clichés; 'Last Night' sounds like a guy who wants to fool around with anything close to dance music and its chillout counterparts, bought some gear and simply tries it out, deciding to pour these cheap contemplations into an album;
At its best 'brand new' Moby sounds like something you've already heard and eventually had enough of - at it s worst... well, you're supposed to find it out at your own risk; the risk of wasting time and money over something not as close to his better efforts...
And trying to sound like it's '1989 everyday' is something people who partied and played in the actual year tried to put ahead of their time back then already. Think of Black Box, Eric B & Rakim, Technotronic or Acid House; Moby's version is a poor, dated image of an enthusiastic kid desperately wanting to fit in - no matter the actual results.
Well, maybe 'Last Night' is very important to Moby's self-indulgent expectations people might actually like this crap but being crap and selling it away is not really something we are supposed to take, like or accept Moby for. His last couple of releases, including the massive 'Play', seem to drown in pathetic clichés; 'Last Night' sounds like a guy who wants to fool around with anything close to dance music and its chillout counterparts, bought some gear and simply tries it out, deciding to pour these cheap contemplations into an album;
At its best 'brand new' Moby sounds like something you've already heard and eventually had enough of - at it s worst... well, you're supposed to find it out at your own risk; the risk of wasting time and money over something not as close to his better efforts...
And trying to sound like it's '1989 everyday' is something people who partied and played in the actual year tried to put ahead of their time back then already. Think of Black Box, Eric B & Rakim, Technotronic or Acid House; Moby's version is a poor, dated image of an enthusiastic kid desperately wanting to fit in - no matter the actual results.
[r1292039]