Power Supply (White w/ Red & Gold Splatter) Twelve Inch Singles 1981-1984 (Bonus Tracks)īlack Magic (Red Marble) (Red) Random Access Memories: 10th Anniversary Edition ĭig Your Own Hole: 25th Anniversary War Against All Ĭall Me: 50th Anniversary #1 Record Ĭhange The Way You Think About Pain
My Soft Machine įeast of Wire: 20th Anniversary Deluxe Edition ĭisposable Everything Īll The Rats Bob Marley - Tuff Gong Jamaica Pressings.Alan Menken / Howard Ashman / Lin-Manuel Miranda.Moby should really make a jazz album next. The title track from that album sounds less lounge-y and more jazzy the synths replaced by noirish piano lines and light cymbal strikes. Here, Moby keeps the melody dark and intriguing like the original, with hazy synths, yet the song finds a way to sound different. “Hyenas,” from 2008’s Last Night, is also an extended rendition (from about three and a half minutes to six). And “When It’s Cold I’d Like To Die,” 1995’s Everything Is Wrong, is now a beautifully sad, acoustic number led by piano, the heartbreaking vocals of P.T. He accomplishes the same vibe on “Slipping Away,” from 2005’s Hotel, which is now kicked off not by electronic percussion but an acoustic guitar before adding strings to join the understated vocal delivery (think The Shins). While still melodic and almost ambient, it at times sounds more like a lo-fi rock song. Moby peels back some of the instrumentation and adds two minutes of runtime to “Signs Of Love,” one of a few songs he sings himself. Lady Blackbird handles the soulful vocals here. Together, the three of them honor the original 1949 song on which Moby’s song was based: “Run On for a Long Time” by Bill Landford and the Landfordairs, as well as the standard “God’s Gonna Cut You Down.”Īlbum closer “Walk With Me,” from 2009 album Wait for Me, is stripped of glossy synths, instead relying on hypnotic snare strikes, guitar strumming and a dirge-like one-note cello. The vocals are handled not only by Danielle Ponder but by her father, Elijah Ponder. It’s slower, more soulful, without the traditional Moby electronica signature. This new version featuring the low voice of Amythyst Kiah (who like Porter also appeared on Reprise) and the driving rhythm section sounds like a modern blues rocker.Īnother gem is “Run On,” originally from Play, which feels wholly re-done. The originals sounded like long-lost treasures found while crate-digging. On the other side of the spectrum are the bluesier tracks, like “Flower (Find My Baby),” which combines a Play track and its B-side (with samples of samples “Joe Lee’s Rock” by Boy Blue).
Like “The Perfect Life,” it’s not a stark departure. Mandagi adds additional textures to the vocals, sometimes singing in falsetto. As with this album’s opener, the sound is turned into a bigger wall of sound with swelling strings, as well as brass and a choir. The other song that retains the grandiosity of the original, or even brings it up a notch, is 18‘s “Extreme Ways” (the “Bourne” films theme song), featuring Doug Mandagi of the Temper Trap. There’s another bright brass part during an instrumental bridge that most stands out, but it’s not a stark departure from the original as “South Side” is. This one includes some new accents in percussion, guitar noodling and synths it’s in a different key. Wilson also appears on “The Perfect Life,” which was originally on Moby’s 2013 album, Innocents, though as original collaborator Wayne Coyne of the Flaming Lips told us way back when, it was written years earlier. It’s kind of like Moby envisioned by the Buena Vista Social Club. The foreboding industrial elements and grinding guitar line are replaced by a bright brass section, jazz trumpet and the wacka-wacka of funk guitar. “South Side,” from 1999’s seminal Play, is a highlight. Ricky Wilson of Britpop band Kaiser Chiefs guests on two songs. Porter is one of several notable guest vocalists on the album. The song, from 2002’s 18, is slightly faster and definitively more emphatic, especially when choir vocals are added, and it seems to pick up even more steam. Symphonic strings and a rock beat quickly come into the fold, as well as the rich and deep voice of California Central Valley jazz musician Gregory Porter. Resound NYC kicks off in grand fashion on “In My Heart,” with the original rolling piano part now fuller and reverb-laden. “So rather than having every song receive the same orchestral treatment, I kind of built a bespoke orchestral approach for each song.” So while some songs have string flourishes or grandiose timpani-like percussion, a clarinet or other woodwind creating space or mood, there’s just as likely to be either traditional rock instruments, synths or even a mellotron. “An orchestra can be anything it can be whatever the composer wants it to be,” Moby has said of the album.
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