Official Moby Update

                                   February 1999

      after almost a year and a half of work i believe i've finished the next album which is
      probably going to be called PLAY (a word on this title later). i'm hoping to put the album out
      in may with mute records everywhere in the world except for north america, and in june in
      north america.

      the album has 18 songs which are:

      HONEY
      FIND MY BABY
      PORCELAIN
      WHY DOES MY HEART FEEL SO BAD?
      SOUTH SIDE
      RUSHING
      BODYROCK
      NATURAL BLUES
      MACHETE
      7
      RUN ON
      DOWN SLOW
      IF THINGS WERE PERFECT
      EVERLOVING
      INSIDE
      GUITAR FLUTE & STRING
      THE SKY IS BROKEN
      MY WEAKNESS

      the first european single was HONEY which came out last autumn. the next european
      single is going to be RUN ON which comes out in april. for north america i think we're going
      to put out a promotional single combining HONEY and RUN ON with some of the remixes
      and b-sides. i'll, hopefully, be touring throughout 1999 with plans to go to europe (east &
      west), north america, australia, new zealand, japan, and possibly south america.

      i guess that's it for now. i'd like to say a special thank you to all of the people who've
      created, maintained, and contributed to the various web-sites and newsgroups.

      why PLAY? i wanted a nice short title and i was walking by a playground near my house
      and there was a giant mural that said PLAY. for some reason this appealed to me (also
      because everytime i look at a vcr or cd player or tape deck i see this word. it's hard to
      refuse a word that's followed me around so much), and so that's why the album is called
      PLAY. there are some other more esoteric reasons, but i'll tell you about them later.

      thanks,
      -moby. new york february 1999
 
 

               Honey

                             [ sound clip | review | discography ]
 
 

                                Honey song clip

      Mute Records has generously agreed to allow www.moby.org and Damian's Moby Page
      to offer you a sound clip of this new single! To listen to the RealAudio clip, you will need the
      RealPlayer. For the MP3s, you will need a player such as Winamp,

           Honey song clip in RealAudio (16 kHz, mono, 62 KB)
           Honey song clip in low quality MP3 format (22 kHz, mono, 115 KB)
           Honey song clip in decent quality MP3 format (44 kHz, stereo, 461 KB)

      "Honey" is released in Europe by Mute Records on August 24 and features mixes by
      Rollo & Sister Bliss, Aphrodite & Mickey Finn, Westbam & Hardy Hard, and Sharam Jey.
      Mail order copies will be available through Mute Bank from the end of August. E-mail
      mutebank@mutelibtech.com or check out www.mutelibtech.com/mute/ for details.

                                   Honey review

      Honey was the first single taken from Moby's album Play. The single was released 24
      August 1998 in the UK and Europe.

      Honey has a funky sound that is vaguely Fatboy Slim-ish. I like it. More detailed review to
      follow.

      Here is some news from DEF, Moby's UK management. Also, check out the Mobility
      archives, especially from 28 July 1998, to see what fans say about Honey.
 
 

                          Honey discography info

      HONEY PROMO  [Jul 1998]
      UK 12" promo, Mute, P12MUTE218

      A1  7:06  Honey (Rollo & Sister Bliss Remix)
      B1  5:48  Honey (Sharam Jey's Sweet Honey Mix)
      B2  5:52  Honey (Low Side Mix)

      HONEY PROMO  [Jul 1998]
      UK 12" promo, Mute, PL12MUTE218

      A1  5:51  Honey (Risk Mix)
      A2  5:12  Honey (Dark Mix)
      B1  6:19  Honey (Westbam & Hardy Hard Mix)
      B2  4:48  Honey (118 Mix)

      HONEY PROMO  [Jul 1998]
      UK 12" promo, Mute, PXL12MUTE218

      A1  6:21  Honey (Aphrodite & Mickey Finn Mix)
      A2  6:12  Honey (RJ's Mix)
      B1  3:12  Honey (Moby's Original Mix)
      B2  6:20  Honey (Bammer's Mix)

      HONEY PROMO  [Jul 1998]
      UK CD promo, Mute, PCDMute218

       1  3:18  Honey
       2  6:21  Honey (The Aphrodite & Mickey Finn Mix)
       3  6:12  Honey (RJ's Mix)
       4  6:20  Honey (Bammer's Mix)
       5  6:19  Honey (Westbam & Hardy Hard Mix)
       6  4:48  Honey (118 Mix)

      HONEY  [Jul 1998]
      UK CD promo, Mute, RCDMute218

       1  3:00  Honey (Radio Edit)
       2  4:02  Honey (Rollo & Sister Bliss Blunt Edit)

      HONEY  [24 Aug 1998]
      UK CD, Mute, CDMute218

       1  3:18  Honey
       2  4:17  Micronesia
       3  6:41  Memory Gospel

      HONEY REMIXES  [24 Aug 1998]
      UK CD, Mute, LCDMute218

       1  4:01  Honey (Rollo & Sister Bliss Blunt Edit)
       2  3:16  Honey (Moby's 118 Mix (Radio Edit))
       3  6:18  Honey (Westbam & Hardy Hard Mix)
       4  6:20  Honey (Aphrodite & Mickey Finn Remix)

      HONEY  [Aug 1998]
      UK 12", Mute, 12Mute218

      A1  7:06  Honey (Rollo & Sister Bliss Remix)
      B1  5:48  Honey (Sharam Jey's Sweet Honey Mix)
      B2  5:52  Honey (Low Side Mix)

      HONEY REMIXES  [Sep 1998]
      UK 2x12", Mute, L12Mute218

      A1  5:51  Honey (Risk Mix)
      A2  5:12  Honey (Dark Mix)
      B1  6:19  Honey (Westbam & Hardy Hard Mix)
      B2  4:48  Honey (118 Mix)
      C1  6:21  Honey (Aphrodite & Mickey Finn Mix)
      C2  6:12  Honey (RJ's Mix)
      D1  3:12  Honey (Original Mix)
      D2  6:20  Honey (Bammer's Mix)

Run On

                            [ review | discography | lyrics | buy it ]
 
 

                       Run On description & review

      Run On is the second single from Moby's forthcoming album Play. Moby calls it a "real
      song" with lots of singing that was sampled a long time ago, like Honey. "Kind of like
      gospel meets hip-hop meets me." In fact, there are three full verses and a chorus,
      sampled from the 1943 song "Run On For A Long Time" by Bill Landford & The
      Landfordaires.

      The cover art is like Honey's, but with a mousetrap against a red background instead of a
      pumpkin against a black background. Inside (or on the back, for the 12"), a jacket-clad
      Moby stares out of three identical black & white photographs, set against a light-yellowish
      pea-green background. The Run On Extended single has this design reversed. The
      mousetrap is horizontal instead of vertical, and it is against the light-yellowish background.

      My initial reaction upon hearing Run On was that it is a good album track, but strange to
      release as a single. Its drums & piano sound similar to those in Honey, but the mood is
      quite different.

      Run On has four B-sides! Sunday is the best one. It is reminiscent of Shining and
      Moby's old Ambient work, and is very bright and melodic. I love it. Spirit is another
      fantastic B-side, with piano and strings. These two songs are essential listening, making
      both Run On CDs must-haves. The other B-sides are good too.

      After a few listens, Run On started to really grow on me. It's funky and foreboding at the
      same time, and when the pads kick in near the end, the song takes on a surreal quality. It
      also gives a representative taste of the kind of music you'll hear on Play. I'll elaborate and
      post a more descriptive review soon.

      Run On will be released in the UK & Europe on 26 April 1999. It will also be released in
      the USA on a single with Honey on 11 May 1999.
 
 

                          Run On discography info

      RUN ON  [1999]
      UK CD promo, Mute, RCDMute221

       1  3:12  Run On
       2  5:10  Run On (Dave Clarke Remix)
       3  6:03  Run On (Moby Young & Funky Mix)

      RUN ON  [26 Apr 1999]
      UK 12" promo, Mute, P12Mute221
      UK 12", Mute, 12Mute221

        A  6:03  Run On (Moby Young & Funky Mix)
      AA1  5:10  Run On (Dave Clarke Remix)
      AA2  3:52  Run On (extended)

      RUN ON  [26 Apr 1999]
      UK CD, Mute, CDMute221

       1  3:33  Run On
       2  4:08  Spirit
       3  7:06  Running

      RUN ON EXTENDED  [26 Apr 1999]
      UK CD, Mute, LCDMute221

       1  4:24  Run On (extended)
       2  5:00  Sunday
       3  5:56  Down Slow (full length version)

      RUN ON  [26 Apr 1999]
      GE 12", ?, ?

       A1  6:00  Run On (Sharam Jey's Always On The Run Remix)
       A2  5:25  Run On (Plastic Angel's House Of Pain Mix)     [1st mix]
      AA1 10:05  Run On (Dani K?nig Remix)
      AA2  4:00  Run On (Plastic Angel's Celebration Mix)

      Credits

      Produced, written & recorded by Moby. Published by Little Idiot Music/Warner Tamerlane (BMI).
      Run On mixed by Tom Rothrock & Rob Schnapf.
      Run On (Dave Clarke Remix) produced, programmed, engineered & mastered by Dave Clarke.
      Run On (Moby Young & Funky Mix) additional mix & production by Moby.
      "Run On For A Long Time" by Bill Landford & The Landfordaires, used courtesy of Sony Music.
      Artwork: Ysabel Knyphausen. Photographer: Hennrik Bonnevier.
 
 

 Moby News

  April 1999

      From: mobyinfo@def2.globalnet.co.uk (DEF)

      NEW ALBUM & SINGLES

      Moby's new album, PLAY, will be released by Mute Records on May 17, except in Japan,
      where it will be released on July 7, and in the US and Canada, where it will be released by
      V2 Records on June 1 (Moby parted company with Elektra Records last year).

      PLAY will be preceded by the following single releases:

      All countries except US & Canada: RUN ON - April 26 The single will be released on
      different formats in each country, and will include four new songs - SPIRIT, RUNNING,
      SUNDAY and DOWN SLOW (FULL LENGTH VERSION) - plus a Dave Clarke mix
      and Moby's own YOUNG & FUNKY MIX. Germany will also release a 12" of remixes by
      Sharam Jey, Dani Koenig and Plastic Angel.

      US & Canada: HONEY/RUN ON - May 4/11 The single will be commercially released on
      12" on May 4 and on CD on May 11. Tracklistings are:

      12"
      A1   HONEY - Album Mix
      A2   HONEY - Aphrodite & Mickey Finn Mix
      B1   RUN ON - Moby's Young & Funky Mix
      B2   RUN ON - Sharam Jey's Always On The Run Remix

      CD Maxi
      1    HONEY - Original Album Mix
      2    HONEY - 118 Mix
      3    HONEY - Sharam Jey's Sweet Honey Mix
      4    HONEY - Aphrodite & Mickey Finn Mix
      5    RUN ON - Extended
      6    RUN ON - Moby's Young & Funky Mix
      7    RUN ON - Sharam Jey's Always On The Run Remix
      8    MEMORY GOSPEL

      You can hear a 30-second clip of RUN ON at www.moby.org

      The video for RUN ON was shot in Los Angeles in early March, and directed by Mike Mills.
      Moby features as a harassed office worker who dies, ascends to Heaven and becomes
      Employee Of The Month there.

      LIVE SHOWS

      Moby will be playing the following live dates:

      May 18        UK      "Secret" warmup show - Brighton Pressure Point
      May 19 & 20   UK      The Scala, Kings Cross, London
      July 10       France  Solidays festival, Paris

      There may be a couple more European festival appearances - if so we will update you later
      - and Moby will be doing a full European tour around September/October. Dates to follow.
      For the latest European festival & tour news, check out www.fwwt.com

      Moby will also be doing a month-long tour in the US and Canada from mid-July. Dates to
      follow soon.

      DJ APPEARANCES

      "Evil Ninja Moby" will be DJing on the following dates:

      April 16   USA      Chicago, IL - Crobar
      April 17   USA      Cleveland, OH - Cleveland Sportsplex Warrensville
      April 30   Germany  Dortmund, Mayday
      May 28     USA      Denver, CO - Club Synergy
      May 29     USA      New Orleans - State Palace Theater

      More DJ appearances to be confirmed soon.

      MERCHANDISE

      We have lots of official Moby t-shirts etc. Please e-mail us if you would like a list (e-mail) or
      catalogue (snail mail). However, bear in mind that we're based in the UK and only accept
      payments in UK pounds - UK cheque or postal order, Eurocheque, international money
      order or cash (by registered post). No credit card orders - sorry.

      If you live in the US you can write to MCT Productions Inc, 333 West 52nd St, Suite 1003,
      New York NY 10012 for a catalogue of US merchandise.

      BACKCATALOGUE & POSTERS

      All of Moby's releases on Mute Records (and some posters) can be obtained from
      MuteBank:
      www.mutelibtech.com/mute/
      E-mail mutebank@mutelibtech.com
      Mail: send SAE or IRC to Mute Bank Mail Order, 429 Harrow Road, London W10 4RE, UK
      Tel: +44 (0) 181 964 0029

      MORE INFO

      Most of the info you could ever want on Moby can be found at www.moby.org You can also
      join the Moby discussion list, Mobility: send an e-mail to majordomo@xmission.com with the
      following line in the body of the message:

      subscribe mobility

      The subject should be blank.

      The mailing list also has a digest mode, where the last few messages are collected into
      one and sent out. To join this instead, have your message say:

      subscribe mobility-digest
 

The following release was received from DEF on March 27, 1997.
 

MOBY UPDATE

Moby has met with Axl Rose and the rest of Guns 'n' Roses for discussions about the possibility of
producing the next Guns 'n' Roses album. "At the risk of sounding like a a sleazy music biz guy, I met
with Axl last week to hear their new demos," says Moby. "They're working with a lot of loops, and
beleive it or not they're doing it better than anybody I've heard lately." He will meet with the band again
next week; nothing has been confirmed and no deal has been struck yet.

He's writing & composing the score for Double Tap, the next movie by producer Joel Silver (Die Hard,
Basic Instinct etc).

He's been asked to do an electronic dance version of John Barry's original James Bond theme for the
next Bond movie.

He has a track - Oil 1 - on the soundtrack of The Saint.

He's recently completed remixes for David Bowie ("Dead Man Walking"), Blur ("Beetlebum"),
Aerosmith ("Falling In Love Is Hard On The Knees") and John Lydon.

He's been asked to contribute a track to a forthcoming Clash tribute album being put together by John
Doe of the band X

The Voodoo Child album "The End Of Everything" will be released in the US in the next few months.
 

This message was received from DEF on March 24, 1997.

Moby will be doing a couple of gigs for US radio stations in the next few weeks:

March 29        The End Seattle
April 20        EDGE, Dallas

Unfortunately that's all the info we have - if you live in these areas check local radio/press for further
details.

-----------------------------
Moby's new album, ANIMAL RIGHTS, is out in the US now (different tracklisting from UK release)
-----------------------------

From a March 1996 promo postcard:

Moby, sworn opponent of the auto industry and the petro-chemical complex, is allowing his track "God
Moving Over The Face Of The Waters" to be used in a car commercial. Although this may seem to be
against all his beliefs, there's a good reason for it; all of the money Moby receives from the commercial
is going to be given to environmental, alternative energy and animal rights organisations. He feels that
he should take the opportunity to do something of benefit rather than refusing and letting the money
go to someone else.

As Moby says, "There's something perversely satisfying about taking money from a car company and
giving it to organisations which work to protect the environment. I figured that they were going to make
the commercial with or without my music, so why not let them use my music and in the process help
out some worthwhile organisations?"

He's currently in the process of deciding which organisation the money should go to; if anyone knows
of any suitable cause which he may not know of already, they should write to PO Box 2477, London
NW6 6NQ or e-mail def@bogo.co.uk
Moby Info

                                        May 1996

Moby will be playing at several European festivals over the next couple of months; the tour will also
include a few low-key shows of his own and a couple more slots with the Red Hot Chili Peppers. The
set will most likely reflect the harder material on his forthcoming album - currently standing at half-rock,
half elegiac instrumentals. Moby is currently finishing the album, which should (hopefully) be out later
this year.

There are no plans at the moment for any American dates, but we'll update you as & when we get any.

June
14      Sweden          Hultsfred Festival
16      Germany         Cologne Underworld      (own show)
18      Germany         Hamburg Marquee         (own show)
20      Finland         Messila Festival
21      Finland         Joensuu Festival
23      Macedonia       Skopje                  (own show)
24      Serbia          Belgrade                (own show)
25      Hungary         Budapest Kissstadium    (Red Hot Chili Peppers)
26      Czech Republic  Prague Sports Hall      (Red Hot Chili Peppers)
28      Denmark         Roskilde Festival
29      Norway          Oslo - Isle of Calf Festival
30      Italy           Milan Sonoria Festival

July
03      Norway          Oslo Spectrum                   (Red Hot Chili Peppers)
05      Belgium         Tourhout        Festival
06      Belgium         Werchter        Festival
08      France          Paris Arapaho                   (own show)
11      UK              London Splash Club              (own show)
12      Spain           Doctor Music Festival
14      Greece          Athens Rock Of Gods Festival

August
25      UK              Reading Festival (main stage)

Voodoo Child, one of Moby's alter egos, will be releasing an album in the UK and Europe in July. It'll be
available by mail order several weeks before release and at a special price from mid June - if you're not
already on our UK snail-mail list please e-mail us your address now to make sure you get the info.
Unfortunately Elektra have no plans to release it in the US at the moment, but you'll be able to order it
- along with any of Moby's other Mute releases - from Mute Bank Mail Order, 429 Harrow Road,
London W10 4RE. Send s.a.e. or call the 24 hour credit card hotline on 0181 964 0029 (fax 0181 964
3722).

---------------------------------- DEF. The third most comfortable place you'll ever be.
Moby Info 5

album

Moby's new album, Animal Rights, was released in the UK, Europe, Australia and Japan on
September 23rd. The tracks are: Now I Let It Go, Come On Baby, Someone To Love, Heavy Flow,
You, My Love Will Never Die, Soft, Say It's All Mine, That's When I Reach For My Revolver, Face It,
Living and Love Song For My Mom. The album sees Moby concentrating on the rock elements he
previously aired with tracks like All That I Need Is To Be Loved and New Dawn Fades, although his
singles include new dance tracks and initial pressings of the album CD will include a 9-track
instrumental bonus CD, Little Idiot. The album is planned for release in the US and Canada in early
1997.

singles

The first single from the album, That's When I Reach For My Revolver, was released in the UK and
Europe on August 26th; the formats included 6 completely new tracks (not from the album), the
version of God Moving Over The Face Of The Waters included on the Heat soundtrack, and remixes
by Rollo and Sister Bliss. A second single from the album, Come On Baby, will be released in early
November; it'll include more new B-sides plus mixes by Crystal Method and Eskimos & Egypt. Both
these singles will be available through Mute Bank (details overleaf) from a month after their release.

live

Moby has recently completed a month-long festival tour of Europe, plus appearances at the Reading
and Greenbelt festivals in the UK. He is currently supporting Soundgarden on their European tour in
September and October:

September
16      Glasgow Barrowlands             UK
17      Manchester Apollo               UK
18      Wolverhampton Civic Hall        UK
19      Brixton Academy                 UK
19      Camden Crawl                    UK (not with Soundgarden)
21      Barcelona Pabellon Vall Hebro   Spain
24      Winterthur Eulachhalle          Switzerland
25      Bologna Palasport Di Casalecchio   Italy
26      Milan Palavobis                 Italy
27      Berlin Arena                    Germany (with Rammstein)
28      Hamburg Docks                   Germany
29      Berlin Tempodrom                Germany
30      Prague Sports Hall              Czech Republic

October
2       Hannover Musikhall              Germany
3       Neu Isenberg Hugenottenhalle    Germany
5       Köln Live Music Hall            Germany
6       Ludwigsburg Forum               Germany
7       Munich Zenith                   Germany
9       Paris Le Zenith                 France
10      Brussels Forest National        Belgium
11      Rotterdam Ahoy                  Holland
13      Copenhagen KB Hall              Denmark
15      Helsinki Icehall                Finland
17      Oslo Sentrum                    Norway
18      Stockholm Icestadium            Sweden

These shows will be followed by Moby's own European tour:

October
21      Manchester Hop & Grape      UK
22      Portsmouth Wedgewood Rooms      UK
23      Cardiff Arts College            UK
24      London Electric Ballroom        UK
27      Belfast Limelight               UK
28      Dublin SFX                      Eire
29      Liverpool Krazy House           UK
30      Glasgow King Tut's Wah Wah Hut  UK
31      Edinburgh Venue                 UK

November
2       Sheffield Leadmill              UK
3       Bristol Fleece                  UK
5       Gent Vooruit                    Belgium
8       Hamburg Logo                    Germany
9       Bremen Wehrschloss              Germany
10      Berlin Loft                     Germany
11      Herford Phuture Club            Germany
12      Cologne Luxor                   Germany
13      Essen Zeche                     Germany
14      Dresden Star Club               Germany
16      Munich Backstage                Germany
17      Offenbach MTW                   Germany
19      Geneva L'Usine                  Switzerland
20      Berne Wasserwerk                Switzerland
22      Eindhoven Efenaar               Holland
23      Amsterdam Milky Way             Holland (with Marylin Manson)

other stuff

...Moby is currently producing an Ozzy Osbourne track, Walk On Water, for the forthcoming Beavis &
Butthead movie.

...He's recently completed remixes for Metallica (Until It Sleeps), Soundgarden (Dusty), Smashing
Pumpkins (1979), Beck, the Heads (ex-Talking Heads) and Interactive.

...An CD of early B-sides and rare tracks has been released in the US by Instinct Records (catalogue
number EX-335-2). It also includes a bonus CD of 14 different mixes of Go.

voodoo child/trophy records

Moby recently released an album under the name Voodoo Child. The End Of Everything is an album of
simple, melodic electronic music; a single, Dog Heaven, was also released in June on Moby's own
label, Trophy Records. Forthcoming Trophy releases include singles by Julie and Roberto Sorrenti; all
Trophy releases, as well as Moby's UK releases on Mute Records, are available from Mute Bank Mail
Order (details overleaf).

e-mail/internet

You can now e-mail us at def@mail.bogo.co.uk; we'll e-mail you with news when we get it. You can
also find information on Moby at http://www.hyperreal.com/music/artists/moby/ (unofficial but very good
site), on Mute's web site - http://www.mutelibtech.com/mute/ - or via the Mute Liberation Technologies
Bulletin Board, which can be dialled up on +44 (0) 181 964 8223. Users going through the Internet
should Telnet to mutelibtech.com.

--------------------------------

merchandise/backcatalogue

The following merchandise is cuurently available:

* Animal Rights t-shirt - army green ringer or standard T * Little Idiot Moby t-shirt - white/navy ringer or
navy standard T * Evil Ninja Moby t-shirt - white ringer or burgundy or white standard T * Moby t-shirt -
charcoal grey standard T

For more info, prices etc e-mail us. We can send info in the following ways:

snail mail - e-mail us your address for a catalogue fax - e-mail us your number e-mail - info but no
pictures
Moby Info 4

                                      January 1996

Everything Is Wrong - Mixed & Remixed & Remixed & Mixed Moby has completed a two hour, 26 track
non-stop DJ mix of some of the tracks and remixes (including some previously unavailable mixes) from
the original Everything Is Wrong album. "He pulls his work apart, thrashes his tracks out of all
recognition and delivers a monumental non-stop DJ mix that's shockingly effective," wrote the Melody
Maker. "CD One, titled 'Hard Techno, Joyous Anthems, Quiet Ambience', is a barrage of invention...
CD Two, aptly named 'New York Hard House, Groovy Acid, Melodic Trance', is a much darker journey.
Often hypnotic, constantly intriguing, this is one for connoisseurs of the underground, though
unsurprisingly a little hard to handle immediately after the full-blown excesses of CD One." It's released
as a double CD and cassette in the UK and Europe on January 15th; unfortunately there are no plans
to release it in America or the rest of the world at the moment. However, you can order copies through
Mute Bank (see below).

Bring Back My Happiness

Bring Back My Happiness has been released as a single in Belgium and Holland, and will be released
in Germany with exclusive new mixes by Moby (as Voodoo Child) and Interactive, plus a Josh Wink mix
(featured on the new Everything Is Wrong mix album) on February 5th. A video is currently being put
together in New York. Bring Back My Happiness was also released as a single in America at the end
of 1995; the CD included the Junior Vasquez mix of Into The Blue and two new tracks - In My Life and
Alone.

Trophy Records

Moby's own label, Trophy Records, has so far released two singles - Higher/Desperate by Voodoo
Child and Why Can't It Stop? by Lopez, a DJ from New York's Lower East Side underground. There
are two more singles coming out in the near future - another from Lopez, Emptiness/Fucked Up, and
the first release by DJ Cake (a minimal/deep house DJ from New York's gay house scene), Sugar
Baby/Found A Way. All Trophy releases are distributed through Mute in the UK and Europe only and
are or will be available from Mute Bank (details below).

Live

Last year Moby headlined the second stage at America's Lollapalooza festival, which toured all over
the US. He also made a couple of appearances on the main stage alongside Sonic Youth and Hole.
Following that he toured Europe with the Red Hot Chili Peppers; at a couple of shows he performed
nude, and at some the Chili Peppers' drummer joined him on stage. During the summer he also played
at several European festivals, including Feile in Ireland, Tribal Gathering and Greenbelt in the UK and
Seinijorki in Finland. This year he's planning to continue his domination of the festival circuit - more info
soon.

Other stuff

Everything Is Wrong has been named LP Of The Year by Spin magazine in America; Feeling So Real
and Everytime You Touch Me were their favourite singles. Everything Is Wrong was also listed as one
of the Top Ten albums of the year in Rolling Stone, Esquire, GQ, New York, Village Voice, LA Times,
Entertainment Weekly and New Yorker.

Courtney Love has asked Moby to produce the next Hole LP, but at the moment it doesn't look like
he'll be able to do it - he's tied up recording his own album.

Moby's recorded a version of Devo's Whip It for an Elektra LP titled Wonderama - other acts on the LP
include Coolio, Neil Young, David Hasselhoff and the Flaming Lips. He's also done a version of the
educational song Verb for an LP called Schoolhouse Rock on Sony; other artists include Beck,
Pavement and Hole. At the moment both these albums are only scheduled for release in the US.

He's recently completed a remix for Smashing Pumpkins; Smashing Pumpkins' Billy is doing a remix for
him in return.

Moby is currently working on his new album, due out later this year, and also on a Voodoo Child album.

Movies & videos

Moby has two tracks on the soundtrack of the new Pacino/De Niro movie, Heat. His version of Joy
Division's New Dawn Fades plays during the chase scene and God Moving Over The Face Of The
Waters is used during the movie's climax.

Moby makes a cameo appearance as a DJ in a movie due out this year, Joe's Apartment - it's about a
man who makes friends with the cockroaches in his apartment.

He's been asked to contribute a track to a forthcoming X Files compilation album, and may make a
cameo appearance in one of the shows. He recently directed the video for the Mercury Rev single
Young Man's Stride.

E-mail

You can now e-mail us at def@mail.bogo.co.uk; we'll e-mail you with news when we get it. You can
also find information on Moby on Mute's web site - http://www.mutelibtech.com/mute/ - or via the Mute
Liberation Technologies Bulletin Board, which can be dialled up on +44 (0) 181 964 8223. Users going
through the Internet should Telnet to mutelibtech.com. If you also want to receive this info by snail
mail, e-mail us with your address.

Merchandise

The following merchandise is currently available by post; unfortunately we don't take credit cards so
make cheques/postal orders payable to Moby and send to DEF, PO Box 2477, London NW6 6NQ, UK.
If you live outside the UK please send an international money order for UK pounds (available from your
bank). Add 1 pound extra for postage in the UK, 2 in Europe and 4 everywhere else. Allow 6 weeks for
delivery. If you want to see what the shists look like e-mail us with your postal address.

Evil Ninja Moby t-shirt - short sleeved. Front print features large Evil Ninja Moby (as seen on new remix
LP); back has small ENM with wording. Black & white on burgundy. Size XL. 10 pounds. Black on
white. Size XL. 10 pounds. Black on white skinny fit shirt with black sleeve & collar trim. 11 pounds.

Evil Ninja Moby ski hat - black and white embroidery on black knitted hat. 10 pounds.

Everything Is Wrong t-shirt - short sleeved. Front print features Moby cartoon; back has list of
environmental facts taken from 'Everything Is Wrong' sleeve. Black & white on pale blue. Size XL. 10
pounds. White on black. Size XL. 10 pounds. White on navy blue skinny fit with white sleeve & collar
trim. 11 pounds.

World Tour 1995-96 t-shirt - short sleeved. Moby logo and name on left breast and list of countries on
back. White on black. Size XL. 10 pounds.

European Tour 1995 t-shirt - short sleeved. Moby logo and name on left breast and list of cities &
dates on back. Black & white on dark green. Size XL. 8 pounds. Navy blue on dayglo orange. Size L. 8
pounds.

Backcatalogue/posters

All of Moby's UK releases on Mute Records, as well as all Trophy releases, are available from Mute
Bank Mail Order, 429 Harrow Road, London W10 4RE. Send s.a.e. or call the 24 hour credit card
hotline on 0181 964 0029 (fax 0181 964 3722). Mute Bank also have posters for some of Moby's
releases.
 

                                     Moby Info 3

                                      March 1995

Everything Is Wrong Moby's first official album, Everything Is Wrong, will be released on March 13th. It
includes versions of Hymn, Feeling So Real and Everytime You Touch Me as well as the infamous
House of Suffering mix of All That I Need Is To Be Loved. As you'd expect from Moby, it's far from your
usual dance album; one American reviewer likened it to loading up his multidisc CD player and
pressing the random button. "Everything Is Wrong suggests through its diversity how one-dimensional
most techno/trance/jungle/ambient/progressive house albums can be," he wrote. "[It] embraces all
those sounds, plus elements of funk, punk, metal, industrial, blues, classical, New Age and art rock."
The next single from the album will be Into The Blue; it's scheduled for release in the UK on June 19th,
and various formats will include mixes from the Beatmasters, Junior Vasquez, Phil Kelsey, DJ
Seduction, Steve Mason and Jon Spencer (of Blues Explosion "fame").

Everytime You Touch Me The winner of the Everytime You Touch Me remix competition was Jude
Sebastian - his mix was included on the 12" and the first CD of the single. A second 12", featuring
mixes by four runners-up - Totalis, Quatermass, Ron Verboom and Tabernacle - will be released on
March 13th.

Trophy Records

Moby has set up his own label, Trophy Records. He plans to release experimental techno tracks along
the lines of Demons/Horses, the single he released on NovaMute under the name of Voodoo Child
last year. All the releases will be distributed through Mute Records, and the first release will be another
from Voodoo Child - Higher/Desperate (there'll be a bonus track, Sim 1, on the CD). It'll be released in
the UK and Germany on June 5; as yet there are no plans to release it anywhere else.

Other things

Moby recently appeared on MTV's Most Wanted, where he performed Jimi Hendrix's Purple Haze, an
acoustic version of Everytime You Touch Me and the HOS mix of All That I Need Is To Be Loved. He
also presented MTV Party Zone and MTV Dance, in which he insisted on swapping clothes with VJ
Simone Angel.

Tour

Moby will be touring Europe and Israel in March and April. Here are the dates:

March
27      Derby University                UK
28      London LA2                      UK
29      Manchester Sankey's Soap        UK
30      Northampton Roadmenders         UK
31      Lokeren Cherry Moon             Belgium

April
1       Bristol Trinity                 UK
6       Tel Aviv Cinerama               Israel
7       Dublin SFX                      Eire
8       Helsinki Tavastia               Finland
12      Amsterdam Paradiso              Netherlands
14      Leipzig Aufensee*               Germany
15      Bremen University*              Germany
16      Frankfurt Scheittner*           Germany
17      Bonn Biskuithalle*              Germany
19      Stuttgart LKA                   Germany
20      Munich Terminal                 Germany
21      Hannover Tor 1                  Germany
22      Berlin Tranenpalast             Germany
23      Hamburg Docks                   Germany
26      Eigen's Ballroom, Copenhagen    Denmark
27      Stockholm Geno                  Sweden
29      Oslo Sentrum                    Norway
30      Dortmund (Mayday)               Germany

May
5       Vienna - see press for details
6       Oxford (Universe)               UK

* 14th, 15th, 16th and 17th April are with The Prodigy.
Moby Info 2

                                    September 1994

Moby's new single, Feeling So Real, is released on October 17th. It features a death metal version of
the Joy Division song New Dawn Fades, and also contains all the separate parts (drums, keyboards,
vocals etc) of his next single, Everytime You Touch Me. Anyone interested can do their own remix of
Everytime You Touch Me on a DAT (digital audio tape); if your mix is chosen you'll win $1,000, and your
mix will be used on the Everytime You Touch Me single. If a lot of good mixes are received a
compilation may be released. The address to send your DAT to will be printed on the single sleeve,
and all entries must be received by November 7th. Feeling So Real will be released on 12", 2 CDs and
cassette; the parts for Everytime You Touch Me appear on one CD and New Dawn Fades on the
other CD and the cassette single.

Moby and Westbam have swapped remixes. Westbam is a German DJ who runs his own techno label,
Low Spirit; his last four singles have all gone Top 40 in Germany. He's done a remix of Feeling So Real
(on the 12" and one CD), and Moby has done two exclusive remixes for the next Westbam single, Bam
Bam Bam, scheduled for UK release on November 7th - Moby's Dub Mix and the Paul Yates Mix. Paul
Yates is a friend of Moby's who sometimes plays keyboards for him on stage.

Go was re-released on September 13th in response to a car advert broadcast earlier this year - the
advert's music sounded rather more than a little similar to >Go, and many people thought it was
Moby's music. It's not. Moby is not involved in any way with the advert and has not received any money
from it. He will not have his songs used to sell cars. Go is available again to set the record straight, and
is on sale at a low price; all Moby's royalties from the single will go to the charity Transport 2000, which
campaigns against road building and to improve public transport. Transport 2000 can be contacted on
071 388 8386.

Moby will be touring the UK during late November and early December. The dates are:

24th November           Sheffield University            30th November
London Subterania
25th                            Glasgow Arena                   1st
December            Bristol University
26th                            Dublin Tivoli                   2nd
Norwich Waterfront
29th                            Brighton Zap                    3rd
Leicester University
Moby Info 1

                                     October 1993

Moby was given his nickname when he was a few days old. His real name is Richard Melville Hall, but
he has been called Moby since he was an infant. If you call him Richard he probably won't know who
you are talking to, as the only people who call him Richard are his landlord and his dentist.

Moby is currently living in a small industrial space (no bathroom, no running water) in Manhattan.
However, he is looking for a new place to live and work, so if you know of any nice spaces where you
can make loud music at 4:00 in the morning, please let us know.

Moby started studying music when he was 10 years old. When he was 15 he played in a punk band
which lasted for two years until he went off to college. At school he studied philosophy and
photography until leaving in 1984 and becoming a DJ. He started making his own electronic music in
1984, but didn't release his first record until 1990. Moby is proficient on guitar, bass, drums, keyboards
and, of course, a wide variety of electronic instruments. He's a very strict vegetarian (no animal
products at all) and an environmentalist, and he tries to live according to the teachings of Jesus Christ.

While Moby currently works with an extensive array of recording equipment and instrumentation, it
should be stressed that you don't need a lot of equipment to make good music. Please realize that
until very recently Moby had a very small and basic electronic studio. "Go", for example, was recorded
on a 16-channel mixer in a living room with an 8-track sequencer.

At present Moby is working on mixes for the next single (including a hardcore punk version of "All That
I Need"). He is also working on songs for his first official album, which should be released in the spring
of 1994. In October Moby will be touring Germany with Front 242 and in November he will be touring
the United States with Orbital and the Aphex Twin.

As a remixer, Moby has workied with Depeche Mode, Brian Eno, Michael Jackson, The Shamen, The
B-52s, Pet Shop Boys, Eskimos & Egypt and Erasure, amongst others.

Future Moby releases will be on Mute Records for England and Europe and on Elektra for the United
States and the rest of the world.

Moby's only UK show this year will be with Eskimos & Egypt at London's Astoria 2 on October 23rd.
Please get there early as he'll be on around 8:30 and the venue closes at 10:30.
The following release was received from MCT Management on February 11, 1997.
 

MOBY UPDATE

On February 5, 1997 a record release party was thrown at Don Hill's for Moby's new album, Animal
Rights. Label executives and members of the press squeezed into this small venue alongside
members of Blur and Girls Against Boys. Also in attendance was David Bowie, for whom Moby will be
remixing a song called "Dead Man Walking" from Bowie's new album, Earthling.

The first single from Animal Rights, "That's When I Reach For My Revolver" has just been remixed.
Look for remixes coming soon from Flea, Philip Steir, Rollo & Sister Bliss, as well as Moby.
MCT Moby Info

Dec. 11

Moby's long awaited second Elektra album "Animal Rights" is finally coming out in America on Feb. 11.
Some of you may have already seen the Mute import of "Animal Rights" at the more expensive import
price. We have good news, if you wait for the American version, you will be in for a treat. Not only is it
less expensive, but it has 16 tracks instead of 12 and 5 of the songs were not on the import. The
easiest ways to tell the difference between the two CD's are:

   1.Cheaper price
   2.Green Moby lettering on the cover instead of Orange
   3.16 Tracks instead of 12
   4.It's on Elektra not Mute

We all love the Mute record but Moby feels that the new sequencing on the Elektra record is the way
he always envisioned it.

The American track listing for "Animal Rights" is:

   1.Dead Sun
   2.Someone To Love
   3.Heavy Flow
   4.You
   5.Now I Let It Go
   6.Come On Baby
   7.Soft
   8.Anima
   9.Say It's All Mine
 10.That's When I Reach For My Revolver
 11.Alone
 12.Face It
 13.Old
 14.Living
 15.Love Song For My Mom
 16.A Season In Hell

Additional Moby news:

The first single off the new album will be "That's When I Reach For My Revolver." There will be a very
special 7 inch vinyl collectors single released by Subpop and it will be Revolver b/w Whip It (Yes, the
Devo Song).

Touring:

Moby has just returned from a three month tour of Europe. He toured with Soundgarden and also did
his own sold out headline tour

Moby will do a special unannounced show in New York in the beginning of February and will play in
New Orleans on Feb. 13. He plans to tour with his band starting in mid-February through the Spring of
97. He will then go to Europe for a couple of months to do some Festivals. We'll keep you up to date
on any new developments.

Interesting Projects:

Moby just produced the Ozzy Osbourne song, "Walk On Water" for the Beavis and Butthead movie

1996 fun remixes:

Moby remixed the next Soundgarden single "Dusty", "Until It Sleeps" by Metallica, "1979" by The
Smashing Pumpkins and "Greyhound" by Jon Spencer.
From Select Magazine, January 1994

Moby

Now he's the ultra bpm messiah of skinhead hardcore keyboardry with a bit
of Christian thrown in.  But he used to be a disciple of skinheaded
hardcore guitaring.

"I've been in different bands since I was ten, about 30 or 40 bands.
There wasn't a lot else to do where I grew up except form bands, play for
a couple weeks, break up and then form another band.  When I was 15 I was
in a hardcore punk band called The Vatican Commandos.  We were like Black
Flag or Bad Brains.  We wore sneakers, jeans, T-shirts and good old
American skinheads.  I think if I saw us I'd like us.  We were full of
youthful exuberance.  It established my ethos for stage presentation.  I
think performance should be engaging, threatening and entertaining.

"Around 1982-83 I was in Flipper.  I sang with them a couple of times
when one of their singers was in jail.  Flipper was angstful, noisy punk
rock.  They weren't really grunge.  Well, they didn't know how to play
their instruments very well, so they sounded grungey.  Around 1987 I was
in Ultra Vivid Scene - I played guitar for about two months.

"I've been listening to a lot of my old hardcore punk records.  My guitar
is creeping back in and I've been giving my record company speed-metal
demos and I don't think they're too happy about it..."
 
 

******************************************
From Moby  12 Apr 1994
 

another often asked question(in addition to syncing 303's) is:

HOW DO I GET PEOPLE TO HEAR MY MUSIC?

heres my advice:

1)work hard hard hard.  make music all the time and don't be lazy.  iwant
if you want to mak dance records hang out in clubs, at raves, in record
stores, etc.  be aware of what's going on.  if you're a dj you're in good
shape already.

2)don't watch tv, make music.  spend your money on equipment, not food or
video games or drugs or clothes etc.

3)in putting together a demo tape have your friends whose opinions you
trust pickyour songs.  oftentimes musicians lack objectivity when
evaluating their own music.

4)only put 3 or at most 4 songs on you demo tape.  if someone wants to
hear more they'll ask you.

5)don't send demo tapes 'blindly'.  figure out the labels tat you want to
send music to and call them.  get a name from the company as to who you
should send tapes to and send to that person.  if possible deliver the
tape in person.  most small labels are(or should be) receptive to unknown
artists.  call and be persistent(but not too annoying).

6)if you can, get a manager, someone to work for you and send taps around
and make deals and get you shows.  most musicians are lazy and inept when
it comes to the business side of things(at least i am).

7)be persistent.

8)be persistent.

9)don't give up.

10)decide what exactly you want to do-do you want to only make songs in
your bedroom or are you willing to perform and do interviews and make
videos,etc?  if you want to perform then start performing.  play anywhere
just to get practice.

11)if you get an offer don't jump at it.  get a GOOD LAWYER who kows
music law, not a friend of the family or something.  be patient, most
likely the company will try to rip you off, protect yourself.  and never
ever give away your publishing to the record company unless they make you
a phenomenal deal.

12)don't be afraid to experiment.  making generic trance or hardcore or
jungle won't accomplish anything, and no one will notice.

ok
good luck, hopefully this will be in some way helpful.

moby
From: tlims@mindvox.phantom.com (Richard Hall)
Newsgroups: alt.rave
Subject: remixing advice
Date: Thu, 28 Apr 94 11:55:36 EDT
 

yet another commonly asked question(in addition to-how do you sync up a
303?, how can you make reords?etc) is-how do you do a remix?

there are many ways to do a remix, here are some of the most common:

1)get the master tape(usually 24 track 2 inch, sometimes 48 track) take
it to a studio and either remix the existing tracks or replace certain
parts(drums, bass, etc) with your own.  to replace tracks you can either
play new tracks live or lock up a sequencer to the tape(usually via
SMPTE).

2)an increasingly common way to do a remix is to take the master tapes
and put the tracks that you want(vocals, interesting sounds, etc) onto
dat and then sample them.  you then basically write a new song and
sequence the sampled parts from the original song.  most people remix
this way cos it enables you complete freedom and allows you to do the
work in the privay of their own studio.  i've done both ways and i much
prefer this way.

3)write a new song based on the original, but that includes nothing from
the original.

after mixing many people then edit the track(more common when the remix
was done completely from the original 2 inch tape(s)).  the old way of
editing was to put the song(and whatever parts the remixer wanted to
include)on 1/2 inch tape and break out razor blades and cut it up and
tape it back together(derrick may was the king of this, as were the latin
rascals).  nowadays most people do their editing digitally with sound
tools, pro tools, or some other hard disk based editing system.

there is no right or wrong way to remix or edit, in fact the more
unconventional approaches tend to yield the most interesting results.

bye,
moby
From: tlims@mindvox.phantom.com (Richard Hall)
Newsgroups: alt.rave
Subject: 303 syncing
Date: Thu, 07 Apr 94 10:39:06 EDT
 

one of the most commonly asked questions about 303's(and other pre-midi
synths) is how to sync them to a midi clock.  i'm not a huge expert but
here are my suggestions:
korg make(or made) a groovy midi-dinsync converter called the kms-30 that
does the job perfectly-midi in, sync out.  unfortunately you need a
dinsync cable, for although midi and dinsync look the same(5 pins) they
are not.
the roland sbx-10(and sbx-30?) as mentioned by joe 909 in an earlier post
is a phenomenal machine for syncing but is quite expensive and also hard
to come by.
the roland 707(i think) also has midi-dinsync conversion capabilities.

all of the above mentioned things will only activate the 303's sequencer
in sync with your midi clock.  to use the 303 as a tone generator and
trigger it's oscillators(moog, i believe) you either need to have it midi
retro fitted(which is expensive and tricky at times depending on who does
it) or you can get a control voltage-midi converter.  i have one (a
roland mpu-101) but i've never used it, so although this method should
work i can't vouch for it.

if you cant get a hold of any of these things you can always sample your
303 and trigger the sequences that way(but of course then you can't twist
the knobs).

happy acid,
:)
moby
From ne-raves-owner@techno.Stanford.EDU Mon Nov  8 09:47:08 1993
From: STASIKS%AM.mrgate@aspen.uml.edu
Date: Mon, 08 Nov 1993 12:43:13 EST
Subject: 11-1-93 people magazine article on Moby!!!
Status: OR

Hi fellow ravers and netters!

well, while I was at work tonight In Lowell, doing my once a week radio thang,
i was poking thru a people (gasp!!) magazine, and was 'shocked and surprised to
discover' a one pager article on Moby!!

Here it is...

People Magazine  11-1-93

WHALE SIGHTING:  One of Herman Melville's Descendants surfaces as a top techno
rocker; just call him Moby.

Although he is a acclaimed music maker, Moby - otherwise known as Richard
Melville Hall - lives in a disused New York City factory with no bathroom,
kitchen or running water.  "I guess I just have a melodramatic side," he says.

     That side may be inherited.  Moby, 28, is the great-great-grandnephew of
Moby Dick author Herman melvile, whose own personal melodrama purportedly
included living briefly among cannibals in the Soth Pacific.  Nicknamed after
the great white whale, Moby is a leviathan in techo-music - the pulsating
electronic sound popular at clubs and raves.  Already a star in Europe, he's
had two No. 1 club singles in the U.S. and was dubbed King of Techno by
Billboard following the August release of his EP 'Move'.

     Born to James Melville, a chemistry professor who died when his son was
2, and his wife, Elizabeth, now a doctor's aide, Moby grew up in Darien,
Conn., where he formed his first punk rock band, the Vatican Commandoes.
After dropping out of SUNY Purchase, he deejayed at a trendy Manhatten club
and used his homemade remixes to score a British record contract.  Stateside,
he remixed singles for Micheal Jackson and the B-52's and in July signed a
five-record deal with Elektra.

     Unlike his whale-hunting ancestor, Mody is a vegan, as such he and
girlfriend Laurel Sheriden, 20, a college student, have forsworn meat and
other animal products ("Though in a moment of weakness, I might buy leather
shoes," Moby admits).   He is also a Christian who abstains from drinking or
drugs, in part because his father was killed while driving drunk.  "There
seems to be a tradition of tragic male figures in the Melville family," Moby
says, "I'm sure [something tragic] will happen to me."

      Mayby so, but when it comes to literary matters, nobody is likely to
confuse him with Herman.  "I've tried reading Mody Dick about three times,"
he says, "but the long passages where he gets bogged down describing
whales just loses me."  []
 
 

----

well, i thought it wasn't bad considering the source....

- Stef

 
Stefan Stasik **              Brighton Ave., Boston, MA USA
** IRC: DJay  **     No Commercial Potential - WZBC 90.3 FM Newton, Mass.
stasiks@woods.uml.edu  -* This Sig: Work In Progress.....*-
"But I Still Don't Know Anyone Named Stefan!!" - Some Stupid Commercial
 

Here's the complete (or reasonably complete) text of the "Moby flamewar"
which raged on USENET's alt.rave during October & November of 1993.

Prior to the posts archive here, there had been some discussion about the
nature of live performance in techno, and quite a few persons had stories
of having seen Moby perform "live" -- syncing to a DAT player and
banging on unplugged keyboards while dancing around.

Evidently one of Moby's friends mentioned the discussion to him, and
Moby's response was the first post you see below.

Moby now has an Internet account with news access and his posts have
been much less dramatic as he gains experience with the net.

(by the way, the "Joe" referred to in Moby's first post is Joe LeSesne,
who records under the name "1.8.7.", and who has been a vocal critic of
Moby - he made a remark to the effect that Moby was probably beating on a
cardboard keyboard...)

-----

From: trance9@clarknet.clark.net (Trance 9)
Subject: Moby's post
Date: 9 Oct 1993 20:51:28 -0400

Moby wanted me to post this on the net, If you have any response e mail
them to me and i will make sure that he gets them.
Michael Meacham (trance9@clark.net)
 

the tour is called 'see the light'.  this title was thought up by
scotto.  my friend paul said 'why not call it raved and confused?' but
sadly the artwork had already gone out.  feel free to use 'raved and
confused' as a title if you so choose.  acts are orbital, aphex twin,
vapour space (cool techno from rochester), dj tim from utah saints, db
from nasa, and me (moby).  dates are dc, new york, boston, montreal,
toronto, detroit, chicago, denver, las vegas (?), phoenix (?),
tijuana(?), san diego (?), la, san fran.  i'm heading out now to tour
germany and france with front 242, hopefully their fans won't kill me.
now, regarding this whole live vs dat debate...my shows in the past have
relied on dat for drums, samples, etc.  this show will be more live, but
basically, who cares?  would you rather watch a totally 'live' and
totally boring act that doesn't even break a sweat or an act that puts
things on dat and puts on a good show?  acts that use dat for part or all
of their show are - depeche mode, nine inch nails, meat beat manifesto,
808 state, moby, n-joi, etc.  acts that don't use dat - grateful dead,
chick corea, yes, james taylor, etc.  my point is that i would rather be
entertained by an act that maybe has some things (samples, time code,
etc) on dat than be bored to tears by a band (techno or otherwise) that
does everything 'live'.  people who make an issue out of 'is it live?'
techno are dangerously reminiscent of people who can descibe eric
clapton's guitar solos in depth and who dismissed punk, techno, hip-hop,
(and jazz and rock and roll for that matter) as not being valid because
you didn't need a masters degree in music theory to appreciate them.
there, that's my diatribe for today.  note to joe - my keyboard's not
made of cardboard, it's a fully functioning multi timbral yamaha sy35
capable of receiving 8 midi channels simultaneously for 16 note
polyphonic playback.  my drum pad is a roland spd-11 with 64 patches, A/B
sound layering for each pad, approximately 300 on board sounds, and full
midi capability.  i also have an old octapad and moog that are barely
functional but are a lot of fun to throw around.  and unlike milli
vanilli i write, engineer, and produce all of my music with help from
nobody.  stop smoking, moby
 

From: cspot@cats.ucsc.edu (Christopher Edward Hilker)
Newsgroups: alt.rave
Subject: Re: Moby's post
Date: 10 Oct 1993 02:40:17 GMT

In <297mag$had@clarknet.clark.net> trance9@clarknet.clark.net (Trance 9) writes
:
>Moby wanted me to post this on the net, If you have any response e mail
>them to me and i will make sure that he gets them.
>Michael Meacham (trance9@clark.net)

I'm posting. Like it or lump it.

[Tour info deleted]
>now, regarding this whole live vs dat debate...my shows in the past have
>relied on dat for drums, samples, etc.  this show will be more live, but
>basically, who cares?

Hm, a guessing game. Let me see...Moby? Nah... The promoters? Nah...
The sound tech? Nah... What about the audience? Think they might care?

>would you rather watch a totally 'live' and
>totally boring act that doesn't even break a sweat or an act that puts
>things on dat and puts on a good show?

Whether or not an act sweats is completely irrelevant to me. Putting your
act on DAT makes it impossible for you to react musically to the situation.
Stage presence is worth nothing. I don't go to raves to watch some guy
dance around on stage. If there's a live act, it better be live, and
the music better be good. Orbital's stage presence consists of dancing
around a bit when the music comes off particularly well, and occaisionally
smiling at the people standing next to them watching them work. But their
live show kicks ass, precisely because the music *can* come off well on
a given night because of their talent.

>acts that use dat for part or all
>of their show are -

>depeche mode,

Who cares.

>nine inch nails,

Who cares.

>meat beat manifesto,

Really? I'd like to quote Pete Ashdown's post to sfraves about the MBM show he
promoted.

PA>backwards.  So we had to take the house power down (everyone had to save
PA>everything on their synthesizers, NO TAPES WERE USED),

So it's your word against his. For some reason, I trust Pete more.

>808 state,

There have been numerous posts in this forum about how shitty 808 State
are live.

>moby,

Duh.

>n-joi, etc.

I saw N-Joi live a couple years ago. I may as well have listened to the
'Live in Manchester' EP on a big sound system.

>acts that don't use dat - grateful dead,
>chick corea, yes, james taylor, etc.

And Orbital, the Cocteau Twins, the Beastie Boys, Ultramarine, the Aphex
Twin...

>my point is that i would rather be
>entertained by an act that maybe has some things (samples, time code,
>etc) on dat than be bored to tears by a band (techno or otherwise) that
>does everything 'live'.

And my point is that aside from MBM, your entire list of DAT acts have
boring live shows. I'd much rather go to a rave with a DJ spinning,
who can at least react to the moment in terms of selecting records
and deciding when to mix out of one cut, than pay $25 to see some
guy up on stage pretend to play synths and throw a temper tantrum.

>people who make an issue out of 'is it live?'
>techno are dangerously reminiscent of people who can descibe eric
>clapton's guitar solos in depth and who dismissed punk, techno, hip-hop,
>(and jazz and rock and roll for that matter) as not being valid because
>you didn't need a masters degree in music theory to appreciate them.
>there, that's my diatribe for today.

Musicians who pooh-pooh their audience's concerns by casting aspersions
on their taste may find themselves without an audience before long.

Music lovers who think that "performances" that are advertised as being
live really should be live are interested in getting value for their
dollar. Is that hard to understand?

>note to joe - my keyboard's not
>made of cardboard, it's a fully functioning multi timbral yamaha sy35
>capable of receiving 8 midi channels simultaneously for 16 note
>polyphonic playback.  my drum pad is a roland spd-11 with 64 patches, A/B
>sound layering for each pad, approximately 300 on board sounds, and full
>midi capability.

But are they plugged in?

>i also have an old octapad and moog that are barely
>functional but are a lot of fun to throw around.

Have fun throwing them around at home then. Don't waste my time with
rock and roll bullshit.

C.
--
(chris.hilker) cspot@cats.ucsc.edu

"If spiders were in control, we wouldn't need nuclear weapons."

From: eiverso@cms.cc.wayne.edu
Subject: Re: Moby's post
Date: Sat, 09 Oct 93 23:05:42 EDT

I prefer to post this response. Just a few thoughts to add that Chris
didn't include in his wonderful reply.

>the tour is called 'see the light'.  this title was thought up by
>scotto.  my friend paul said 'why not call it raved and confused?' but

Raved and Confused? Don't make me puke! :-P
Unsubtle Led Zepplin references are cool to you?
"Go" figure! ;-)

>now, regarding this whole live vs dat debate...my shows in the past have
>relied on dat for drums, samples, etc.  this show will be more live, but
>basically, who cares?  would you rather watch a totally 'live' and
>totally boring act that doesn't even break a sweat or an act that puts
>things on dat and puts on a good show?

What kind of a question is that? Oh yeah I'd much rather see a totally
boring "act". Now I notice your consistent use of the word "act".
When I see a public performance of music, I'd like to think I'm
seeing sincere artists, and not merely an "act".

>acts that use dat for part or all
>of their show are - depeche mode, nine inch nails, meat beat manifesto,
>808 state, moby, n-joi, etc.

Are these the totally boring ones? ;-)

>acts that don't use dat - grateful dead,

I'd be careful with this one as there are many alt.ravers who like
the GDead. I think they suck, but there we are. :)

>chick corea, yes, james taylor, etc.
Hey, you forgot to mention Led Zepplin! :)

>my point is that i would rather be
>entertained by an act that maybe has some things (samples, time code,
>etc) on dat than be bored to tears by a band (techno or otherwise) that
>does everything 'live'.

There you go again giving those same 2 lame choices. I'd rather see
a band (or "act" if you prefer) that can interact with their technology.

In addition to the ones Chris mentioned, Kraftwerk and Cybersonik are
good examples of musicians who put on a great show, are completely live,
use no tapes, and can control the pace of their shows through their use
of technology. Unless you can really respond to your audience and give
them a truly personalised show--i.e. not one that follows the same
pace and order every time--then you have yet to know how exciting live
performance can be (your reputation, notwithstanding).

>people who make an issue out of 'is it live?'
>techno are dangerously reminiscent of people who can descibe eric
>clapton's guitar solos in depth

How about Jimmy Page's solos? _Dazed and Confused_ rocks, d00d! :)

So now you're the taste police?

>and who dismissed punk, techno, hip-hop,
>(and jazz and rock and roll for that matter) as not being valid because
>you didn't need a masters degree in music theory to appreciate them.

Maybe they are dangerous to you because you sense that popular opinion
will turn against you if the techno-buying public thinks you put too much
of your "act" on DAT. Your defensive attitude has done nothing to bring me
onto your side. Your eletist hinting that it's not cool to like the
Grateful Dead, Yes, etc. makes you look like an insecure ass.

>midi capability.  i also have an old octapad and moog that are barely
>functional but are a lot of fun to throw around.  and unlike milli
>vanilli i write, engineer, and produce all of my music with help from
>nobody.

Too bad they don't give out awards for that, huh? :)

>stop smoking, moby

Just had to add one last facsist remark, huh?
OK I'll stop smoking because you said so!
Actually I don't smoke to begin with.

Let's see if it works for me too...

stop believing in christ,

--Eric  ...:::(  P  E  E  d  h  A  C  k  E  |)  eiverso@cms.cc.wayne.edu
        ...::::)                            |\  ex_machina@umich.edu
"There lies my problem ... I've not heard enough Ex Machina" --Steve Quigg

From: lazlo@unm.edu (Lazlo Nibble)
Subject: Re: Moby's post
Date: 9 Oct 1993 23:17:39 -0600

Trance 9 <trance9@clarknet.clark.net> wrote (allegedly for Moby):

> now, regarding this whole live vs dat debate...my shows in the past have
> relied on dat for drums, samples, etc.  this show will be more live, but
> basically, who cares?

If a musician can't be bothered to play the show live, I can't be bothered
to cough up hard-earned dough for the privilege of watching them.  Unless
you can come up with a way to play the music without relying on tapes for
half the sound coming out of the speakers, please don't waste your fans'
time by touring.  Or at least have enough honesty to bill the show as
"Moby shakes his ass onstage over a prerecorded rhythm track for the
pleasure of young technoboppers".

> acts that don't use dat - grateful dead, chick corea, yes, james taylor...

I'd rather suffer the worst touchy-feely excesses of a Dead show than sit
through a 45-minute mimed embarrassment by some self-styled studio wizard.

> my keyboard's not made of cardboard, it's a fully functioning multi
> timbral yamaha sy35 capable of receiving 8 midi channels simultaneously
> for 16 note polyphonic playback.

I'm sure we'd all be much more impressed by the hardware if you'd bother to
plug it in while it's onstage.

> stop smoking, moby

Mind your own business, Moby.

--
Lazlo (lazlo@unm.edu)

From: sclover@swell.actrix.gen.nz (Stephen Clover)
Date: Sun, 10 Oct 1993 08:10:53 GMT
Subject: Re: Moby's post

thought i'd add my thoughts here

dat/sequencing can be good, can be bad. i don't
think you can generically say either is the case
and leave it there

i don't mind it when an artist uses dat/sequencers
live. it may be necessary. there is a limit to the
number of additional musicians an artist can hire
to perform. but it becomes pointless and frankly
ridiculous if it becomes an alternative to live
performance

if you're going to have a huge array of equipment
and stand there and pretend to play an instrument
then, basically, fuck off, i'll (maybe) buy your
recordings. if you've bothered to actually plug
it in, i may stay for the end of the show

if you're going lower yourself to the depravation
of pretending to sing, fuck off (ROB and FAB)

steve/

(i've stopped smoking and i'm _still_ as open
minded as ever)
--
"hey poor! you don't have to be poor anymore!"

From: sfwhite@sciborg.uwaterloo.ca (Stephen White)
Subject: Re: Moby's post
Date: Sun, 10 Oct 1993 09:17:02 GMT

interesting.  moby posts, and thus far (on my machine) has received
three harsh negative replies.

i like moby's music.  i think it kicks hard.  i think he does
something that very few of you can do.  no, i don't think this gives
him the right to be the arbiter of taste or to throw temper tantrums
on stage.  but i think you might be a little less harsh in judging
him.  he's just this guy, y'know?

if i were he, and i was sensitive to others' opinions (which of
course he isn't, since he doesn't do what all you "fans" want him to
and turn heavy studio albums into live masterpieces), and read them,
it'd be enough to make you want to pack your bags and move to peru
or something.

which, i suppose would make some of you a lot happier.

-=- sfw

lone moby fan
--
Stephen F. White
sfwhite@sciborg.uwaterloo.ca
"Too bad we can't dance on USENET." - Brian Behlendorf

From: cs90rwr@brunel.ac.uk (Richard W Rackham)
Subject: Re: Moby's post
Date: Sun, 10 Oct 1993 11:52:56 GMT

: Moby wanted me to post this on the net, If you have any response e mail
: them to me and i will make sure that he gets them.
: Michael Meacham (trance9@clark.net)

Show him my views below :

: basically, who cares?  would you rather watch a totally 'live' and
: totally boring act that doesn't even break a sweat or an act that puts
: things on dat and puts on a good show?  acts that use dat for part or all
: of their show are - depeche mode, nine inch nails, meat beat manifesto,
: 808 state, moby, n-joi, etc.  acts that don't use dat - grateful dead,

Moby - I saw you at the Town and Country club in London supporting 808 State.
You came on, and I might have well just played my "Next is the E" CD Single
and play my keyboard along to the melody.  808 State came on and sounded live -
their music didn't sound as if it lifted straight off one of their CDs.
Graham Massey was there playing guitar and messing about with his Moog Synth
making it sound different to their singles and LPs.  Yes 808 were using a DAT
(whe most obvious part was when they played One in Ten and UB40 were nowhere to
be seen), but they complimented it with playing some instruments live.

The sad thing about that night was that I went to see you (not 808 State), and
I thought 808 were better.  If you are insisting just to play a DAT of one of
your tracks that has been released commercially, then I won't bother going.

: does everything 'live'.  people who make an issue out of 'is it live?'
: techno are dangerously reminiscent of people who can descibe eric
: clapton's guitar solos in depth and who dismissed punk, techno, hip-hop,

Not really - the record companies need someone to "play live" in order to
promote the music.  They feel that to promote an album or whatever, the band
or musician needs to tour.  With techno music, the promotion is really done by
DJs playing the music at clubs.  The only reason I go to gigs is because I want
to hear the band play live.  I don't really care whether they are actually

playing live or not, but I would like it to sound as if they were.  Some dance
bands can do it - 808 State and The Orb are good examples.  So why can't you ?

: midi capability.  i also have an old octapad and moog that are barely
: functional but are a lot of fun to throw around.  and unlike milli
: vanilli i write, engineer, and produce all of my music with help from

Good - that is why I still buy your records.  I just won't bother to see you
play "live" again.

: nobody.  stop smoking, moby

Richard (cs90rwr@brunel.ac.uk)

From: kellyd@cybernet.cse.fau.edu (David Kelly)
Subject: Re: Moby's post
Date: Sun, 10 Oct 1993 15:42:14 GMT

sclover@swell.actrix.gen.nz (Stephen Clover) writes:

> dat/sequencing can be good, can be bad. i don't
> think you can generically say either is the case
> and leave it there

i'm not sure that people here would have as much of a problem with
sequencing..  it's entirely obvious that many (most?) of today's music
relies on sequencing and _cannot_ be played live..  but with sequencing
the ability is still there of 'tweaking' sounds (using resonance on
acidic sound, etc)..

i would also go so far (personally) to say that i don't have a problem
with MODERATE use of dat for live shows but:

  a) there should be a LARGE portion of music being performed OR
     manipulated live.  if a dj (who is playing prerecorded music) is
     doing more 'manipulation' of music than the live act, then it isn't
     a live act; it's a dance act with prerecorded musical accompaniment.

  b) the portion of music that IS on dat had better not be virtually the
     same as 12" or album versions!  the people pay to see a show, and
     the show should include a lot of music that they can't hear at home
     on a cd.  now i'm not talking about all new songs; i just mean
     there's nothing worse than seeing a 'LIVE' act that just plays
     their cd in the background sans vocals (or in some cases WITH
     vocals!).

now i don't know how much moby specifically has prerecorded when he plays
live (i have never seen him, don't want to) so i am not judging him, but
if it's true that very little of what he 'performs' is LIVE then he is
destined to be grouped with the likes of robin s and new kids on the
block..  that speaks for itself i think.
 

-----
i been hip-MO-tized.

kellyd@cybernet.cse.fau.edu

From: trance9@clarknet.clark.net (Trance 9)
Subject: About Moby
Date: 10 Oct 1993 01:05:55 -0400

OK I think people are making too much of this.
I have seen Moby play many times and I have even had him play for me at
The Future rave last year. Everybody loved him. I think if I went to see
U2 and the show was on DAT I would definitely be offended. But look at it
this way, when a performer goes to a rave they have no idea what they are
getting in to.There are so many things that can go wrong. Also consider
that he is only one person. He does play some things live. I'm not
defending Moby because he is a friend. It's because I have a lot of
respect for him as a musician and I think he has a great live performance.
Michael Meacham
 

From: lazlo@unm.edu (Lazlo Nibble)
Subject: Re: Moby's post
Date: 10 Oct 1993 12:58:03 -0600

Stephen White <sfwhite@sciborg.uwaterloo.ca> wrote:

> lone moby fan

Please don't put up this ridiculous "I-Alone-Understand-The-Travails-Of-
The-Artist" pose.  Most of us like his music.  We just don't like the fact
that his "live" performances could be easily duplicated by a DJ and a
poster of his face pinned up on the back wall of the club.  If you don't
mind paying real money to see a mostly-pretaped show, fine; other people do.

Just because you like an artist doesn't mean you have to agree with every
stupid decision they make.

--
Lazlo (lazlo@unm.edu)

From: st1pk@rosie.uh.edu (Disco!)
Subject: Re: About Moby
Date: 10 Oct 1993 14:22 CDT

In article <29857j$o01@clarknet.clark.net>, trance9@clarknet.clark.net (Trance
9) writes...
>OK I think people are making too much of this.
>I have seen Moby play many times and I have even had him play for me at
>The Future rave last year. Everybody loved him. I think if I went to see
>U2 and the show was on DAT I would definitely be offended. But look at it
>this way, when a performer goes to a rave they have no idea what they are
>getting in to.There are so many things that can go wrong. Also consider
>that he is only one person. He does play some things live. I'm not
>defending Moby because he is a friend. It's because I have a lot of
>respect for him as a musician and I think he has a great live performance.
>Michael Meacham
>

     I saw Moby over the summer and he didn't have his keyboard plugged
   in. In fact...I remember seeing this other guy behind the curtains
   playing the keyboards. Who is this guy? Is he the *real* moby?
   Until now..i refuse to believe that short guy is Moby and that
   he is actually pretending to be moby and pretending to play keyboards.

--
    daniel k. taylor    |  "...I feel much better now."
    st1pk@jetson.uh.edu |      HAL 9000, from 2001:A Space Odyssey

From: eiverso@cms.cc.wayne.edu
Subject: Re: About Moby
Date: Sun, 10 Oct 93 16:43:09 EDT

st1pk@rosie.uh.edu (Disco!) writes:

>        I saw Moby over the summer and he didn't have his keyboard plugged
>   in. In fact...I remember seeing this other guy behind the curtains
>   playing the keyboards. Who is this guy? Is he the *real* moby?

hehe "Pay no attention to the man behind the curtian!" :)

>    daniel k. taylor    |  "...I feel much better now."
>    st1pk@jetson.uh.edu |      HAL 9000, from 2001:A Space Odyssey
 

--Eric  ...:::(  P  E  E  d  h  A  C  k  E  |)  eiverso@cms.cc.wayne.edu
        ...::::)                            |\  ex_machina@umich.edu
"Life in the air age...it's grim enough to make a robot cry" -- Bill Nelson

From: ccjy@sun.cse.bris.ac.uk (J. Young)
Subject: Re: Moby's post
Date: Tue, 12 Oct 1993 09:42:21 GMT

In article <f1sami.750329025@uta.fi>, Samu Mielonen <f1sami@uta.fi> wrote:
>Is raves and rave music something so serious that one must tell others to
>'fuck off'? I think there lies a challenge in giving constructive
>criticism and being polite at the same time, but it seems many are not willing
>to take up on that challenge. So much for that friendly rave neigborhood.
>(and please, if your sole intention is to tell me to 'fuck off' make
>it e-mail).

AT last. A man with a conscience and a brain.
Nice one.

May i just point out the problem we are having in England with the so
called Rave scene.
When it hit the major times in 1991/2 it was a great feeling of everyone
together .  All dancing talking hugging, whatever.  Good times.
But now, as we progress to the latter part of 1993 we see something
immerging on the scene.  A major split up.
What used to be labelled "Rave" has now gone into various sub sections.
Taking it avid followers with it to its new defined quaters.
You have your darkside fans.
You have your Breakbeat fans.
You have your techno fans.
You have your progressive fans.
Etc...etc...

All of which are having a good time dancing to the sounds of which they
like the most.  Now there is nothing wrong with this.
Except now you find that the people loving the sounds of say 120/130bpm
dance music, find the darkside breakbeat music not in their scene.
Thats fine.  But we get the araogance with it now.
The "bad vibes" if you wanna call it that.
Gone are the days of Nations under one flag.

So my point is this.  If you don't like one thing. It doesn't make it
wrong just because you don't like it.  Its just not on your agenda.

"Its not a matter of opinion when it comes down to this...Its just a
difference of opinion that much i can take!!"  - Faith No More

Read it and understand it.  Music is a sound.  Nothing more.
If you don't like the sound...switch off, leave, walk away.
Don't kill it cos you don't like it.

Now lets stop with the "Hey we're throwing axes at Moby on alt.rave" type
of conversations.  Its not even a good point of argument.  Fine, display
your views.  But do them in a manner that people can respect your
critisisms and not make yourself look like an avid supporter of the
"We are the meat eating satanic worshipping KKK club".  Don't waste my time.
Be real and positive, not so hardcore you can't see your nose and negative.
 

TIME OUT.

My friends

U4ia......almost is never enough
 

From: bbehlen@soda.berkeley.edu (Brian Behlendorf)
Subject: Re: Moby's post
Date: 12 Oct 1993 10:30:08 GMT

In article <CEs2yM.6v6@info.bris.ac.uk>,
J. Young <ccjy@sun.cse.bris.ac.uk> wrote:
>So my point is this.  If you don't like one thing. It doesn't make it
>wrong just because you don't like it.  Its just not on your agenda.
>
>"Its not a matter of opinion when it comes down to this...Its just a
>difference of opinion that much i can take!!"  - Faith No More

That has nothing to do with why everyone responded so harshly to Moby.
It has everything to do with the fact we feel cheated when told of a
"performance" that is really mime.  He could be playing cello, if I
heard it was on DAT while he was up there banging away on his woodwin
instrument, I'd still be pissed.  And not only was it blatant, he
castigated those who had a problem with it!

>Now lets stop with the "Hey we're