Published on Sep 2, 1999
Maybe some major artists out there are waiting until the new
century before turning out their latest work. So far, 1999, has
turned up some pretty tame offerings. You would think some of the
more notable artists out there would be pusing the deadlines to
make their statements before the new millennium begins.
Fortunately, I was able to scrap up enough cash to buy Moby’s
new CD,
Play. And so far, that is the only CD that I have listened
to this year so far that would make me believe this is the last
year of this century. By infusing some of this century’s earliest
genres of popular music (gospel) with elements of heavy metal and
some of the newest genres of music (electronica),
Play almost feels like a bookend for popular music in this
century.
Halfway through the album, I could already count three or four
songs that are destined to be classics, whether on the dance floor
or on college rock stations. Indeed, part of the problem of
Play is that a couple of songs in the first half practically
double dog dare you not to hit the ‘replay’ button. Starting off
with “Honey,” the listener is greeted with a simple clap beat with
the chanting of Bessie Jones. After a couple of stanzas, a tight,
chrisp drum beat drops down. The gospel singer and the raver are
now inseperable throughout the rest of the album.
Infusing two different styles into one doesn’t always make an
artist innovative, however. For every artist who is able to meld
two seemingly incompatable styles (i.e. gangsta rap and heavy metal
or punk and gospel) there’re scores of artists who make you think
twice about putting differing genres together. But Moby, along with
artists such as Bjork and the Chemical Brothers, have shown that by
adding elements outside of electronica into their music makes their
works resonate with a human warmth.
Other early highlights include the spacy, “South Side” and the
ass-moving, club-throbbing, “Bodyrock.” Moby, a devout Christian
and an even more devout vegan, is no stranger to following strict
doctorines. It is ironic that the most free-spirited album of the
year would come from an artist who is associated with some of the
most humorless people out there (extremely devout vegetarians and
fundamentalist Christians).
But, according to his liner notes, Moby has no interest in
excluding people from enjoying his music. And for the majority of
Play, the album tremendously succeeds in pulling all genres
together in a beautiful, cohesive collection. By using a bunch of
musical historians and archivists, Moby has dug up some of the most
inspired blues recordings for
Play. In “Why Does My Heart Feel So Bad?” we hear the
Shining Light Gospel Choir. In “Natural Blues,” we hear Vera
Hall.
For a guy who refrains from alcohol or any other drug use, it’s
ironic that
Play comes out as one of the best after-hours party albums
to come out in a while. In the first half, we get most of the
butt-shaking grooves of the entire album. For the last half of the
album, we get a more chilled out side of Moby. The trio of songs,
“Everloving,” “Inside,” and “Guitar flute & string” lay down
trippy, mellow beats. Those three songs feel like the “chill out
room” section of the album.
Some of Moby’s earlier albums, like
Everything Is Wrong and the metal-oriented
Animal Rights, were able to give Moby a dedicated cult
following as well as turn him into a critical icon. Now, with
Play, it seems almost inevitable that Moby’s star power is
going to break out. It is probably without coincidence that
Play is also Moby’s most accessible album he’s released. How
well that suits Moby’s fans is questionable. However, much like
“Odelay,” there isn’t an album more deserving this year to
hopefully break onto the Billboard charts. If you haven’t already,
go out and
Play.