View Full Version : Moby's new album: Wait for Me out June 30th

04-15-2009, 01:31 PM
Moby asks you to Wait…

By Michael Roffman on April 15th, 2009

Maybe it’s a new trend, but it seems like more and more acts are churning out new material left and right these days. We’re not going to complain, however, especially when the likes of Moby is involved. That’s right. Only a year after he put out his throw back album Last Night, New York’s own bald boy wonder is back with something to really talk about.

Titled Wait for Me, this ninth studio album puts Moby at work with his emotions again, only this time he promises things to be a bit more personal and moody:

“In making this record i wanted to focus on making something that i loved, without really being concerned about how it might be received by the marketplace. as a result it’s a quieter, more melodic, more mournful and more personal record than some of the records i’ve made in the past”

Everything about this album is handcrafted, even down to the album artwork, which Moby constructed with copy paper and black sharpie markers. He’s also kept this project secret for an entire year, a feat that isn’t too hard given that he’s been recording in the confines of his own home. That’s not to say he didn’t have any help. In addition to his friends’ creative contributions both musically and artistically, producer Ken Thomas (of Sigur Ros and M83 fame) joined in the fun, sharing duties with the mixing. Moby seems quite pleased:

“mixing the record with him was really nice, as he’s creatively open to trying anything - like recording an old broken bakelite radio and running it through some broken old effects pedals to see what it would sound like. it’s on the record as a :45 second long track called ’stock radio’”.

As if that all weren’t thrilling enough, director David Lynch (Twin Peaks, Mulholland Dr.) is also on board with this renegade inventive effort. The cult director shared his creative sensibilities with the video for the current premiere single, “Shot in the Back of the Head”. it’s an animated video, black and white, but somehow the director manages to squeeze that trademark mystery of his into the three minutes and fifteen seconds. What a perfect song, too. It’s just the kind of song fans of Last Night (or his earlier work) will downright hate. For those interested, the single is currently available as a free download via his official site.

So, let’s do a quick run though. A depressed Moby? Check. A moody, atmospheric single? Check. An excellent video? Double check. From the sounds of it, this could be a great, great thing. Let’s just hope he has some interest in an Area: Three Festival this time around. Pretty please?

Wait For Me arrives in stores June 30, 2009.


Moby got David Lynch to direct the video for his new single:

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04-15-2009, 02:03 PM
A Moby (Live) tour would be nice. Ooo reversed sample intro... moody!

“In making this record i wanted to focus on making something that i loved, without really being concerned about how it might be received by the marketplace. as a result it’s a quieter, more melodic, more mournful and more personal record than some of the records i’ve made in the past”

Translation: For my last release, I tried to make an album that would be full of songs that advertisers would love to license.

04-15-2009, 02:07 PM
He should do another metal album. Animal Rights was fantastic.

04-15-2009, 02:38 PM
Sweet. I bet this sucker has at least 3 songs I can spin on my show.

04-15-2009, 06:14 PM
Hopefully Moby didn't do a live tour for his last release so that he could do so for this album.

04-27-2009, 01:11 PM
From Moby:

Moby to play at The Southbank Centre's Meltdown Festival in London
posted on april 27, 2009

On Tuesday 16th June, Moby performs live at the Royal Festival Hall as part of free jazz pioneer Ornette Coleman’s Meltdown festival.

This upcoming live show marks the first time Moby will play songs from his new album Wait For Me in the UK. Wait For Me will be the debut release on Moby’s own label Little Idiot on June 29th 2009.

Ornette Coleman is a neighbour of Moby’s, and both have supported and performed as part of Tibet House’s international campaign for the support of Tibet. A long time admirer of Ornette’s work, Moby says:

“I'm flattered and honoured to be asked by Ornette Coleman to play at his Meltdown festival. His approach to music, and the integrity with which he's comported himself in all that he's done, is a big inspiration to me. i can't think of anyone alive who's pushed things as far and as hard as ornette coleman.”


04-27-2009, 01:22 PM
I :pulse Moby!!!

04-27-2009, 01:28 PM
He should do another metal album. Animal Rights was fantastic.

Seriously. That album was so awesome. This was a solid cover, too:


05-29-2009, 10:54 AM
Mobys first self-released single, Pale Horses, will be released on June 22nd on his own label Little Idiot. The second track from Mobys upcoming new album Wait For Me (out June 29th). More info at http://moby.com

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07-16-2009, 09:03 PM
By Maya Marin / LiveDaily Contributor

It was a balmy spring day in West Hollywood, CA, when Moby [ tickets ] arrived for his interview with LiveDaily. Taking advantage of the nice weather, we ushered the affable, bespectacled musician up onto the roof and into a shady spot overlooking the billboard-laden Sunset Strip.

As locals know, the Strip is more than just a road; it's a veritable visual assault of towering images and words officiously touting what movies to watch, clothes to wear and music to listen to--a strange backdrop for an artist who often decries the blatant commercialization of the arts, but somehow also fitting for a music icon who (controversially) brought the once-underground genre of electronica to the radio-listening masses.

He inspected our recording equipment when technical difficulties arose ("Once a sound engineer, always a sound engineer," he quipped), and once all was up and running, we spoke about his favorite TV shows (and recent cameo), his new record, his hero and friend David Lynch, and a strange encounter with right-wing pundit Bill O'Reilly.

Despite his music being an airwave mainstay in the '90s and early 2000s, he claims to not care a whit whether his latest effort, the dark and melodic "Wait For Me," draws airplay or attains commercial success, as he really only writes music for the smallest of all possible niche markets: himself.

We'll get to the music, but first, was that you I saw on the "30 Rock" season finale standing behind Michael McDonald?

As a matter of fact, it was the weirdest bunch of musicians. I think they called every musician living within a 10-mile radius of the studio in New York and said, "Are you a fan of the show? And if so, please come sing." So it was myself, the Beastie Boys, Clay Aiken, Elvis Costello, Norah Jones, Cyndi Lauper--I mean, like, the most random assortment of musicians. But it was so much fun. We got there in the morning and basically had all day to hang out. And the cast and crew were so excited that we were all there. So I got my picture taken with Kenneth the page [actor Jack McBrayer] and I accidentally almost killed Tina Fey's baby.


I was playing with her child who's about 2 years old and I got a little bit too excited, and it started choking and threw up on itself. I've never felt more embarrassed in my entire life. Tina Fey is, I think, the world's most perfect woman. She's so smart and so funny--so to almost accidentally kill her baby! The day was wonderful, but that was a low point in the day for me.

But it had a happy ending.


Is there another television show that you'd like to make a cameo on?

Well, for a long time, my goal was to be on "The Simpsons," and that sort of happened. They used my music in one of the episodes, and then there's an episode where Marge and Homer win tickets to go to the skybox at a hockey game, and Marge walks into the skybox and says "Oh, it's so modern and contemporary here, just like Moby's house on 'Cribs.'" That was nice. Now what's left is "The Family Guy." I'm 43 years old, but I've got the tastes of a stunted adolescent.

Alright, Seth McFarlane: get Moby on the show! So about your new album, "Wait For Me," you've said that David Lynch is a direct inspiration for it. What was it that he said that struck a chord with you?

David Lynch has always been a hero of mine and I love 99% of the movies that he's made, especially the darker, more experimental ones. And about a year and a half ago, I was in England and he was talking at BAFTA, which is the British Academy of Film and Television Arts, he was talking about creativity and how--I'm paraphrasing, but essentially, how creativity shouldn't be judged by how well it accommodates the marketplace. Creative expression shouldn't be judged on how much money it generates. It shouldn't be judged on gross revenue or record sales. Creativity should be solely judged on the intentions of the artist who is creating it and how it affects whoever is experiencing it. Music should be judged on how the listener responds to it subjectively, not necessarily how big a billboard is or how much money it generates. And that's what I truly believe. And it's difficult, living in this climate. The onus, so often, is put on creativity to generate a lot of money. And when people talk about art and music, they don't talk about its artistic merits. They talk about its ability to make money for people. I'm not saying there's anything wrong with that, I'm just saying that that's a world and process that I don't really want to be involved in. What's precious to me is being able to spend my life making music and having people who are sometimes willing to listen to what I do. And that's honestly pretty much all I care about.

These should be words to live by for all artists.

Well, the old antagonistic punk rocker in me wants to judge other people who do devote their professional lives accommodating the marketplace. But at the same time, it's not my place to judge what other people do. If other people love fame for the sake of fame and love money for the sake of money, God bless 'em. I hope it makes them happy. I just see fame as being a corrosive institution. If you think about it, famous people are miserable. The number of famous people who become alcoholics, addicted to drugs, in therapy five times a week, on anti-depressants--I don't know why everyone in the world wants to be famous, because rock stars and movie stars have a short life expectancy and, for the most part, are pretty unhappy.

You've said that this album is the most personal album that you've ever made. Do you find that you're a lot more self reflective at this time in your life?

When I was much younger, I had this irrational assumption that youth lasted forever. When I was 25, I thought to myself, "I'm 25, I've been young my entire life and I will continue to be young my entire life." I thought that youth was perpetual. And at some point you realize, you get a little bit older, and then you start realizing that life is short. And the moment anyone realizes that life is short, it's an existential crisis. How do you respond? Do you panic and buy a Hummer and get hair implants and start dating D-list actresses? Or do you try and figure out what actually could give a life meaning and substance? Which, ideally, should be a spiritual grounding, work that you love, spending time with your friends, and, in my case, trying to make music that I really love.

I've listened to the album and it's very beautiful.


I love "Shot in the Back of the Head," for which David Lynch directed that amazingly creepy video. All the songs, in fact, are very moody. What does this say about where you are right now?

I think, simply, what it says is that I really like personal, emotional music. I mean, I love a good, fun, party song. At 2 o' clock in the morning, if you're in a bar with your friends and "Brown Sugar" by The Rolling Stones comes on, it sounds great. But the music that I really care about is more introspective, more emotional, more melodic, more personal. So [this album] certainly is not a party record. It's not a nightclub record. It's not a bar record. It's a record for someone to listen to pretty much on their own. You know--Sunday morning, 9 a.m., it's raining outside, you lie in bed, you put on this record, and hopefully that's when it makes the most sense.

It's a very moving record, and producer Ken Thomas, who famously worked with Sigur Ros and Throbbing Gristle, seems to be the perfect fit. How did he help you achieve the sound that you wanted?

There are a lot of modern records that I find to be unnecessarily bombastic. Even ballads that are produced like speed-metal songs. It seems oxymoronic: a loud ballad. It's because there are a lot of insecure people at record companies who think that everything needs to be mixed for radio. And radio is not a medium that responds well to subtlety; radio is inherently unsubtle and bombastic. And I wanted to make a record that was quieter, that had dynamics, that had subtlety, that had nuance, and that, production-wise and mix-wise, would be a lot more experimental. And Ken Thomas, luckily, since his background is experimental music, he was thrilled to do this. So when I was mixing this album, I wasn't mixing for pop radio. I wasn't mixing for nightclubs. I was mixing for someone who was going to listen to this record at home pretty much by themselves.

There are gorgeous vocals, too, on the album. Who do you have as guest vocalists?

I've worked with a lot of singers over the years and I love to sing myself, but I don't have the greatest voice in the world. So, if I want to have beautiful voices on my records, I have to work with people who can really sing, and that means either working with famous professional singers or my friends. And famous people are a pain in the ass. I mean, not always, but for the most part, famous people take themselves a little too seriously. They take their image a little too seriously. You have to go through lawyers and managers and so I'd rather just make records with my friends. So all the vocalists on this record are basically friends of mine [e.g. Amelia Zirin-Brown, Leela James] and it just makes the process so much more fun. You invite them over, they sing the song, you go out and get some spaghetti. There are no lawyers, there are no managers. At some point you pay them but it's not this long, drawn-out process involving hotel rooms and makeup artists, etc.

And do you write songs specifically for a certain vocalist in mind?

When I write the songs, I usually, at first, sing them myself. And if I can't do a good enough job singing the song, I try to figure out who else should sing it. And in a place like Los Angeles or New York, there's no shortage of people who can sing well, but what I really love are people who can sing well but also have very distinctive voices, and that's harder to find. Luckily, there are a lot of musicians in New York and a lot of them have very interesting voices. So, I feel like I got lucky to be able to have my friends sing on this record.

David Lynch actually has a great voice. Would you ever consider inviting him to be a vocalist?

Oh, yeah. Not to be a namedropper, but David has his home and studio fairly near here and I was over there and he played me some of the music he was working on. I think he had a song in "Mullholland Drive" and I think he might have had a song or two in "Inland Empire." I'm probably the only person on the planet who's seen "Inland Empire" four times in the theater. I think it was only playing in four or five theaters worldwide, but it was playing at the IFC Theater on 6th Avenue and I went and saw it four times because I loved it so much.

Did it make more sense the third or the fourth time around?

It does. The first time, I loved it, but it seemed like it had no--it didn't seem cohesive in a narrative way. And the second and third time, all of a sudden, it started to make a lot of sense. Especially since I saw it four times in the course of a month, it made a lot of sense. But yeah, I love the way he sings. He sings in that very halting falsetto.

I was reading your journal online and you spoke of a concert you were part of for David Lynch's transcendental meditation program, Change Begins Within. How does his transcendental meditation differ from the Eastern variety, and do you practice it yourself?

Well, the way I met David Lynch--as I said, he's been a hero of mine forever-- he was hosting a weekend in Iowa called the David Lynch weekend about quantum mechanics and transcendental meditation. And so if David Lynch invites you to Iowa to talk about quantum mechanics and transcendental meditation, you go! So I went and we spent the weekend together and I learned TM. And I thought TM was this ancient, mystical form of meditation. But it's actually quite simple. You close your eyes for twenty minutes and you repeat a sound to yourself and that's it.

And what is your mantra?

Oh, you're never allowed to share your mantra.

Oh, you're not allowed to? So that's the first rule of TM, I guess.

Yeah, it's like Fight Club. The first rule of TM is that there is no TM (laughs). But, yeah, it's a very simple, effective form of meditation. And David started an organization, the David Lynch Foundation, that teaches meditation to school kids. And it's really very effective because the kids who learn meditation, their test scores go up, their absentee rates go down. In general, they're a lot happier. So we had a concert to raise money for the David Lynch Foundation with the weirdest collection of musicians like Paul McCartney and Ben Harper, Eddie Vedder, Donovan, and me, and Jerry Seinfeld was one of the hosts. It was just a really wonderful, interesting event.

And you bumped into a very unexpected guest who was there that night.

Oh yes, that's right. So there was the event itself, which had the most random bunch of people, and it was fun for me because I got to play some of my own songs, but I also got to play drums next to Ringo Starr during a Beatles song. And then at the aftershow party--I normally don't go to aftershow parties these days, but I thought, "David Lynch is gonna be there, he's my friend, I'll go and support the organization," and Bill O'Reilly was there. And we were just sitting there staring, thinking "Why was Bill O'Reilly at a David Lynch aftershow party for transcendental meditation?" I wanted to go up to him and talk to him and just ask, "Why are you here?" I didn't want to be confrontational, but I was just really curious as to why Bill O'Reilly would be at a David Lynch party. Then Bill O'Reilly came up to David Lynch in a very humble way and said that he was very impressed with the concert and really impressed by the message and that he was going to talk about transcendental meditation on his show. I don't know if that happened or not but, I don't know, the Berlin Wall fell down and Bill O'Reilly is interested in transcendental meditation. It's like a paradigm shift.

That's really hard to imagine! Well, it's kind of a strange segue, but ...

Oh, speaking of segues, do you know what's funny? I never knew how to spell segue. I thought that segue was spelled like the crappy little wheelie machine that they have. It's S-E-G-U-E.

S-E-G-U-E, that's right.

My entire life I've read it as "seeg." So I was reading a book and I said that there was a "'seeg' between this and this," and an ex-girlfriend of mine said, "You're kidding, right?" She said, "You're 42 years old, you're a philosophy major, your mom was a literature major and you don't know that that's segue?" But it's still hard for me to not read it as "seeg" (laughs).

Well, I'm sure there's a huge amount of the population you've just schooled right now on the subject! Anyway, speaking of political commentators, I know you're very involved in politics, so I want to give you an opportunity to tell us about the organizations you're involved with and the causes that you're behind.

Well, I work with a lot of different, very disparate organizations. I've worked with Moveon.org on and off for a long time. I've worked on a lot of individual political campaigns like the John Kerry campaign and Al Gore's campaign and different senatorial campaigns. And at first I thought that the politicians wanted me around because of my trenchant insights, but, no, you realize they want you around because you can raise money. So on the Obama campaign, I actually didn't open my mouth that much, I just tried to raise money where I could. And then I work with the Humane Society because, specifically on a legislative level, they're really effective legislative advocates for animal rights. And there's this great organization that was started by Oliver Sacks called Institute for Music and Neurologic Function and they do a lot of brain research but specifically looking at the neurological ramifications of music therapy. It's pretty miraculous that music in addition to being fun and emotional and powerful can actually be a quantifiable source of healing.


07-16-2009, 09:29 PM
Moby sucks dick.

07-17-2009, 12:03 AM

09-18-2009, 03:13 PM
Moby's tour has just begun here in the states. He plays his second show in the US tonight in DC. I was unable to find a set list for his first show, Baltimore, but here is a recent one from Portugal on Sep 12th:

1. A Seated Night
2. Extreme Ways
3. In My Heart
4. Go
5. Wait For Me
6. Raining Again
7. Bodyrock
8. Mistake
9. Porcelain
10. Pale Horses
11. Why Does My Heart Feel So Bad?
12. We Are All Made Of Stars
13. Disco Lies
14. Walk With Me
15. Natural Blues
16. Walk on the Wild Side (Lou Reed cover)
17. Lift Me Up
18. Honey
19. Feeling So Real

Not too bad, it's a shame that I have another month to go before my show in Seattle.

09-18-2009, 03:22 PM
That looks like a great set list. I am so excited.

rage patton
09-18-2009, 03:24 PM
He is playing in Vancouver the same night as APTBS. Urgh. The show sold out the day after it went onsale though. So it looks like I missed that boat on that. At least APTBS is going to be awesome.

Im counting on Moby being at Coachella next year anyways.

09-18-2009, 03:27 PM
Well, it's been long enough. Much like it's time enough for Pavement to come back.

09-18-2009, 03:59 PM

09-18-2009, 04:23 PM
He is playing in Vancouver the same night as APTBS. Urgh. The show sold out the day after it went onsale though.

The Moby show? Wow.

09-18-2009, 07:41 PM
great setlist! wow! can't wait for the wiltern show.

i'm really digging the new CD. there's some great tracks on there.

09-18-2009, 11:39 PM
I really enjoyed his Rough Trade instore show recently, and i'm not even much of a fan. Far better than I was expecting.

09-18-2009, 11:42 PM
I've enjoyed him many times. He has never disappointed even through those moments of self-indulgence. :pulse

I'm ignoring my father's birthday for The Wiltern show. STOKED.

09-20-2009, 10:06 PM
I may have an extra ticket to the Wiltern show on the 14th. If you're interested, please PM me.

09-21-2009, 11:24 PM
Lucky SOB, that looks like a damn good show and 2hr15m too, I hope he has that much energy in him next month as well.

10-01-2009, 12:26 PM
Here's a really good review of the Chicago show and after party from CoS:

There’s a fine line between rock ‘n’ roll and disco — just ask anyone who lived to see Comiskey Park’s claim to fame, 1979’s Disco Demolition Night. But apparently one world-renown DJ, singer-songwriter, former punk rocker, and movie-composer extraordinaire doesn’t think so. You guessed it, Mr. Richard Melvin Hall himself, also referred to in some circles as, ahem, Moby. While timid and too kind on the microphone between songs (By the end of his initial set, the “thank you” count peaked at 3,789.), the North Eastern guru is a beast unto himself as he dances and jumps and screams throughout his amalgamation of rock, disco, soul, Mississippi Delta blues, R&B, trance, ambient electronica… pop.

“I have a confession to make,” Moby announces breathlessly. “I used to be a raver.” With a smile and a bashful demeanor that belongs to a nine-year-old, he launches into club-favorite “Feeling So Real”, which takes him behind a set of bongos, where he pummels madly to the erratic, unpredictable beats. It’s a charged moment for the sold out crowd at Chicago’s intimate Vic Theater, but it’s then and only then that people are thinking, “Oh yeah, he used to just be a DJ.”

A year ago, things were different. Moby popped up everywhere, from electronica festivals to secret club shows, but typically guesting as a celebrity DJ — which made sense, given his back-to-basics 2008 effort, Last Night. But really, that’s not why he’s Moby. He’s a pop culture icon for his unique musical innovations, particularly his celebrated work of ambient, moody, pop-rock. What started with 1995’s Everything Is Wrong (try and remember: “God Moving Over the Face of the Waters”) became fully realized with 1999’s critical-commercial smash Play and while the guy’s felt his share of hiccups (2005’s Hotel, for one), no one should ignore this year’s release, his genuine magnum opus, Wait For Me. That’s more or less a reminder than a statement, however.

After all, there’s so much to enjoy — something fully realized waist deep into Moby’s live set.

Halfway through the band’s cut of “Pale Horses”, which has vocalist Kelli Scarr crooning at the mic, it’s obvious: Moby’s written a blues-rock album. Sure, Wait For Me is layered with instrumentation, synths, and computerized effects, but at its heart, it’s chock full of Delta blues. That much is made even more certain when the man himself tells the crowd: “So, we’re going to do a cover song of the we just played.” He’s quietly laughing — hey, the joke’s on us — and quickly he thumbs the guitar while Scarr gives it another go, only this time with less flesh and more bone. Voila, the realization is fact. This actually happens quite a lot. When the rather voluptuous and hair-raising vocalist Inyang Bassey belts out past hits “Flower”, “In My Heart”, and especially “Why Does My Heart Feel So Bad?”, Moby’s initial framework isn’t quite as clear as it’s just downright blatant.

But, it wouldn’t be a real Moby show without the ambiance, and boy did he deliver. New and future favorites “Shot In the Back of the Head”, “Mistake”, and “JLTF” ooze with delight and tremor, embalming the audience with a moody cadence. Moby’s guitar parts might seem repetitive or even minimal (especially on “Shot…”), but he makes the best of it, clawing at his axe emotionally and working the crowd with stares and smirks. And once all-time classics “Porcelain”, “South Side”, and (the always badass) “Extreme Ways” roll by, it’s hard to ignore the little bits of minimalism that roll up to become something out of this world.

And while some can argue that it’s just a Moby-curated event, given the constant rotation of vocalists and top-notch instrumentalists, you have to remember it all derives from that bald head of his. Don’t forget that he’s quite the character himself. When he’s not slouching behind his black Gibson SG or bongo’ing it up, he’s dealing with irate, mixed-drink throwing fans (”I don’t bother you at Denny’s when you’re working.”), testing out new songs (the very New Order-esque “Effected”) and asking for approval (”We’re still trying to see if it’s good.”), slipping in oldies (the Twin Peaks-sampling “Go”), and soldering Led Zeppelin riffs and Black Sabbath’s “War Pigs” to one lengthy rendition of “Honey”. No, he’s not about to star in his own sitcom, but yeah, he is bringing joy to thousands of fans each night — especially the “quaint” motley crew of drunk 40-somethings, hot off their latest mid-life crisis (What the hell was up with that, Chicago?). What’s his secret? Who knows? But maybe, just maybe, it’s that disco and rock ‘n’ roll do belong together.
Aftershow Epilogue - Metro’s Smartbar

What can I say, I was pumped. During the concert I’d been chained to my shutterbug duties, no time to dance — but at Smartbar it was on. An hour after his rock ‘n’ roll heavy show had concluded, Moby was led into the DJ booth, and melded the beats of the previous DJ seamlessly into his own groove. This show had been kept on the DL, only people at the concert ($5 entrance fee with ticket stub) and those on Smartbar’s mailing list knew about it. As a result there were maybe fifty people, tops, in the club at one time. It was a majestic.

I’ve been around clubs a bit, not as much as some, but just enough to know how much suck there is in the DJ world and how few really know how to meld and create a unified tapestry of sound. This night shattered all that. Moby is a prodigy at the tables, and he worked the enthusiastic crowd like a master. He paced the audience, kept things hot, took off his earphones and riled us up into a flurry of bodies spasming in the strobe lights. I couldn’t identify any of the elements being sampled, I just moved and the music moved with me. For an hour and a half Moby worked the floor — a master of his domain, true to his roots, not rusty in the least. A guy threw his arm around me and said, “This is beautiful! This is so beautiful!” He was right. -C.B.


A Seated Night
Shot In The Back Of The Head
Wait For Me
Pale Horses
The Great Escape
South Side
In My Heart
Why Does My Heart Feel So Bad?
We Are All Made Of Stars
Walk With Me
Natural Blues
Raining Again

In This World
When It’s Cold
Extreme Ways
Feeling So Real


10-01-2009, 12:31 PM
I'm so excited, just 2 weeks away.

10-01-2009, 03:57 PM
Sweet. I'm going to the wiltern too. This will be my first time seeing him in 10 years. Wow.

10-01-2009, 04:14 PM
i'm going!... to junior boys at the el rey instead.

10-01-2009, 04:30 PM
i'm going!... to junior boys at the el rey instead.

you know junior boys isn't an underaged chippendales show, right?

10-01-2009, 04:41 PM
damn! ruin it for me why don't you..

10-01-2009, 07:59 PM
I heard on NPR today that Moby will be giving 75-100 thousand dollars from his California shows to provide support to victims of domestic violence, because he's appalled that the Governator has cut money to these programs.


10-01-2009, 08:26 PM
I ran into Moby just a couple of weeks ago at a local BevMo by me here in Sherman Oaks. It looked like him and his ma were shopping for wine. She was a sweetheart and seemed pretty knowledgeable about Marlborough Valley Sauvs. We chatted a bit. Moby was cool enough.

10-03-2009, 06:23 AM
I missed Moby's Mpls show last night but he did a GREAT in-studio appearance at local radio station - stripped down versions, playing acoustic guitar and piano, and good interview.


In the interview banter he mentions living across the street from Bowie and says his health is not great - ?

Also - flip back a page on the website to hear a session with Brian Eno. Our little public radio station with Eno and Moby in the same week.

Moby in 2010 please.

10-05-2009, 02:25 PM
I heard on NPR today that Moby will be giving 75-100 thousand dollars from his California shows to provide support to victims of domestic violence, because he's appalled that the Governator has cut money to these programs.


Here's further details:

Moby has confirmed that he will donate proceeds from three upcoming shows in California to assist the state's struggling domestic-violence shelters.

The three concerts--Oct. 12 in San Diego, Oct. 14 in Los Angeles and Oct. 15 in San Francisco--are part of the DJ/singer/songwriter's current North American outing, which kicked off last month and continues Tuesday night (10/6) with the first of two shows in Mexico City. Details are included below.

"I've decided to give all of the revenue from my upcoming California shows to the California Partnership to End Domestic Violence," he said in a press statement. "My hope is that by doing this I will enable domestic-violence prevention workers to continue their work, and also encourage other people to step in and help raise funds for domestic-violence prevention and care.

"Domestic violence is equal parts prison and torture for many women, and my sincere hope is that we can step up and help to protect women in California and end domestic violence."

The performer first announced the idea in a posting earlier this week at his Facebook page.

"I was just reading in the New York Times that California is cutting all state funding to its domestic violence program," he wrote. "As a result I would like to donate my fees from my upcoming shows in LA and San Francisco to domestic-violence programs in California. I don't know anyone who works on domestic-violence shelters and prevention in California, so if you know anyone please put them in touch with def, my management."

Moby continues to support his latest album, "Wait For Me," on the road. Released in June, the set peaked at No. 22 on The Billboard 200, the performer's highest-charting album since 2002's "18."


Pretty cool of him.

10-05-2009, 03:24 PM
Here's a video of Moby's in-studio performance I mentioned above:

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I love seeing a guy known for his EDM playing an acoustic guitar.
Moby 2010 please and thank you.

10-05-2009, 03:34 PM
no thanks.
Moby playing techno = yes
Moby trying to prove he's more than techno = no.

10-15-2009, 04:14 PM
moby: Just had a great press conference with senator yee and cpedv on steps of city hall. Amazingly smart and nice people and activists.


10-15-2009, 06:26 PM
that chick opened up for him and then was another singer in the band. she was great.

10-15-2009, 11:25 PM
that was fucking great.

someone tell me the names of all the songs where he was on the congas. I only know the name of 'go', although I recognized one or two others. the second to last song of the main set -- right after he announced he was going to play two dance songs -- I've not heard that before but it was fucking great.

a continuous stream of those conga songs would kill it in the sahara or at any rave.

and at the same time the slower songs were so beautiful.

10-15-2009, 11:42 PM
Coolio, I can't wait til Sunday night, luckily Sunny Day Real Estate will help pass the time tomorrow :D

10-16-2009, 07:36 AM
saw Moby at the Warfield in SF last night and had a blast. As mentioned previously on the board, his back-up singer was killing it. Way better than the last (and only other) time I saw him where it was just a DJ set (though not billed as such).

10-18-2009, 05:23 PM
Moby, Recorded Live In Berlin June 26, 2009

"Pale Horses"
"Extreme Ways"
"Natural Blues"
"Great Escape"
"Made of Stars"
"Walk With Me"
"Find My Baby"
"Wait for Me"
"New Dawn Fades"
"Why Does My Heart Feel So Bad?"
"Raining Again"
"Disco Lies Reggae"
"Lift Me Up"

Here is the link to NPRs dl: http://pd.npr.org/anon.npr-mp3/npr/asc/2009/10/20091015_asc_moby.mp3?dl=1

October 15, 2009 - I've enjoyed most of Moby's music this decade, but it wasn't until I heard Wait for Me this summer that I had a Moby record I loved as much as I loved his 1999 album Play.

So when I heard he was touring in support of Wait for Me, I couldn't wait to see him. In fact, we contacted Moby to try to webcast one of the early dates on his tour, at the 9:30 Club, back in September.

As it turns out, members of Moby's band — many of whom are European musicians — couldn't get the proper visas to enter the U.S. in time for the 9:30 Club date. So at the last minute, he scrambled to put together a new group and rehearse for an already-scheduled U.S. tour. Moby was rightfully a bit hesitant to webcast a concert with a band that wasn't fully seasoned with his new material, so we didn't record that show. Instead, he sent us this concert, recorded in Berlin on June 26, and it is stellar.

I did go to that 9:30 Club show — and, despite Moby's concerns, the music was great. Moby has a deep well of old and new material to pull from, and he assembled a great mix of pounding dance beats and heartfelt, soulful songs. For anyone who hasn't pulled out a Moby record in a while, after you hear this show, you're bound to want to.


10-18-2009, 07:14 PM
When I open this it only opens a new window. Is there a way I can actually download the file to be able to add it to iTunes?

Right click on the highlighted link inside the story and click on save (link/target) as.

10-18-2009, 11:34 PM
Moby was stellar this evening. I saw the Play tour and this was easily as good of a show.

During his set, Moby did a little talk about how Jimi Hendrix and himself have only had 1 song each within the US's Top 40. Jimi's song was Purple Haze and Moby's was South Side, so before playing South Side, Moby and band performed Purple Haze in its entirety, which was pure awesomeness.

Erika was able to snag a setlist too, here it is:


Good sh!t :)

10-19-2009, 08:59 AM
what the hell does "pb" stand for?

10-19-2009, 09:18 AM
Saw him the other day in Vegas. Wasn't able to get a setlist at the asshole House of Blues. I don't know the newer stuff well enough to say if it was the exact same, but it was damn close. He played for right about 2 hours, from 11 PM until 1 AM. I was amazed at how well he can wail on the guitar. Dude was rocking three different instruments all night, while sharing singing duties. It's one thing to do it in the studio and something else entirely to pull it off live. Mad respect. The show was phenomenal; I really enjoyed seeing live arrangements for some of my favorite songs, especially Porcelain. I will say, though, that a couple of the songs are ratcheted up for live performance and it kinda hurts them, IMO. I am speaking mostly of Flower and Honey, two tracks from Play that we're done in more of a rock style at the show and I would have rather heard the original, soul-ier versions. All in all, fantastic show and highly recommended. Plus, I can scratch Moby off my "have to see" list.

10-19-2009, 09:31 AM
During his set, Moby did a little talk about how Jimi Hendrix and himself have only had 1 song each within the US's Top 40.

What a fucking douchebag.

10-19-2009, 03:37 PM
I REALLY wish he wouldn't talk so much.

10-19-2009, 04:50 PM
I REALLY wish he wouldn't talk so much.

If this tour bothered you, which didn't bother me at all, you'd have died during the Play tour in '99 when Bush was running for President...Moby had A LOT to say that time around.