Entertainment Weekly (8/28/92, p.66) - "...shows how intoxicating techno can be...wildly propulsive..." - Rating: A-
Q (7/00, p.137) - 4 stars out of 5 - "...Stands tall as a brave but immensely likeable and coherent dance album before anyone even thought such a thing might be possible....[the] quality is timeless..."
Alternative Press (7/95, p.115) - "...just the tip of the iceberg that continues to confound notions outside and within the rave community of what a techno artist can or should be..."
Solo performer: Moby (various instruments).
This is an enhanced audio CD which contains regular audio tracks and multimedia computer files.
Once upon a time there was a scrawny vegan named Richard Melville Hall who easily became bored. While he liked to play guitar and jump around onstage, he also found something fascinating about the computers that bands like Kraftwerk were using to create music. With stints in local punk group the Vatican Commandoes and nationwide punk ensemble Flipper on his resume, Richard decided that perhaps he could combine the energy and dynamics of punk rock with the synthetic textures and danceable beats of dance music.
And so with the name Richard Hall dropped to the wayside, Moby (a nickname that came from his relation to Herman Melville) was born. MOBY, the album, shows why musical reinvention can work so well. Where once Richard had snarled at the crowds, now Moby got them off their butts and onto the dance floor. And who could blame them? Especially not after hearing the synth chirps on "Drop a beat" or the sampled female vocals and slamming beats on "Next is the E." Some of the synth sounds seem a bit dated now, but Beck would kill to get the space-invaders sound Moby gets on "Yeah."