The scheduling must have shifted a bit at some point, as this one is listed as the first artist of the week, but was definitely broadcast first, around 4.20am (!) on the third week of the radio show Music for the Masses, back in late 2004.
As before, apologies in advance for any inaccuracies, errors, hyperbole, or plagiarism in this piece – it was written twelve years ago and intended to be read out loud…
I want to kick off by explaining a little bit about [Moby‘s] musical career. He first picked up the name Moby as a child, being the great great grand-nephew (or something) of the Moby Dick author Herman Melville. During his relatively troubled childhood, he became passionate about music, particularly punk and John Lydon‘s Public Image Limited, among others.
Whilst at college, he formed several punk bands, none of which saw any great success, but in the late 1980s he moved to New York, and started DJing and making music for small underground record labels. In particular, he came up with a number of pseudonyms to become the driving force behind Instinct Records, who would go on to release several compilations of his early material.
After several underground successes, he first became known in the UK with his phenomenal hit Go, which drew heavily on Angelo Badalamenti‘s score for the David Lynch TV series Twin Peaks. After a few false starts, the single reached number 6 in the UK, and was a huge hit across the world.
During the early 1990s he would remix countless major acts, including Michael Jackson, Pet Shop Boys, Brian Eno, Depeche Mode, Erasure, The B-52s, and Orbital, and in 1993 he was signed to the London-based label Mute Records.
His first proper album Everything is Wrong would explore and thoroughly question the different aspects of dance music, and would yield single after single in the UK, all of which were substantial hits. The follow-up though, 1996’s Animal Rights would throw dance out of the window, and turn to hard rock instead.
In 1997, following his fantastic reworking of the James Bond theme, he released a compilation of film tracks, entitled I Like to Score, and following this, he would see his greatest success ever, even if it took rather a long time to grip the world’s consciousness.
The first single from Play was Honey, and was released in mid-1998. At this time the album was already completed, but was delayed as he didn’t have a US record company. On its original release in the UK, it peaked at number 33 and in the US it only scraped the top 100. However, after prostituting every single album track, b-side, and remix onto films and adverts, he finally had his first US hit, and climbed his way up to the top of the UK charts. The album would eventually become so successful that no fewer than eight singles were released in the UK.
The follow-up, 2001’s 18 was seen by many as a disappointment, perhaps simply because it wasn’t adventurous enough. It’s a beautiful album though, and still yielded several hit singles and topped the charts again in the UK. After seeing underground success with his Voodoo Child side-project, his next proper album is due in the spring.