Go: The Very Best of Moby [PA] [Limited]

Performer: Moby
Engineer: Moby; Will Shapland; Brian Sperber
Producer: Tom Elmhirst; Jason Nevins; Martin Buttrich; Moby; Pete Heller; Tiesto; Timo Maas; Steve Angello; Booka Shade; Myles MacInnes
Distributor: WEA (Distributor)

Notes: Personnel: Moby (vocals, guitar, percussion); Luci Butler (vocals, keyboards); Laura Dawn (vocals, background vocals); Pilar Basso, Jennifer Price (vocals); Scott Frassetto (drums); Aidan Love, Andy Gray (programming); Melody Zimmer, Jason Candler, Kurt Uenala, Orion Simprini, Brian Sperber (background vocals). Audio Mixers: Chris Feinstein; Tom Elmhirst; Anders Trentemoller; I Monster; Mike Tudor; Mario Caldato, Jr.; Moby; Pete Heller; Will Shapland; Jeremy Wheatley; Brian Sperber. Audio Remixers: Ferry Corsten; Jason Nevins; Martin Buttrich; Olav Basoski; Paul Oakenfold ; Steve Osborne; DJ Ti�sto; Timo Maas; Steve Angello; Booka Shade; Myles Macinnes. Recording information: Carling Academy, London, England. Issued in 2006, GO is the first Moby compilation to include both the New York City-based electronica artist's early-1990s singles and material from his '99 mainstream breakthrough album, PLAY, and beyond. In addition to an update of the rave-steeped title track, the collection presents fan favorites such as the soulful "Honey" and the shimmering ambient composition "God Moving Over the Face of the Waters." The two-CD set also includes the previously unreleased "New York, New York," featuring vocals from Blondie's Debbie Harry, and an entire disc of remixes by club luminaries such as Timo Maas and Mylo.

Rolling Stone (p.129) - 4 stars out of 5 -- "Moby has constructed an album as seductively sequenced and in-your-face melodic as PLAY..." Q (p.150) - 4 stars out of 5 -- "Few other collections could span euphoric head rushes, mournful blues and frothy 21st-century disco."

Diminutive, bald-headed Richard Melville Hall, better known as Moby, achieved greater mainstream success than any other electronica artist by virtue of his willingness to adapt electronic dance music to a well formed pop sensibility. From the '90s on, he dipped his toe into everything from guitar-based punk to ambient music to gospel and blues, filtering it all through a very modern musical mindset.

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