Play (Moby album)

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Play
Moby play.JPG
Studio album by Moby
Released May 17, 1999
Recorded 1998
Studio Moby's home studio (Manhattan, New York)
Genre
Length 63:12
Label
Producer Moby
Moby chronology
I Like to Score
(1997)I Like to Score1997
Play
(1999)
Songs 1993–1998
(2000)Songs 1993–19982000
Singles from Play
  1. "Honey"
    Released: August 31, 1998
  2. "Run On"
    Released: May 18, 1999
  3. "Bodyrock"
    Released: July 26, 1999
  4. "Why Does My Heart Feel So Bad?"
    Released: November 17, 1999
  5. "Natural Blues"
    Released: March 28, 2000
  6. "Porcelain"
    Released: June 12, 2000
  7. "Why Does My Heart Feel So Bad?" / "Honey (Remix)"
    Released: October 16, 2000
  8. "South Side"
    Released: November 7, 2000
  9. "Find My Baby"
    Released: February 2001

Play is the fifth studio album by American electronica musician Moby. It was first released on May 17, 1999 by Mute and V2. Recording of the album began in 1998, following the release of his fourth album, Animal Rights (1996), which deviated from Moby's electronica style; his goal for Play was to return to this style of music. Originally intended to be his final record, the recording of the album took place at Moby's home studio in Manhattan, New York.

While some of Moby's earlier work garnered critical and commercial success within the electronic dance music scene, Play was both a critical success and a commercial phenomenon. The album introduced Moby to a worldwide mainstream audience, not only through a large number of hit singles that helped the album to dominate worldwide charts for two years, but also through unprecedented licensing of his music in films, television, and commercial advertisements. It eventually became the biggest-selling electronica album of all-time, with over 12 million copies sold worldwide.[1]

In 2003 and 2012, the album was ranked number 341 on Rolling Stone magazine's list of the 500 greatest albums of all time.[2][3] It was nominated for both a Grammy Award and Brit Award, was the UK's biggest-selling independent album of 2000, and certified platinum status in more than 20 countries.[4]

Background[edit]

The second half of the 1990s saw Moby in career turmoil after years of being a successful techno wunderkind. The release in 1996 of Animal Rights, a dark, eclectic, guitar-fueled record built around the punk and metal records that he loved as a teenager, proved a critical and commercial disaster that left him considering quitting music altogether and going back to school to study architecture. He explained: "I was opening for Soundgarden and getting shit thrown at me every night onstage. I did my own tour and was playing to roughly fifty people a night." However, he claimed, "I got one piece of fan mail from Terence Trent D'Arby and I got a phone call from Axl Rose saying he was listening to Animal Rights on repeat. Bono told me he loved Animal Rights. So if you're gonna have three pieces of fan mail, that's the fan mail to get."[5]

The recording of its follow up, Play, took place during 1998 in Moby's Mott Street home studio in Manhattan, New York. At the time, Moby planned on making the album his last before ending his career.[6] When he finished recording, there was no sign that the album would perform any differently than Animal Rights. According to Moby, he shopped the record to every major label (from Warner Bros. to Sony to RCA) and was rejected every time. After V2 finally picked it up, his publicist sent the record to journalists, many of whom declined to listen to it.[5] According to manager Eric Härle in an interview with HitQuarters, their original goal was to sell 250,000 copies, which was what Everything Is Wrong, Moby's biggest-selling album at the time, had sold.[7]

Composition[edit]

According to Spin magazine's Will Hermes, Play was "the high-water mark for populist electronica" and a "millennial roots and blues masterwork",[8] while John Bush from AllMusic said it balanced Moby's early electronica sound with "the breakbeat techno evolution of the '90s".[9] Chicago Sun-Times critic Jim DeRogatis noted its incorporation of such disparate musical influences as early blues, African-American folk music, gospel, hip hop, disco and techno, "all within the context of his own distinctly melodic ambient stylings."[10] The album was particularly notable for its extensive use of samples from field recordings collected by Alan Lomax on the 1993 Sounds of the South: A Musical Journey from the Georgia Sea Islands to the Mississippi Delta. Moby was introduced to the collection through a friend, Gregor Ehrlich, who loaned the CDs to him.[5] Most of the samples were short and constantly repeated throughout the songs. For example, "Honey" used a sample from Bessie Jones that consisted of a conjunction of four verses that was repeated over twenty times. In the liner notes for the album, Moby gave "special thanks to the Lomaxes and all of the archivists and music historians whose field recordings made this record possible."[11]

Release and promotion[edit]

When Play was released on May 17, 1999, it underperformed commercially. In the United Kingdom, it debuted at number 33 on the UK Albums Chart on May 29, 1999, but sales declined in the weeks immediately following its debut and the album spent only five further weeks inside the charts for the remainder of the year.[12][13] Moby stated, "First show that I did on the tour for Play was in the basement of the Virgin Megastore in Union Square. Literally playing music while people were waiting in line buying CDs. Maybe forty people came."[5] Despite the album's strong critical reviews, Play's songs received little airplay from radio stations or television networks such as MTV.[14] While this lack of airplay further damaged the album's commercial prospects, Moby and his record label soon found another approach to increasing public exposure of the album, by way of licensing its songs to films, television shows, and commercials.[14] According to Moby, the goal behind the licensing of Play "was simply to get people to hear the music," adding, "Most of the licenses weren't particularly lucrative, but they enabled people to hear the music because otherwise the record wasn't being heard."[15] According to his manager Eric Härle, although many people believed the songs were pitched for advertisements as part of the marketing campaign for an album that did not fit with mainstream radio, the licensing actually came as a result of agencies asking for permission to use the music as soundbeds, attributing the music's popularity to its evocative and emotional nature.[7] Despite the heavy licensing, the advertisements selected were nevertheless carefully chosen and more requests were turned down than accepted.[7]

The licensing approach proved successful in increasing exposure to Play, and subsequently radio and MTV airplay for the album's songs began to pick up.[14][16] On January 15, 2000, the album re-entered the UK charts, slowly climbing positions and finally reaching number one three months later on April 15, 2000, spending five weeks at the top.[13] Remaining on the chart for the remainder of the year and achieving an overall total of 81 weeks, Play became the fifth best-selling album of 2000 in the UK.[13][17] By October 2000, Play had attained platinum certifications in seventeen countries and topped the charts in seven.[18] Despite reaching only number 38 on the Billboard 200, over two million copies were sold in the United States, with the album enjoying steady sales for months and constant popularity.[19] Moby would later recall:

Almost a year after it came out in 2000 I was opening up for Bush on an MTV Campus Invasion Tour. It was degrading for the most part. Their audience had less than no interest in me. February in 2000, I was in Minnesota, I was depressed and my manager called me to tell me that Play was number one in the UK, and had beat out Santana's Supernatural. I was like, 'But the record came out 10 months ago.' That's when I knew, all of a sudden, that things were different. Then it was number one in France, in Australia, in Germany—it just kept piling on. [...] The week Play was released, it sold, worldwide around 6,000 copies. Eleven months after Play was released, it was selling 150,000 copies a week. I was on tour constantly, drunk pretty much the entire time and it was just a blur. And then all of a sudden movie stars started coming to my concerts and I started getting invited to fancy parties and suddenly the journalists who wouldn't return my publicist's calls were talking about doing cover stories. It was a really odd phenomenon.[5]

Play also found its major strengths on the support of its impressive string of nine hit singles, an unprecedented feat for an electronica album. Seven of those singles were UK top 40 hits – "Honey", the first single, was already in the market in August 1998, nearly ten months before the release of the actual album. The final single choice was "Find My Baby", which appeared on some national charts three and a half years after. Twelve music videos were commissioned for a total of eight different singles, produced by a large number of directors, which included Jonas Åkerlund ("Porcelain"), Roman Coppola ("Honey"), Joseph Kahn ("South Side"), and David LaChapelle ("Natural Blues"). The apparent result of the marketing strategy was that the album, after an unremarkable debut, stayed on the charts for several years and broke sales projections for Moby and for the dance music scene, which was not seen to be a dominant commercial genre in the US in the 1990s (as compared with in Europe, where Moby had initially found fame).[citation needed]

Critical reception[edit]

Professional ratings
Aggregate scores
Source Rating
Metacritic 84/100[20]
Review scores
Source Rating
AllMusic 4.5/5 stars[9]
Chicago Sun-Times 4/4 stars[10]
Christgau's Consumer Guide A+[21]
Entertainment Weekly A−[22]
The Guardian 4/5 stars[23]
NME 8/10[24]
Pitchfork 5/10[25]
Q 4/5 stars[26]
Rolling Stone 4/5 stars[27]
Spin 9/10[28]

Play received widespread acclaim from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 84, based on 20 reviews.[20] In The Village Voice, Robert Christgau said the album's sampled recordings would not "shout anywhere near as loud and clear" without Moby's "ministrations—his grooves, his pacing, his textures, his harmonies, sometimes his tunes, and mostly his grooves, which honor not just dance music but the entire rock tradition it's part of."[29] He deemed the album "no more focused" than Moby's previous "brilliant messes" but still "one of those records whose drive to beauty should move anybody who just likes, well, music itself."[30] AllMusic's John Bush felt Play showed Moby "balancing his sublime early sound with the breakbeat techno evolution of the '90s".[9] Barry Walters from Rolling Stone said "the ebb and flow of eighteen concise, contrasting cuts writes a story about Moby's beautifully conflicted interior world while giving the outside planet beats and tunes on which to groove."[27] David Browne, writing in Entertainment Weekly, said despite some needed editing, Moby's graceful soundscapes filter out the original recordings' antiquated sound and "make the singers' heartache and hope seem fresh again."[22] In a mixed review, Pitchfork critic Brent DiCrescenzo believed the "raw magnetism" of the sampled recordings was lost to "innate digital recording techniques", resulting in music that was "fun and functional, yet disposable."[25]

At the end of 1999, Play was voted the year's best album in the Pazz & Jop, an annual poll of American critics published in The Village Voice.[31] Christgau, the poll's supervisor, ranked it second best on his own year-end list.[32] The following year, the album was nominated for Best Alternative Music Performance at the 42nd Grammy Awards.[33] Since then, it has frequently been named one of the greatest albums of all-time; according to Acclaimed Music, it is the 316th most ranked record on critics' all-time lists.[34] NPR named Play one of the 300 most important American records of the 20th century, as determined by the network's news and cultural programming staff, prominent critics, and scholars.[35] It was also ranked number 341 on Rolling Stone's 2003 and 2012 lists of the 500 greatest albums of all time,[2][3] and in 2005, a panel of recording industry pundits assembled by Channel 4 voted Play the 63rd best album ever.[36] The album was also included in the book 1001 Albums You Must Hear Before You Die.[37]

Legacy[edit]

According to Rolling Stone, "Play wasn't the first album to make a rock star out of an insular techno nerdnik, but it was the first to make one a pop sensation. [...] Play made post-modernism cuddly, slowly but surely striking a chord with critics and record-buyers alike."[5] According to Wired magazine, the songs on Play – which became the first album ever to have all of its tracks licensed for use in films, television shows or commercials – "have been sold hundreds of times ... a licensing venture so staggeringly lucrative that the album was a financial success months before it reached its multi-platinum sales total."[38] In a retrospective piece for Wondering Sound, Robert Christgau wrote:

Although some techno futurists still disparage the gorgeous Play, it qualified as a futurist work simply by redefining the concept of "commercial." Clubs would never take a CD mega, and no way could these anonymously sung tracks crack any hit-based radio format. So Moby's handlers swamped the mass market through the side door, placing swatches of all 18 songs (most many times) on movie and TV soundtracks and in ads for the likes of Volkswagen, Baileys Irish Cream and American Express. FM exposure followed. But the main reason this album will sound familiar the way Beethoven's Ninth does to a classical ignoramus is that little bits of it have seeped into most Americans' brains. For this be grateful, because those bits are intensely pleasurable as melody or texture or sometimes beat, and because Moby has ordered, paced, and segued them and their intimate surroundings into something that suggests a surging and receding whole. A Treacherous Three rap powers "Bodyrock," but most of the identifiable sources are little-known blues and gospel singers first archived by folklorist Alan Lomax. Folk purists might will claim this re-use cheapens them. But here's betting musical folk like the singers themselves are plenty proud somewhere.[39]

Furthermore, in an interview with Rolling Stone, Grammy-winning singer Adele stated that Play was a major influence for her 2015 album 25,[40] stating:

There's something that I find really holy about that Play album... The way it makes me feel. Even though there's nothing holy or preachy about it. There's just something about it – maybe the gospel samples. But it makes me feel alive, that album, still. And I remember my mum having that record.

Track listing[edit]

Track listing[41]
No. Title Length
1. "Honey" 3:27
2. "Find My Baby" 3:58
3. "Porcelain" 4:01
4. "Why Does My Heart Feel So Bad?" 4:23
5. "South Side" 3:48
6. "Rushing" 2:58
7. "Bodyrock" 3:34
8. "Natural Blues" 4:12
9. "Machete" 3:36
10. "7" 1:00
11. "Run On" 3:44
12. "Down Slow" 1:32
13. "If Things Were Perfect" 4:16
14. "Everloving" 3:24
15. "Inside" 4:46
16. "Guitar Flute & String" 2:07
17. "The Sky Is Broken" 4:16
18. "My Weakness" 3:37
Total length: 63:03
Samples credits[11]
  • "Honey" samples "Sometimes" by Bessie Jones, produced under license from Atlantic Recording Corp. by arrangement with Warner Special Products.
  • "Find My Baby" samples "Joe Lee's Rock" by Boy Blue, produced under license from Atlantic Recording Corp by arrangement with Warner Special Products.
  • "Bodyrock" samples "Love Rap" by Spoonie Gee and the Treacherous Three, produced under license from Enjoy Records, Inc.
  • "Natural Blues" samples "Trouble So Hard" by Vera Hall, produced under license from Atlantic Recording Corp. by arrangement with Warner Special Products.
  • "Run On" samples "Run On for a Long Time" by Bill Landford and The Landfordairs, used courtesy of Sony Music.

Personnel[edit]

Credits for Play adapted from album liner notes.[11]

  • Moby – engineering, mixing, production, writing, instruments, vocals on "Porcelain", "South Side", "Machete", "If Things Were Perfect", and "The Sky Is Broken"
  • Pilar Basso – additional vocals on "Porcelain"
  • Mario Caldato Jr. – mixing on "Honey"
  • Nikki D – additional vocals on "Bodyrock"
  • Corinne Day – photography
  • Graeme Durham – mastering
  • I Monster – mixing on "Natural Blues"
  • Reggie Matthews – additional vocals on "If Things Were Perfect"
  • The Shining Light Gospel Choir – additional vocals on "Why Does My Heart Feel So Bad?"
  • Ysabel Zu Innhausen Und Knyphausen – artwork design

Charts[edit]

Chart (1999–2000) Peak
position
Australian Albums (ARIA)[42] 1
Austrian Albums (Ö3 Austria)[43] 7
Belgian Albums (Ultratop Flanders)[44] 3
Belgian Albums (Ultratop Wallonia)[45] 4
Canadian Albums (Billboard)[46] 11
Danish Albums (Hitlisten)[47] 34
Dutch Albums (MegaCharts)[48] 5
Finnish Albums (Suomen virallinen lista)[49] 18
French Albums (SNEP)[50] 1
German Albums (Offizielle Top 100)[51] 21
Italian Albums (FIMI)[52] 4
Mexican Albums (Top 100 Mexico)[53] 5
New Zealand Albums (RMNZ)[54] 1
Norwegian Albums (VG-lista)[55] 2
Swedish Albums (Sverigetopplistan)[56] 14
Swiss Albums (Schweizer Hitparade)[57] 12
UK Singles Chart[13] 1
US Billboard 200[58] 38

Certifications[edit]

Region Certification Certified units/Sales
Australia (ARIA)[59] 4× Platinum 280,000^
Austria (IFPI Austria)[60] Gold 25,000*
Belgium (BEA)[61] 2× Platinum 100,000*
Canada (Music Canada)[62] 3× Platinum 300,000^
France (SNEP)[63] Diamond 1,105,400[64]
Germany (BVMI)[65] Gold 250,000^
New Zealand (RMNZ)[66] 7× Platinum 105,000^
Sweden (GLF)[67] Platinum 80,000^
Switzerland (IFPI Switzerland)[68] 3× Gold 75,000^
United Kingdom (BPI)[69] 6× Platinum 1,819,938[70]
United States (RIAA)[71] 2× Platinum 2,700,000[72]
Summaries
Europe (IFPI)[73] 3× Platinum 3,000,000*

*sales figures based on certification alone
^shipments figures based on certification alone

Re-releases[edit]

Play: The B Sides[edit]

Play: The B Sides
MobyPlayTheBSides.jpg
Compilation album (B-sides) by Moby
Released October 24, 2000
Length 60:34
Label V2
Producer Moby
Moby chronology
MobySongs 1993–1998
(2000)MobySongs 1993–19982000
Play: The B Sides
(2000)
18
(2002)182002

In late 2000, Play was re-released as a special edition entitled Play: The B Sides, including an extra disc of B-side tracks (that disc would be also released separately in 2004). In addition, the song "South Side", sung as a duet with No Doubt frontwoman Gwen Stefani, was released as a single (becoming his only song to ever appear on the Billboard Hot 100, peaking at number 14).[citation needed] Thanks to its music video and heavy airplay, the song helped to push the success of the album even further. Later on, Play was re-released with the single version of "South Side" featuring Gwen Stefani replacing the original. (Other copies had an additional CD with the newer version of the song shrink-wrapped in the same package.) The original version was re-released on the U.S. edition of Moby's Go: The Very Best of Moby compilation.

Moby explains: "The B Sides is a collection of songs that weren't quite appropriate for Play, but that I still love enough to release as B-sides. Some of these songs might not be instantly accessible, but I (immodestly) think they are all quite special."[74] A few of the album's songs are somewhat similar to the ones found in Play, but the tracks were criticized as inferior by AllMusic's John Bush, who gave the release three out of five stars. Moby realized this and even admitted that if not for the overwhelming success of Play, the songs would not have been given a wide release.[9] Neva Chonin from Rolling Stone gave it three-and-a-half stars and said it was "more of a meditative tone poem" than the "millennial time signature" that was Play.[75]

B-sides not featured on the album:

  • "Ain't Never Learned" from the single "South Side"
  • "Arp" from the single "Bodyrock"
  • "Down Slow (Full Length Version)" from the maxi-single "Run On (Extended)"
  • "Micronesia" from the single "Honey"
  • "Princess" from the single "Why Does My Heart Feel So Bad ?"
  • "Sick in the System" from the single "Natural Blues"

Play: The DVD[edit]

A DVD titled Play: The DVD was released as a companion to the album, featuring most of the music videos of Play (except for "South Side"), a Megamix, a performance on Later... with Jools Holland, a Moby's tour diary entitled Give an Idiot a Camcorder, and a DVD-Rom component where users are able to remix two of Moby's songs (the DVD also included a separate CD featuring the Megamix on a single track). Moby: PlaytheDVD was released in July 2001. Produced by Moby and Jeff Rogers (Swell), the DVD was nominated for a 2002 Grammy Award. The DVD included various sections: "Live on TV", most of the music videos from the album (excluding "South Side" with Gwen Stefani), "Give An Idiot a Camcorder" (Moby was given a camcorder and the tape was later edited by Tara Bethune-Leamen), and an 88-minute "Mega Mix" of all the remixes created for the album. The "Mega Mix" was accompanied by visuals created in Toronto at Crush, led by director Kathi Prosser.

  • Give an Idiot a Camcorder (a 20-minute movie "by Moby starring Moby")
  • Play the Computer (this section allows to use the Beatnik Player to remix two of Moby's songs.)
  • Track 11 on the Megamix is incorrectly titled Porcelain (Torsten Stenzel's Vocaldubmix) when it is actually Porcelain (Force Mass Motion Remix)

References[edit]

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  69. ^ "British album certifications – Moby – Play". British Phonographic Industry. Retrieved July 25, 2012.  Enter Play in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Platinum in the field By Award. Click Search
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  71. ^ "American album certifications – Moby – Play". Recording Industry Association of America. Retrieved July 25, 2012.  If necessary, click Advanced, then click Format, then select Album, then click SEARCH
  72. ^ "'Night' Fever". Billboard. New York. March 30, 2008. Retrieved March 5, 2013. 
  73. ^ "IFPI Platinum Europe Awards – 2000". International Federation of the Phonographic Industry. Retrieved July 25, 2012. 
  74. ^ Randy Krbechek. "Moby, Play: The B-Sides (V2 Records 2000)". newsandentertainment.com. Retrieved 22 September 2011. 
  75. ^ Neva Chonin (18 January 2001). "Play: The B-Sides". Rolling Stone. 
  76. ^ Play (The B Sides) at Discogs (list of releases).

External links[edit]

Preceded by
Supernatural by Santana
UK number one album
April 15, 2000 – May 19, 2000
Succeeded by
Reload by Tom Jones
Preceded by
On How Life Is by Macy Gray
Australian ARIA Albums Chart number-one album
February 28 – March 5, 2000
July 31 – August 13, 2000
Succeeded by
Supernatural by Santana