グリーン・ゾーン

1. 序盤戦
2. 大量破壊兵器捜索
3. 渋滞
4. 待ち伏せ
5. ヘリコプター到来/フレディ、逃走す
6. グリーン・ゾーンの中へ
7. グーグル検索
8. 大量破壊兵器の真実/マゼラン/攻撃
9. 緊急出動/アル・ラウィ将軍を探せ
10. アル・ラウィ将軍の潜伏場所 (パート1)
11. アル・ラウィ将軍の潜伏場所 (パート2)
12. 攻撃と追跡
13. ミラー隊長の苛立ち
14. イラクのカオス/ミラー隊長からのメール

発売日：2010年4月28日(水)
レーベル：ジェネオン・ユニバーサル

1. Ooh Yea
2. I Love To Move In Here
3. 257.zero
4. Everyday It's 1989
5. Live For Tomorrow
6. Alice
7. Hyenas
8. I'm In Love
9. Disco Lies
10. The Stars
11. Degenerates
12. Sweet Apocalypse
13. Mothers Of The Night
14. Last Night

発売日：2008年4月1日(火)
レーベル：Mute U.S.

レビュー (Amazon)
After three albums that seemed to find Moby in some sort of creative stasis, Last Night sees the once-restless DJ/producer changing the record and returning to one of his first loves: the heaving dancefloors of his native New York. Soulful, uplifting piano rave is the order of the day here, and while some hallmarks of Play remain--Moby still has a fascination for long, tearful synth lines and sampled vocals, which he drops in here and there, seemingly to yield the maximum emotional response--Last Night still feels like a clean slate. "I Like to Move in Here" shimmies along on a languid house beat that doffs a cap to early hip-hop in the shape of a cameo from MC Grandmaster Caz, one of the writers of "Rapper's Delight", while "Everyday It's 1989" is the sort of overdriven, ecstatic piano house that Moby perfected on his 1995 classic Everything Is Wrong. There's more guest spots in the shape of British MC Aynzli, the Nigerian 419 Squad and Sylvia from dark NYC disco band Kudu, but the most impressive thing about Last Night is the peaks that Moby can reach when he's working alone: see the grand, emotive swell of "Sweet Apocalypse", cold synths and driving beats that, were it released by James Murphy, would be hailed as genius--and rightfully, too.--Louis Pattison

1. Ooh Yeah

発売日：2013年8月19日(月)
レーベル：EMI Europe Generic

レビュー (Amazon)
After three albums that seemed to find Moby in some sort of creative stasis, Last Night sees the once-restless DJ/producer changing the record and returning to one of his first loves: the heaving dancefloors of his native New York. Soulful, uplifting piano rave is the order of the day here, and while some hallmarks of Play remain--Moby still has a fascination for long, tearful synth lines and sampled vocals, which he drops in here and there, seemingly to yield the maximum emotional response--Last Night still feels like a clean slate. "I Like to Move in Here" shimmies along on a languid house beat that doffs a cap to early hip-hop in the shape of a cameo from MC Grandmaster Caz, one of the writers of "Rapper's Delight", while "Everyday It's 1989" is the sort of overdriven, ecstatic piano house that Moby perfected on his 1995 classic Everything Is Wrong. There's more guest spots in the shape of British MC Aynzli, the Nigerian 419 Squad and Sylvia from dark NYC disco band Kudu, but the most impressive thing about Last Night is the peaks that Moby can reach when he's working alone: see the grand, emotive swell of "Sweet Apocalypse", cold synths and driving beats that, were it released by James Murphy, would be hailed as genius--and rightfully, too.--Louis Pattison

発売日：2008年3月26日(水)
レーベル：EMIミュージック・ジャパン

レビュー (Amazon)
At the crossroads of retro, (where that which was old becomes new again,) there's Moby. Already known for the rave-ups and chill tracks found on records like Everything Is Wrong, he crossed over in a big way with 1999's Play and its inventive--or to some, 'gimmicky'--gospel-meets-techno sound. His success enabled him to spend the 2000s trying out new tactics. The pop/instrumental approach of 2005's Hotel was indeed a far cry from '90s anthems like "Next Is the E." With Last Night, Moby checks through all those phases, and then some. There are glow-stick wavers like "Everyday It's 1989" and Euro-tech trashiness like "I'm In Love." There are also bits of hip-hop, break beats, blue-room tunes, and diva-disco numbers like "Disco Lies." In the liner notes, Moby explains the scattered focus of the record, simply stating, "a night out can ideally contain a multitude of experiences." A night out is one thing, but there's only so much you can stuff into 65 minutes. Still, it's an undeniable rush to hear Moby being Moby: cheerfully square, yet somehow cool, just like before. ?Matthew Cooke