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One of the most influential producers/musicians/composers/dj’s of the ‘90s, Moby (born Richard Melville Hall) broke out of the usual confines of the dance/house music field to embrace a diversity of styles – from pop to hard rock to gospel. When he joined the Elektra roster in 1995, Moby had already scored a major pop/dance hit with “Go” (incorporating the theme from the David Lynch TV series Twin Peaks) and released two highly regarded indie albums of techno/ambient music. Moby’s acclaimed major label/Elektra debut, Everything Is Wrong, marked a high point of the decade, and was acclaimed by Spin magazine as the #1 album of the year. Created as a unified whole rather than a mere collection of club tracks, the album included such anthemic songs as the jungle-driven “Feeling So Real,” the pop workout of “Everytime You Touch Me,” and the entrancing “God Moving Over The Face Of The Waters.” In contrast to his peers, Moby was an identifiable personality in the often anonymous world of electronica. His creative innovation was enhanced by an intriguing persona that actively embraced veganism and Christianity, and he struck a truly unique figure in the dance/club scene. With his eclectic background and interests, Moby refused to be pigeon-holed, following Everything Is Wrong with a left turn into alternative/punk rock on 1996’s Animal Rights. He returned to electronica on the 1997 set, I Like To Score, reflecting his love of movie soundtracks with a collection of his music that had appeared in various films (including his reworking of the “James Bond Theme,” used in Tomorrow Never Dies). While Moby left the Elektra fold before the decade was out, his work on the label laid the foundation for his major breakthrough pop success, 1999’s Play.