Stiff Records is a British independent record label formed in London, England, by Dave Robinson and Jake Riviera. Active from 1976 to 1986, the label was reactivated in 2007. Established at the outset of the punk rock boom, Stiff signed various punk and new wave acts such as Nick Lowe, the Damned, Lene Lovich, Wreckless Eric, Elvis Costello, Ian Dury and Devo. In the 1980s, with most of their early signings having moved on, the label found commercial success with Madness, The Pogues, Tracey Ullman, The Belle Stars, Kirsty MacColl and others. In December 2017, Universal Music Group acquired Stiff Records and ZTT Records.. Razor & Tie holds the American rights to the Stiff catalogue. Robinson and Riviera were well-known London music business characters. Robinson had worked for Jimi Hendrix in the late 1960s and managed pub rock combo Brinsley Schwarz in the early 1970s, in which Nick Lowe was the bassist and main songwriter; the label was started with a loan of £400 from Lee Brilleaux of Dr. Feelgood.
Stiff found quick success. Its first release, on 14 August 1976, was a single by Nick Lowe, "So It Goes", B-side "Heart Of The City", with the striking catalogue number BUY 1; that record sold 10,000 copies, but Stiff's next release, "Between The Lines" by Pink Fairies, sold only around half of that. Robinson and Riviera used money from their Advancedale management company to finance the release of what is accepted as the United Kingdom's first punk single, "New Rose" by The Damned, on 22 October 1976. Early in 1977, Stiff Records picked up speed, signing Wreckless Eric, Ian Dury, Elvis Costello, who had once been a part-time roadie for Brinsley Schwarz. Bigger sales followed, a distribution deal with Island Records through EMI was set up. After arranging for Costello and Lowe to be signed directly to CBS Records' Columbia label, a similar deal was made with Arista who released Ian Dury's first album and the Live Stiffs Live album; the deal was short-lived and Stiff made a deal with CBS Records for Stiff releases in the United States, at both the Columbia and Epic subsidiaries on the Stiff/Columbia and Stiff/Epic labels.
Each release was given individual attention, with inventive artwork, picture sleeves and a range of snappy slogans coupled with inventive marketing campaigns that achieved the label a great deal of publicity, if not always huge profit margins. Robinson and Riviera were a fiery management combination, after a series of disagreements, Riviera left Stiff in early 1978 to form the short-lived Radar Records, taking Elvis Costello, Nick Lowe and Yachts with him as a settlement package. Riviera's departure coincided with the end of the "5 Live Stiffs Tour", which showcased emerging star Ian Dury. Dury's album New Boots & Panties!! had raced up the charts and its sales kept the label in business over the following months. In 1979, Robinson signed Madness, whose considerable commercial success, both in Britain and abroad, would keep Stiff afloat for several years; the next few years were the halcyon period, with many Top 20 single chart placings, including the label's first No. 1 single, "Hit Me with Your Rhythm Stick" by Ian Dury, a number of other big-selling albums.
Stiff expanded and moved its premises twice. It continued to release dozens of obscure and uncommercial releases. For example, The Wit & Wisdom of Ronald Reagan, was an LP, silent on both sides, which sold over 30,000 copies, on Magic Records, with its own slogan, "If it sells, it must be Magic". At the end of 1983, Island Records bought 50% of Stiff, Robinson ran both labels. Island was short of money at the time and Robinson had to lend it £1,000,000 to fund the share purchase and pay the payroll. Nonetheless, Robinson led Island through their best year with, among others releases by Frankie Goes to Hollywood, Legend by Bob Marley, U2's The Unforgettable Fire. Stiff signed The Pogues, but Madness left under a cloud; the Island deal failed and Dave Robinson regained control of the newly independent label in 1985. Hits by The Pogues and Furniture helped Stiff to survive another twenty months, but the underlying causes for the failure of the Island deal became too burdensome for Stiff and it was sold to ZTT in December 2017.
In 2007, ZTT and its parent company SPZ Group reactivated the label. Stiff broke one of the UK's hottest new indie acts, The Enemy, it released a string of well-received albums of new work from legacy Stiff artists, including as Wreckless Eric, Henry Priestman, Any Trouble, Chris Difford. Brand new acts signed to the label included The Tranzmitors and Eskimo Disco. Swedish designer Tobbe Stuhre was appointed official Stiff Records designer. In 2008, Union Square Music released The Big Stiff Box Set; this detailed catalogue release contained 98 tracks across four CDs and the 100-page The Big Stiff Book by music journalist and Stiff expert, Ian Peel. Robinson and Riviera had arranged package tours ‒ such as the 1975 Naughty Rhythms tour ‒ for acts they managed before forming Stiff; the first tour, known as the Live Stiffs Tour or 5 Live Stiffs, comprised five bands: Elvis Costello and The Attractions, Ian Dury and the Blockheads, Wreckless Eric and The New Rockets, Nick Lowe's Last Chicken in the Shop, Larry Wallis's Psychedelic Rowdies.
Having signed all the named artists as individuals, bands had to be formed in order to tour: these were based on the session musicians used for the artists' solo records. There were 18 musicians on the tour, several doubling up, e.g. Dury playing drums for Wreckless Eric while the last two "bands" had the same line up (Nick
Electronic dance music
Electronic dance music known as dance music, club music, or dance, is a broad range of percussive electronic music genres made for nightclubs and festivals. It is produced for playback by disc jockeys who create seamless selections of tracks, called a mix by segueing from one recording to another. EDM producers perform their music live in a concert or festival setting in what is sometimes called a live PA. In Europe, EDM is more called'dance music', or simply'dance'. In the late 1980s and early 1990s, following the emergence of raving, pirate radios and an upsurge of interest in club culture, EDM achieved widespread mainstream popularity in Europe. In the United States at that time, acceptance of dance culture was not universal. There was a perceived association between EDM and drug culture, which led governments at state and city level to enact laws and policies intended to halt the spread of rave culture. Subsequently, in the new millennium, the popularity of EDM increased globally in Australia and the United States.
By the early 2010s, the term "electronic dance music" and the initialism "EDM" was being pushed by the American music industry and music press in an effort to rebrand American rave culture. Despite the industry's attempt to create a specific EDM brand, the initialism remains in use as an umbrella term for multiple genres, including house, trance and bass and dubstep, as well as their respective subgenres. Various EDM genres have evolved for example. Stylistic variation within an established EDM genre can lead to the emergence of what is called a subgenre. Hybridization, where elements of two or more genres are combined, can lead to the emergence of an new genre of EDM. In the late 1960s bands such as Silver Apples created electronic music, intended to be danced to. Other early examples of music that influenced electronic dance music include Jamaican dub music during the late 1960s to 1970s, the synthesizer-based disco music of Italian producer Giorgio Moroder in the late 1970s, the electro-pop of Kraftwerk and Yellow Magic Orchestra in the mid-to-late 1970s.
Author Michael Veal considers dub music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music. Dub productions were remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, reverberant textures; the music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee "Scratch" Perry, Scientist. Their productions included forms of tape editing and sound processing that Veal considers comparable to techniques used in musique concrète. Dub producers made improvised deconstructions of existing multi-track reggae mixes by using the studio mixing board as a performance instrument, they foregrounded spatial effects such as reverb and delay by using auxiliary send routings creatively. The Roland Space Echo, manufactured by Roland Corporation, was used by dub producers in the 1970s to produce echo and delay effects.
Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge. Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo and psychedelic electronic effects, it featured layering techniques and incorporated elements of world music, deep bass lines and harmonic sounds. Techniques such as a long echo delay were used. Hip hop music has played a key role in the development of electronic dance music since the 1970s. Inspired by Jamaican sound system culture Jamaican-American DJ Kool Herc introduced large bass heavy speaker rigs to the Bronx, his parties are credited with having kick-started the New York hip-hop movement in 1973. A technique developed by DJ Kool Herc that became popular in hip hop culture was playing two copies of the same record on two turntables, in alternation, at the point where a track featured a break.
This technique was further used to manually loop a purely percussive break, leading to what was called a break beat. Turntablism has origins in the invention of the direct-drive turntable, by Shuichi Obata, an engineer at Matsushita. In 1969, Matsushita released it as the SP-10, the first direct-drive turntable on the market, the first in their influential Technics series of turntables; the most influential turntable was the Technics SL-1200, developed in 1971 by a team led by Shuichi Obata at Matsushita, which released it onto the market in 1972. In the 1980s and 1990s hip-hop DJs used turntables as musical instruments in their own right and virtuosic use developed into a creative practice called turntablism. In 1974, George McCrae's early disco hit "Rock Your Baby" was one of the first records to use a drum machine, an early Roland rhythm machine, its use of a drum machine was anticipated by Sly and the Family Stone's "Family Affair", which anticipated the sound of disco, with its rhythm echoed in "Rock Your Baby".
The use of drum machines in "Family Affair" and Timmy Thomas' "Why Can't We Live Together", which used a 1972 Roland rhythm machine, influenced the adoption of drum machines by disco artists. Disco producer Biddu used synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest, "Soul Coaxing", and
The Secret of My Success (1987 film)
The Secret of My Success is a 1987 American comedy film produced and directed by Herbert Ross, starring Michael J. Fox and Helen Slater; the screenplay was written by A. J. Carothers, Jim Cash and Jack Epps, Jr. from a story written by Carothers. Brantley Foster is a recent graduate of Kansas State University who moves to New York City where he has landed an entry level job as a financier. Upon arriving, he discovers that the company for which he is supposed to work has been taken over by a rival corporation; as a result, Brantley is laid off before he starts working. After several unsuccessful attempts to get another job because he is either overqualified or underqualified and has little experience, Brantley ends up working in the mailroom of the Pemrose Corporation, directed by his uncle, Howard Prescott, the CEO. Pemrose was founded by Howard's father-in-law. Upon inspecting company reports, Brantley realizes that Howard and most of his fellow "suits" are making ineffective or detrimental decisions.
After Brantley notices an empty office in the building due to one of Howard's frequent firings, he uses his access to the mailroom and his understanding of company processes to create the identity of Carlton Whitfield, a new executive. Brantley assumes this role. While handling two jobs, Brantley falls head-over-heels for Christy Wills, a fellow financial wizard who graduated from Harvard. Brantley meets Vera after driving her home in a company limo. Vera persuades Brantley to stay for a swim and seduces him by stripping off his swimsuit and having an underwater kiss before she rips off her swimsuit and swims naked with him. Upon seeing Howard arriving and Vera realize they are related. Vera only seduced Brantley to get back at her husband for having an affair with a woman in his office. Brantley gets changed as fast as he can and leaves the mansion without being seen by Howard. Howard, without Brantley's knowledge, is having an affair with Christy; when Howard asks her to spy on Carlton Whitfield, Christy falls head-over-heels for "Whitfield", not knowing he is Brantley.
The Pemrose Corporation is preparing for an impending takeover by the Davenport Corporation. If Davenport Corporation absorbs Pemrose, everyone gets fired. Howard, unaware that Whitfield and Brantley are one and the same person, suspects "Whitfield" is a spy for corporate raider Donald Davenport. Brantley’s double identity is discovered when he, Christy and Howard end up in the same bedroom after a party at Howard’s home that all 4 are attending. Brantley and Christy end their budding relationship and Brantley gets sacked from his job he did as Whitfield, as does Christy for refusing to continue the affair with Howard. While both Christy and Brantley are moving out of their offices, they end up in the same elevator and make up, conceiving a revenge plan with Vera. In the end, they raise enough cash and stocks to wrest ownership of the Pemrose Corporation from Howard, to proceed with a hostile takeover bid of Davenport's Corporation. Vera contemptuous of Howard for his counter-productive business practices, which were driving her father's empire into the ground, tells the board about his affair as well.
She promptly replaces him with Brantley, with Jean and Melrose at his side. While security guards escort Howard and his aide, Art Thomas, from the Pemrose Building and Christy start planning their future together, personal as well as professional. All of them made it to the big time with a limo to take them to the opera. Brantley and Christy decided to visit his parents with a corporate jet; the soundtrack was released on LP and cassette tape on April 10, 1987. Seven of the 10 tracks were produced, either written or co-written, by David Foster, who scored the film and has three tracks of his own on the album. Not all of the songs featured in the film are included on the soundtrack, or, at least not in the same version; the film version of the song "The Secret of My Success" is different, features a mini-instrumental version. The film version of "I Burn for You" does not feature vocals; the "Restless Heart" track from the film has a different title, different lyrics than the soundtrack version. Popular songs "Walking on Sunshine" by Katrina & The Waves and "Oh Yeah" by Yello are heard in the film but do not appear on the soundtrack.
The soundtrack peaked at #131 on the Billboard 200. The theme from the picture "The Secret of My Success", performed by Night Ranger, was one of the songs that competed for the Golden Globe Award for Best Original Song in 1988; the winner in question was " The Time of My Life", the central theme from Dirty Dancing, performed by Bill Medley and Jennifer Warnes. Track listing"The Secret of My Success" "Sometimes the Good Guys Finish First" "I Burn for You" "Riskin' a Romance" "Gazebo" "The Price of Love" "Water Fountain" "Don't Ask the Reason Why" "3 Themes" "Heaven and the Heartaches" The film received a mixed response from critics. Roger Ebert in the Chicago Sun-Times wrote, "The Secret of My Success seems trapped in
The Residents are an American art collective best known for avant-garde music and multimedia works. Since their first official release, Meet the Residents, the group has released over sixty albums, numerous music videos and short films, three CD-ROM projects, ten DVDs, they scored multiple films. Pioneers in exploring the potential of CD-ROM and similar technologies, the Residents have won several awards for their multimedia projects. Ralph Records, a record label focusing on avant-garde music, was started by the band. Throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed wearing eyeball helmets, top hats and tails—a long-lasting costume now recognized as its signature iconography. In 2017, Hardy Fox, long known to be associated with the Residents, identified himself as the band's co-founder and primary composer.
The Residents' albums fall into two categories: deconstructions of Western popular music, complex conceptual pieces composed around a theme, theory, or plot. The group is noted for surrealistic lyrics and sound, disregard for conventional music composition, the over-the-top theatrical spectacle of their live performances; the artists who would become The Residents met in high school in Shreveport, Louisiana in the early 1960s. Around 1965, the group of young artists began making their first amateur home tape recordings and making art together with a number of friends. In 1966, with the intentions of joining the flourishing hippie movement, the members headed west for San Francisco, but after their truck broke down in San Mateo, California they decided to remain there. While attempting to make a living, the group purchased crude recording equipment and began to build on their home recording and tape editing skills, as well as photography and anything remotely to do with art that they could afford.
The Residents have acknowledged the existence of at least two unreleased reel-to-reel items dating from this era, titled The Ballad of Stuffed Trigger and Rusty Coathangers For The Doctor. "Uncle Willie", former Residents fan club president, wrote in his book Uncle Willie's Highly Opinionated Guide to the Residents that, while searching through the band's archives, he came across "a suite named The Ballad of Stuffed Trigger," but not a complete album. Further evidence of pre-1970 recordings surfaced with the release of the song I Hear You Got Religion recorded in 1969, released as a downloadable track from Ralph America in 1999; the Cryptic Corporation has confirmed that there are many tapes in their archives dating back decades, but all were recorded before the group had become "The Residents" so the band does not consider them to be part of its discography. Word of the unnamed group's experimentation spread, in 1969 British guitarist and multi-instrumentalist Phil Lithman, known as Snakefinger, began to participate with them.
Around this time the group made the acquaintance of the mysterious N. Senada, whom Lithman had picked up in Bavaria where the aged avant-gardist was recording birds singing; the two Europeans would become life-long collaborators with the group. In 1971 the group sent a reel-to-reel demo tape to Hal Halverstadt at Warner Brothers, as he had signed Captain Beefheart to the label. Halverstadt was not overly impressed with The Warner Bros. Album, but awarded the tape an "A for Ariginality"; because the band had not included any name in the return address, the rejection slip was addressed to "Residents". The members of the group decided that this would be the name they would use, first becoming "Residents Unincorporated" shortening it to the current name; the Warner Bros. Album would remain unreleased by the group until 2018, when it was remastered and re-issued in a limited edition as part of their comprehensive "pREServed" campaign; the first known public performance of the band who would become The Residents was at the Boarding House in San Francisco in 1971.
This brief, guerrilla-style performance took the audience by surprise, produced a photograph of Lithman playing violin with his pinky "about to strike the violin like a snake" – this photo originated the nickname that he would use as his stage name for the rest of his life, Snakefinger. In 1971, a second tape was completed called Baby Sex, featuring a long collage consisting of recordings from the Boarding House performance; the original cover art for the tape box was a silk-screened copy of an old photo depicting a woman fellating a small child, an example of the confronting and deliberately puerile visual and lyrical style the group had adopted throughout this period. In early 1972, the band relocated to 20 Sycamore St, San Francisco. Intended to be the first-ever long form music video, The Residents saw this project as an opportunity to create the ultimate cult film. After four years of filming the project was reluctantly cancelled because of time, and
The Race (Yello song)
"The Race" is a song by Swiss electronic band Yello, released as the first single from their album Flag. The single was released on 11 April 1988 via the Fontana label. In 1988 the single was released in 7", 12" and CD formats throughout the world, additionally as a cassette single in some places; the limited edition single contained a remix by Paul Dakeyne. The following year, the track was remixed again by Carl Segal and released as a couple of promotional-only 12" singles, coupled with Emilio Pasquez's versions of "Blazing Saddles". In 1992, "The Race" was released as a single a second time, to coincide with the greatest hits collection, Essential Yello. "The Race" appeared in remix form again in 1999 for the Eccentrix Remixes compilation, following the release of their Pocket Universe album. In 2003, the Tomcraft remixes of "The Race" appeared on the single for "Planet Dada", released from their album, The Eye. Since its release, "The Race" has been popular and played among marching bands across the United States.
In 2007, a new version of the track was created by the band in order to promote DHL and Formula 1 racing. Called "The Race II", the digital single was made available free for download, released as a promo CD single; the song was used to open It's Academic on WRC-TV in Washington, D. C. from about 1990 to June 2017. It was the theme of Academic Challenge on WEWS-TV in Cleveland from 1996-99, by which time it was known as It's Academic; the song was used prominently in the 1990 comedy film Nuns on the Run, which starred Robbie Coltrane and Eric Idle and can be heard in the 1991 religious documentary Deadly Currents. It is featured in the 1990 comedy film Opportunity Knocks starring Dana Carvey and Robert Loggia; the song was used in the third episode of the fourth series of ITV sitcom Benidorm, during a Grand Prix race between Madge Harvey and Mr. Pink; the song was used in the 1992 film The Cutting Edge as the ice skating pair's Olympic Short Program routine song. The song was used in the 2006 film The Pink Panther.
A stock footage infused video was created for the song, displaying an abstract race. It was directed by Dieter Meier; this video was released on the CD-Video format. Yello has been known to sponsor remixes of their work. For example, in 1989, RockAmerica created a video remix contest on behalf of Yello named "The Race" in which participants had to video mix the hit recording "The Race"; the competition winners Jeff Consiglio and Vincent Zegna remixed the track and video, taking the main award and having the video released through RockAmerica. "The Race" Video on YouTube Lyrics of this song at MetroLyrics
Hands on Yello
Hands on Yello is a remix album by Swiss electronica band Yello, released in 1995. All tracks written by Blank/Meier. "The Updates" were released on 26 June 1995 as a limited double CD. All tracks written by Blank/Meier. Compared to the 1xCD version, The Updates contains an extra remix by Oliver Lieb, different remixes by The Grid and Plutone, longer versions of the remixes by Westbam, Jam & Spoon, Ilsa Gold, Carl Cox and The Orb. Box with six 12" vinyls, two slipmats and a booklet, limited to 1000 numbered copies. Remixed by Klaus Jankuhn & WestBam; the "Video Cut" is a shorter version of the "Machine Mix". Remixed by Jam El Mar & Mark Spoon. Track 3 is a shorter version of track 1, the "Uff die 12-mix". Remixed by Plutone; the "Video Edit" is a shorter version of the "Experimental Mix". The version on the Hands on Yello CD is different from the version on the Hands on Yello – the Updates 2xCD, neither are similar to the versions on this single. Artwork by – KM7 Lyrics by – Dieter Meier Music by – Boris Blank Photography – Serge Höltschi
Richard Melville Hall, better known by his stage name Moby, is an American musician, songwriter, animal rights activist, author. He has sold over 20 million records worldwide, AllMusic considers him to be "one of the most important dance music figures of the early 1990s, helping bring the music to a mainstream audience both in the UK and in America". After learning how to play guitar at the age of 9, Moby played in underground punk rock bands in the early 1980s, gained attention in the early 1990s with his early electronic dance music. With his fifth studio album, Play, he gained international success. Moby followed the album in 2002 with 18, successful, selling over 5 million copies worldwide and receiving positive reviews, his next major release, 2005's upbeat Hotel was a stylistic departure, incorporating more rock elements than previous album, received mixed reviews. It sold around 2 million copies worldwide. After 2008's dance-influenced Last Night, he returned to the downtempo electronica of Play and 18 with 2009's mostly-ambient Wait for Me, finding higher critical acclaim and moderate sales.
He followed that with 2011's Destroyed, 2013's Innocents, 2016's These Systems Are Failing, 2017's More Fast Songs About the Apocalypse and 2018's Everything Was Beautiful, Nothing Hurt. Moby has authored or co-authored Gristle, his first memoir Porcelain, his upcoming 2nd memoir Then It Fell Apart. Moby has co-written and remixed music for David Bowie, Billy Idol, Daft Punk, Mylène Farmer, Brian Eno, Pet Shop Boys, Britney Spears, New Order, Public Enemy, Yoko Ono, Guns N' Roses, Soundgarden, Michael Jackson and others. Richard Melville Hall was born on September 11, 1965 in the neighborhood of Harlem in Manhattan, New York City, he is the only child of Elizabeth McBride, a medical secretary, James Frederick Hall, a chemistry professor, who died in a car crash while drunk when Moby was two. His father gave him the nickname Moby three days after his birth as his parents considered the name Richard too large for a newborn baby; the name was a reference to the family's ancestry. Moby was raised by his mother, first in San Francisco from 1969 for a short period before they returned east, settling in Darien, Connecticut in a squat with "three or four other drug-addicted hippies, with bands playing in the basement."
His mother struggled to support her son relying on food stamps and government welfare. They stayed with Moby's grandparents in Darien, but the affluence of the suburb made him feel poor and ashamed. Shortly before his mother's death, Moby learned from her. Moby took up music at the age of nine, he started on classical guitar and received piano lessons from his mother before studying music theory. In 1983, he became the guitarist in a hardcore punk band, the Vatican Commandos, playing on their debut EP Hit Squad for God. Around this time he was the lead vocalist for Flipper for two days. Moby formed, he is credited on a self-titled EP, as Moby Hall. In the decade, he was a guitarist for the alternative rock group Ultra Vivid Scene and appeared in the video for their 1989 single "Mercy Seat."Moby graduated from Darien High School in 1983. He started a philosophy degree at the University of Connecticut in Storrs and became a DJ at the campus radio station WHUS; the job gave him the opportunity to spin records in local clubs, became a full-time DJ at The Beat nightclub in Port Chester, New York.
However, Moby grew unhappy and transferred to the State University of New York in 1983. He soon dropped out to take on DJ work, he left home at nineteen and moved into an abandoned factory in Stamford, Connecticut with no bathroom or running water, but it had free electricity which allowed him to work on his music. In 1986, he moved to New York City with artist Damian Loeb. Moby's first live solo performance was witnessed by future longtime manager Eric Härle, who described the occasion to HitQuarters by saying: "The music was amazing, but the show was riddled with technical mishaps, it left me intrigued and impressed in a strange way."In 1990, Moby signed a five-year deal with Instinct Records, an independent label still in its infancy. Moby released his first singles for Instinct under several names such as Barracuda, UHF, to make it seem like the label had signed more artists. "Time's Up" was his first single, presented as a rap song with vocalist Jimmy Mack which gained little commercial attention.
This was followed by the release of "Mobility" in November 1990, the first single put out with the name Moby. It became his breakthrough hit following the success of its B-side, a progressive house track entitled "Go", that sampled "Laura Palmer's Theme" from the American television drama Twin Peaks, it led to his first appearance on Top of the Pops. In 1992, he revealed. Moby's full-length debut album, was released in July 1992, it was retitled The Story So Far for its UK release. Some of his other singles in 1992 and 1993 were "Next Is the E", "Thousand", "Voodoo Child." In 1992, Moby completed a US tour with The