Club drugs and rock stars abide by the same rule: Whatgoes up must come down. After hitting a massive high on 1999's Play,Moby stopped making dance music, opting instead for the downtempoatmospherics of 2002's 18 and the strummed guitars of 2005's Hotel. Soit's exciting to hear this forty-two-year-old vegan blogger return toform. A concept album about an all-night bender, Last Night solidifiesMoby's link in the chain that binds DJ pioneers like Todd Terry toslinky futurists like Justice. From the space-age-Abba shimmer of "OohYeah" to the itchy funk of the brilliant Nineties house throwback "DiscoLies," Moby goes for groove over texture, relying on high-hats, pianoand strings while wisely staying off the mike. The album is billed as alove letter to New York nightlife, but tracks like the dance-hop "I Loveto Move in Here" (featuring Grandmaster Caz) feel more like an Irishwake for the era before the city's megaclubs were shuttered.Appropriately, Last Night's only drawback is the harsh slowdown of thetrancelike "Degenerates." After so many body-rocking tunes, it's likeany sobering slap: a real downer.

“(We're Not) The Jet Set”

George Jones and Tammy Wynette were still married when they recorded the tongue-in-cheek "(We're Not) The Jet Set." The lyrics, written by Nashville songwriter Bobby Braddock, who also penned Wynette's "D-I-V-O-R-C-E" and Jones' "He Stopped Loving Her Today," make fun of the good life by declaring, "We're not the Jet Set/We're the old Chevrolet set." Braddock recalled that while writing the song, he needed the name of a city that evened out the rhyme he had with "Riviera" and "Missourah." “I got out a Rand McNally atlas," he said. "In the first part are the maps. The last part is an alphabetical listing of cities. I wanted a rustic, small-time sound. I went to the listing for Missouri. And I found 'Festus.' I loved the sound of it."