Moby and Twin Peaks. Story behind Go single

From Moby’s Porcelain: A memoir book

Over the summer of 1990 I’d produced a slow R&B single called Time’s up for a singer named Jimmy Mack. It sold fewer than 250 copies. When I released my first solo single, Mobility, it had sold around 1 500 copies, which felt like a huge success compared to Time’s up. The B-side of Mobility was a minimal techno track called Go. It was poorly mixed and no DJs were playing it. Even I wasn’t playing it when I DJed. It was too subdued and too poorly mixed to be played alongside any other house or techno records.

Jared had been talking to Outer Rhythm, a label in the UK, and the head of A&R for some reason liked Go and had expressed interest in releasing it. Jared warned me, “They’ll only release it if you make some new mixes so it doesn’t seem like an old record.” After signing with Instinct I had moved my studio into Jared’s place. He had a big one-bedroom apartment; we set up the Instinct Records office and my studio in his living room. Having my studio set up in his big living room made more sense than trying to work in the closet of my tiny bedroom on Mott Street. Jared worked full-time and made $80 000 a year doing data entry for Citibank. So from 9:00 to 18:00 every weekday while he was at work I would go to his apartment, where I would make music, do office work, or clean the kitchen.