Robert Owens ‎– Night-time Stories


Versions (3)

Cat#  Artist Title (Format) Label Cat#  Country Year
COMPOST 285-2 Robert Owens Night-time Stories(CD, Album, Dig) Compost Records COMPOST 285-2 Germany 2008 Sell This Version
COMPOST 285-2 Robert Owens Night-time Stories(CD, Album, Promo) Compost Records COMPOST 285-2 Germany 2007 Sell This Version
COMPOST 285-2, ПРЗ CD23164 Robert Owens Night-time Stories(CD, Album, Dig) Compost Records, Правительство Звука COMPOST 285-2, ПРЗ CD23164 Russia 2008 Sell This Version


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April 28, 2015
referencing Night-time Stories, CD, Album, Dig, COMPOST 285-2

Robert Owens has long provided powerhouse vocals for top house producers, and on NIGHT-TIME STORIES, they return the favor. Jimpster, for instance, brings a deep, building force to "Inside My World," while Simbad opts for a slightly more tech-house approach. Ian Pooley lets his more upbeat electro-house rule over "I'm Chained," but Atjazz slows things down to an R&B tempo for "Now I Know." But Charles Webster steals the show with the throbbing darkness of "Never Give Up." Owens gets a chance to produce himself, and he comes up with the perhaps overly long "Press On" (interestingly, the almost-as-long "Merging," doesn't fall into this trap but including more internal variation). Marc Romboy lets a more tech-oriented production style take over "Back to You," though the lyrics are rather pat; luckily, the upbeat "Happy" co-exists well with its content, as does the brisk "No Tomorrow," produced by Kirk Degiorgio. If you can judge an album by the strength of its contributors, then this ranks highly indeed!


March 9, 2008
referencing Night-time Stories, CD, Album, Promo, COMPOST 285-2
It was nearly a dozen producer who’d worked and had created musical soundscapes for the album of the best male vocal’s ever characteristic voice in dance music industry. Jimpster puts bubbling deep-house onto the table. Ian Pooleys brings straight-up retro disco. Atjazz is pleasing with a creamy, down-beat alike track. Charles Webster operates with electro-pop elements. Whoo’s here with proper club-house, and the trancy, alternative piece of TJ Kong makes the picture even more colorful, yet the 77 minutes long album doesn’t really step out of house music’s halo; and this is quite interesting sometimes: one couldn’t place the predictable house songs paired with gentle, smooth and tricky vocal bends for the first time. Mind you, not everything need to be understandable for the first time. Perhaps, the sympathy for this way of approach is the reason how Robert Owens – just like Compost Records itself – keep being innovate.