Thu. Dec. 13, 2018

Robert Owens ‎- Too Much For Me (Rough Mix)

This Beat Is Mine! (*) Robert Owens ‎– Too Much For Me (Black Label)

A hudge Deep House fan since the early days, I recently stumbled upon a sealed copy of Robert Owens‘s ‘Too Much For Me’, while at a record fair. I got to admit this was further to an interview of the man which I saw here on IDMW.

There he explained how pissed off he’d been seeing it saw the light without his consent back then (in 1992).
He said he disliked the principle which I fairly well understand. And also he didn’t like the final result. Did he mean the way his voice sounds. Was he speaking of the production? That I dunno…
Nevertheless, ‘Too Much For Me’ stands to me as one of his most vibrant performances ever. With the production perfectly fitting with the emotion of both its singing and lyrics.

Too much for me? Certainly not. I just can’t get enough…

What’s the value of your vinyl record?

This Beat Is MineThis Beat Is Mine! (*)
Once in a week (on Wednesdays), we leave you at the command of IDMW
For this to happen, nothing’s more easy… What you’ve just got to do is drop us a line while using our contact form and let us know about your favorite piece of music (*), along with a review explaining what it suggests you and why people should dig it. And the best of it will be given a publication with your credit the week after.

With warm thanks to Cork-based correspondent, James Carrick, for this week’s suggestion…

Gladly welcoming yours to be published next Wednesday. On your marks!

Overview

“I’ve always been into Gospel voices. Robert had a religious background, although his sound was an exception to the rule for me. It didn’t come instantly though. As a matter of fact, Robert is like a wild horse. Unless you put up margins for him, he never can sing the same line the same way twice. I had to constantly sort of reframe him…” (Frankie Knuckles)

Here we have a statement that pretty much speaks for itself. And this by no one else but the one remembered as the Godfather Of House. Quite evocative of the inner strength/voice which had led Robert Owens to deliver some of the most vibrant vocal performances one can think of. Among those very rare to have stood the test of time. Being to the Chicago (House) scene what Arnold Jarvis happened to be to its NYC alter ego. And more widely being to House what Omar has become to the contemporary groove. With thanks to their unique voices and an undeniable eclectism…

A quick look at Robert Owens‘ discography (on Discogs) says it all. Or almost, as chances are great they may not have listed his entire repertoire. What we can read though is an inventory of 5 albums and 100+ singles. And, in the meantime, the fact that he’s been collaborating with some of the most talented producers since the second half of the 80’s.

As you may guess, Robert Owens grew up singin’ in church before exploring the facets of DJing. Eventually meeting Larry Heard by the middle of the 80’s. This resulting in the twosome givin’ birth to Fingers Inc. along with Ronnie Wilson. And subsequently releasing ‘Another Side’ back in 1988 on Jack Trax. A mythic album featuring timeless jewels such as ‘Mystery Of Love’, ‘Bring Down The Walls’ and ‘Mystery Friend’ to name a few.

Owens eventually engaged the upper gear the year after. This when joinin’ forces with Frankie Knuckles and a then unknown Satoshi Tomiie on the seminal ‘Tears’ (FFRR). Then makin’ his debut on Fourth & Broadway in 1990 with the abyssal ‘Visions’ co-produced by Frankie Knuckles and David Morales. The latter crafting on his own this time the syncopated ‘I’ll Be Your Friend’ which got released the year after on RCA.

He contributed to the recording of Larry Heard (Mr. Fingers)’s ‘Introduction’ album in 1992 on MCA. That same year seeing the release of the insanely vibrant ‘Too Much For Me’ without his consent. Launching his Musical Directions imprint while relocating in London, he delivered ‘Ordinary People’ with remixes courtesy of Booker T two years later. Eventually sharin’ the bill the year after with Michael Watford on the Marshall Jefferson produced ‘Come Together’

In 2000, he landed his voice on Photek‘s blowing ‘Mine To Give’ with remix work by the likes of David Morales. Eventually colloaborating with other junglists – London Elektricity – with whom he released ‘My Dreams’ and ‘Different Drum’.
With Quentin Harris, he did ‘Always’ and soon after he came along with Coldcut on the abyssal ‘Walk A Mile In My Shoes’. He contributed to Atjazz‘s syncopated ‘Love Someone’ in 2007. Then he teamed up with Ron Trent on ‘Movin’ On’ then ‘Deep Down’. Meanwhile 2007 saw him sharing the bill with Gene Hunt on ‘Twilite People’. Then 2010 with DJ Spen on the deeply heartfelt ‘A Greater Love’.

He contributed more recently to Ralf GUM‘s ‘Fly Free’ (2013). And he also joined US NU-Disco gurus Soul Clap on ‘Misty’ the year after. Not to mention Kenny Dope with whom he shared the bill that same year on ‘Bricks Down’. Or Compost Allstars (Beanfield, Christian Prommer, Roland Appel and Michael Reinboth) on ‘Good Day’. This in addition to Martello‘s ‘In The Beginning There Was House’ and Oscar P‘s ‘Thank You’ which we both welcomed as our Single Of The Week at the time.

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