::ALBUM REVIEW::

R&B and soul songstress Oleta Adams emerged on the scenes at a very important time in pop music. After a successful tenure with English pop band Tears for Fears on their 1989 album The Seeds of Love, Adams broke out with a great resurgence to revamp her solo career. Roland Orzabal, from Tears for Fears, backed her and supported her initiative on her 1990 debut Circle of One. The album yielded her a Grammy nomination for the Brenda Russell-penned “Get Here” and her biggest hit to date; jumping into the Top Ten on the pop charts. Her versatile sultry voice, glowing with an array of jazz and gospel colors, was highly appreciated by critics and fell into the pop status of adult contemporary icons like Anita Baker, Regina Belle and Patti Austin. When the singer decides to record a gospel project, even while her pop career remained afloat, many had no idea of what to expect. The result: Come Walk With Me is an edifying work of art that embodies her unbreakable faith and the musical styles she is most comfortable with. Adult contemporary isn’t always going to break into the pop world. With Adams’ vocal power and control, she takes the lightest of AC tunes and sweeps them into unforgettable spiritual moments. For the bulk of the album, Adams leans on the incredible production forces of Michael J. Powell to bring out the best out of her spiritual compositions and warming hymn arrangements.

Opening the album, the Fred White-penned “Holy Is the Lamb” is pure worship. All the right elements are in place on this one - Adams’ subtle vocals, comforting choral harmonies and its dreamy instrumentation. The song became an instant hit on gospel radio and has since been featured on dozens of gospel compilations including the prestigious WOW series and Time Life’s Body + Soul Gospel & Ultimate Gospel collections. Adams soars on the gospel-throttled “If You’re Willing” with its Frankie Beverly-esque soulful funk and unapologetic lyrics. The tranquil title cut is the album’s centerpiece; driven by Adams’ signature sounds and a moving retelling of the biblical story of John 6:16-21. Penned by Adams, she moves the lyricism into a more contemporary context and gives the song a sweeping poetic posture as she encourages listeners to drop their woes at Jesus’ feet and to let “him be your guide.” Done in the spirit of Anita Baker’s smooth soul, “I Will Love You” oozes with therapeutic sounds set in place by Michael J. Powell’s direction. Kevin Bond’s “What Price” is a mellow, contemporary jazz performance that is just as serenading as a Najee record. “This Love Won’t Fail,” penned by Raina Bundy and the late Skip Scarborough (of Earth Wind and Fire fame), is another album highlight and builds its initial gush on the well-constructed, solid chorus. Helping to support those efforts is an all-star gospel troupe of singers including members of the Tri-City Singers like Donald Lawrence, LeJuene Thompson, Michael A. Young, Arenetta Murrill-Crooms and Erica McCullough. With a soothing harp and string arrangement, “Wash, O God, Our Sons & Daughters” is a glorious version of the most recently scored 20th century hymn. Probably the album’s greatest achievement is how Adams hones in on the spirit of the Columbia era records of Mahalia Jackson on the Charles Albert Tindley classic “Beams of Heaven.” With light organ murmurs from Van Cephus and a leading piano performance from Adams, she turns this traditional standout into a moving spiritual event that carries about the same polished feel of her 1990 hit “Get Here.”

Even though the album charted at number four on the gospel charts and made the Top Ten of the Contemporary Christian charts, the album has been lost in the canals of gospel history for its significance. The label, Harmony Records, has since folded and their well-packaged catalog remains a tough hunt for grabbers; overwhelmingly collecting dust in the world of eBay. Come Walk With Me remains the labels’ greatest chapter and easily fits in with any of Oleta Adams’ great balladry done on her mainstream albums. She gives each selection her very best and never downsizes a moment; ultimately delivering one of the ‘90s most underrated passionate gospel records.