Oleta Adams Albums (7)
'Christmas Time with Oleta'
Release Date 1/1/2006
Tracks 10
Label Universal
See Album Tracklist and Review
What The Critics Say
Since emerging in the early '90s with "Get Here," the incredibly rangy R&B vocalist Oleta Adams has found a mixed bag of success in slick R&B and gospel music -- but her church background made the latter a more honest spiritual fit. Her re-emergence after a five-year hiatus is a triumphant one, as she mines familiar material with that distinctive, emotionally powerful voice that's been off the scene way too long. The first two gospel-oriented numbers ("Of the Father's Love Begotten," featuring much of "Hark! The Herald Angels Sing," and "Alleluia, Alleluia (Peace on Earth)") pit that voice over a swelling, sweeping choir, creating a fresh magic that makes Christmas Time with Oleta one of the best vocal holiday offerings of 2006. But those are just the beginning of the blessings that flow. She practices restraint on the soft and jazzy "Christmastime Is Here" (in a version which would make her contemporary, Patti Austin, proud) and takes whimsical turns on the percussive "I Wonder as I Wander" and a soul-jazz rendition of "Winter Wonderland" (featuring the singer herself on acoustic piano). Adams draws out the drama of Amy Grant's spiritual epic "Breath of Heaven" and gets cozy with a big-band-flavored arrangement on "Let It Snow." And what would a true gospel-driven Christmas disc be without "Silent Night"? Adams' takes a subtle approach, with sparse synth backing, tapping into the solemnity of an overly commercialized holiday rather than overwhelming us with bombast -- the perfect, peace-minded approach, and a true religious experience as well. ~ Jonathan Widran, All Music Guide
What The Critics Say
The richly emotional, sultry voiced soul singer is best known for her powerful rendition of Brenda Russell's "Get Here," which became an anthem for the Gulf War. No such anthems for other wars are immediately apparent here, but Adams continues to show a remarkable ability to turn great songs into spiritual experiences and make even mundane songs poignant experiences. With tracks produced by Ricky Peterson and Peter Wolf, Adams should have no trouble -- with the right promotion -- getting further in the R&B crossover market, even if her label is more jazz oriented. The funky opening track, "Sweet Side of Life," has smooth jazz written all over it; it's cool (hardly mining the depth of where that voice can go) and just a bit gospel flavored, and features Paul Jackson, Jr. on guitar and a smoky sax solo by Gerald Albright. She turns the familiar, somewhat clichéd "I Can't Live a Day Without You" into a resonant declaration of love, despite being backed by an Art of Noise-like synth foundation. She shows optimism and bluesy hip hope sensibilities on "I Hope You Dance," wistful sorrow on the plaintive "Love Was Spoken Here" and a deep sense of spirituality on the worshipful ballad "In the Beginning." Amazingly, for someone who relies so much on outside songwriters for what success she's had, Adams actually creates the best pieces here herself. "The Power of Sacrifice" invokes an image of Christ for the world today and how people can offer themselves to others. "Learning to Love You More" is the one track that brings Adams back to her gospel roots (this disc needs more of this), a heartfelt chronicle of a tempestuous lifelong relationship -- now reconciled -- with her sister. "Just Before I Go to Sleep" is saved for last, but it displays Adams at her most heartfelt on both piano and vocals. It's a simply arranged, loving prayer sung to a lover before God. A strong effort overall, but greater simplicity and heart like this would have made it more of a slam dunk. ~ Jonathan Widran, All Music Guide
What The Critics Say
Although she always demonstrated a strong gospel influence, Come Walk With Me is Oleta Adams' first full-fledged religious album. Unsurprisingly, her singing shines throughout, but the record falls just short from being a powerhouse because the songs often meander, failing to hit upon a strong, memorable hook. Nevertheless, the album succeeds in being a moving modern gospel record because of Adams' passion and her remarkable voice. ~ Rodney Batdorf, All Music Guide
What The Critics Say
Movin' On is Oleta Adams's most straight-forward and mainstream release to date. Considering that she is working with Whitney Houston and Mariah Carey's producers (Rich & Friedman and Vassal Benford, respectively), the shift in sound shouldn't come as much of a surprise. What is a surprise is how well Adams' subtle voice works in this setting, adding extra textures to the subdued arrangements. Unfortunately, that can't compensate for inconsistent material, but Movin' On remains a fine contemporary soul record. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
After the success of her debut, Adams doesn't change the formula for her second album. Which isn't a bad thing -- the stylish love ballads she sings are some of the best adult contemporary pop of the early '90s. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
At the time of the release of her debut, Circle of One, Oleta Adams was best-known as the impassioned backing vocalist on Tears for Fears' 1989 album The Seeds of Love; most prominently featured on "Woman in Chains". About a decade later, she was best-known for "Get Here": a gospel-tinged belter later revived by one Justin Guarini as his showpiece on the 2002 phenomenon American Idol. This, of course, proves that even small hits have an unexpected shelf life, and anybody who decides to go back to Adams' debut may not find anything quite as good -- though the other single, "Rhythm of Life," comes close -- it's nevertheless a high-class, quality, contemporary R&B record that perhaps sounds a little bit too much like its year. ~ Stephen Thomas Erlewine, All Music Guide
