Adventures in Paradise
July 25, 1989
Geffen Records/ UMG
1. Talk to Myself // 2. Sexy Sex // 3. Never Let Our Love Die // 4. (Lift You Up) Turn You Around // 5. Paradise // 6. Promises, Promises // 7. One Girl // 8. If That’s What You Want // 9. I’m Your Present // 10. Always & Forever // 11. Lover Come Back // 12. Sweet Memories
The onslaught of high-quality, moderate length R&B albums coming from Uptown records couldn’t last forever. And while Christopher Williams’ debut album Adventures In Paradise isn’t an outright failiure, and at times showcases some fairly pleasant R&B music it doesn’t have the same amout of highlights that for instance In Effect Mode and Guy had, and it runs fifteen to twently minutes longer than either of those classics, which kind of means it runs fifteen minutes too long. Besides that Williams doesn’t have Al B. Sure!’s lithe and Guy’s… well Guy’s Teddy Riley throwing him beats. (On the other hand Timmy Gatling produces three songs on here. Guess it is nice to know het got at least one more Uptown/MCA paycheque after quitting Guy right before the group dropped a platinum album and started making money.) So while this album may not exactly be where it all turnt to shit it certainly is on of the less essential recordings from the ‘New Jack Swing’ era.
Williams sounds like a more relaxedly singing Johnny Gill, which is to say he’s a fine soul singer. It is also to say he is a little bland since, hate it or love it, Gill’s strenuously ferocious vocal stylings are what set him apart from the pack more than anything else.
But Williams certainly sounds like he could be a compelling singer given the right collaborators. Teddy Riley, Babyface & L.A. Reid and Jimmy Jam & Terry Lewis come to mind.
Timmy Gatling, Nick Martinelli, Nick Matkosky, Robert Brookins, Nevelle, Joel Davis, DJ Eddie F and some guy who goes by the moniker of Wokie are what he works with here in stead. Although Andre Harrell did sign off on Gerald Levert providing a couple of songs before he left for a holiday trip to the Bahamas for the duration of this album’s recording (his name is nowhere to be found in the liner notes.) [EDIT: Which is because Adventures In Paradise apparently was not released on Uptown Records. Apparently Williams only signed over to the label after releasing his debut to release his sophomore album Changes there. Oh well.]
To be fair this group of relative no-names and Levert churn out some perfectly adequate, impeccably produced late ’80s urban soul. There are a couple of dance numbers but Williams is mostly in quiet storm mode steering clear of hip-hop territory most of the time, which given the horrendous raps of the Guy-aping, Gatling-produced opening track Talk to Myself, which manage to rhyme ‘departed’ with ‘retarded’ may be a huge blessing. Still, for the most part the album fails to grab the listeners attention. This may make it perfect background noise for shopping malls and the like but it also makes it seriously unfit for keeping in a music collection.
Although Adventures In Paradise may not be very exciting there surely is a market for it. I can imagine your Freddie Jackson loving, fifty year old aunt just melting away listening to this album. If her birthday is coming up you might as well throw a couple of nickels over the counter at the used CD shop may you come across this there (I can’t image too many copies lying around in other places).
But for all other intents and purposes this album is probably rather useless. These days you probably couldn’t even get laid to songs like Sexy Sex anymore (Unless you’re into hotel elevator hookups). There’s nothing remotely memorable about Adventures In Paradise. I should know, I just listened to the thing and besides that sucky amateur rap at the beginning I can’t remember a specific thing about it.
Talk to Myself is quite good, even if the rap bits are cringeworthy. It really makes one wonder how big Timmy Gatling’s roll was in producing Guy. It must’ve been bigger than everyone thought because Talk to Myself sounds exactly like a Guy song. Either Timmy was as important to Guy as Teddy was or he decided to take one of Teddy’s spare beats with him to sell before storming out of the band’s back door never to return and that beat became Talk to Myself. That theory was more interesting than the entirety of this album unfortunately.
Don’t buy this album. Or do buy it. Whatever, I don’t care. It’s your elevator.