Bowing to no trends, Joan Osborne’s return offers up sturdy, moody blues chronicles of romantic obsession and paranoia (”Angel Face,” ”Safety in Numbers”); her warm, baby doll rasp; and stonewashed arrangements occasionally spiced with Middle Eastern accents. By the quasispiritual ”Poison Apples (Hallelujah),” she’s even worked out her love life, for now.
What’s missing on Righteous Love is all out excitement: the sexy holy soul that made Relish a goosebump raiser. It’s good to hear Osborne’s mojo working again, but love should be galvanic as well as righteous. B