Commitmentphobes elect to venture to a deeper emotional level (“End of the World,” “Surrender”). Separated by “1000 Miles,” a man appeals to his ex for a second chance. “I Got You” basks in the glow of new romance. Lewis holds a woman accountable for lies and broken promises (“How Many Words”).
Mild profanities pop up occasionally, as well as exclamations of “good god” and “dear god.” The breakup song “Without You” implies that the couple shared a bed. Playing the lothario, Lewis objectifies and propositions women. He uses risqué language to position himself as a better partner (“What’cha Got 2 Lose?” and “Break Anotha”), lets ogling become an almost stalker-like sexual quest (“Gots to Get Her,” “Know My Name”) and has the nerve to paraphrase Scripture during the Prince-style come-on “She’s Makin’ Me Lose It” (“Heaven help me, I know not what I do/It’s the devil in me that makes me want you/Can I taste your sweetness?”). Lewis treats love and lust as synonymns on most cuts, including “Here’s My Hello” (“You turn me on, now don’t turn it off … Just stay here with me under the sheets”).
Traditionally, American Idol finalists have played it fairly safe on their debuts. That may be changing. Blake Lewis’s pop vocal stylings and emphasis on sexual conquests land him in the I-wanna-be-Justin Timberlake camp. While not as explicit, his Daydream is often an erotic fantasy.
After serving as an associate editor at NavPress’ Discipleship Journal and consulting editor for Current Thoughts and Trends, Adam now oversees the editing and publishing of Plugged In’s reviews as the site’s director. He and his wife, Jennifer, have three children. In their free time, the Holzes enjoy playing games, a variety of musical instruments, swimming and … watching movies.
