After putting fresh spins on classics such as "Ring of Fire" and "Whole Lotta Woman" on the American Idol stage, Adam Lambert left season eight as the runner-up. Questionable decision, but let's move on.
Sure, some could argue rock power ballad "Time For Miracles", the soundtrack theme to John Cusack-starring 2012, is Lambert's true debut single post-Idol. Unfortunately, they would be wrong. That distinction goes to disco/glam "For Your Entertainment", title track of the artist's bold debut album.
While it might boast a songwriting credit for the despicable Dr. Luke, from the alluring opening synth-pop notes to vocal sass from Lambert himself, the dark and edgy "For Your Entertainment" was a confident first step in the artist's career.
However, the 2009 American Music Awards happened. In his debut televised performance, Lambert simulated fellatio and French kissed his guitarist. It was apparently too much for mainstream television.
Scheduled interviews for the following morning were cancelled, Lambert was forced to apologize, and active promotion for "For Your Entertainment" quickly ended. The song settled for a stalled chart peak of #61 on the Billboard Hot 100, but with the progress achieved in the last few years for openly queer artists, perhaps the glam aesthetic of Lambert's debut single would be more successful today.
Would better chart success for "For Your Entertainment" have prolonged or eliminated the release of juggernaut "Whataya Want From Me"? Would it have encouraged Lambert and his team to push forward with tracks like "Fever" or "Sure Wire Winners" as single choices? Hard to tell. However, equal success for the first two singles could have reinforced the notion that Lambert could excel in either artistic direction -- ballads and uptempo dance.
But, since we do not live in an alternate universe, and "Whataya Want From Me" was indeed the effort that cracked the Top 10 and earned Lambert a vocal GRAMMY nomination, when promotion began for sophomore album Trespassing (the first album from an openly gay artist to reach number one!), we were treated to the sister sequel of the artist's biggest hit to date.
Lambert's vocals were charged and powerful, showcasing a range no other could replicate. The piano-led production was soft and a commendable supporting player. It just all did not seem to be enough to interest either end of the artist's fan base. "Better Than I Know Myself" did not deliver the captivating energy of an uptempo effort. It also remains one of his less engaging power ballads.
Ultimately, the song hit a peak of just #76 on the Billboard Hot 100, on its debut week. While it unfairly holds the distinction of being Lambert's lowest charting single to date, it is responsible for an unjust Trespassing era of follow-up singles. "Never Close Our Eyes" was chosen and failed to connect as well. We could have gotten a double-serving on "Cuckoo" and "Pop That Lock" instead.
Thankfully, Lambert found considerable success with the effort. "Ghost Town" garnered positive critical success, became the artist's highest charting hit since "If I Had You", debuted at a higher position than his previous lead album single, and stayed on the Billboard Hot 100 for an impressive 17 weeks, his third most for a single. But somehow, it still deserved more.
As Idolator recently argued, the song was "dabbling in ’90s-inspired deep house" before the current trend and, more than any other effort, had the lyrics did most of the heavy lifting. True. Perhaps Lambert finally having a hand in writing one of his lead album singles was a smart decision.
"Saw all of the saints, lock up the gates, I could not enter, walked into the flames, called out your name, but there was no answer," he sings on the poetic verses.
"Ghost Town" was a stunning opener for a new album era. The sound differed from anything Lambert had tried before, and the artist nailed the execution perfectly. His vocals remained strong and in-control, even when competing with infectious production. Unfortunately, it never climbed higher than #64, and with the lackluster performance of "Another Lonely Night", we never got to hear "The Original High" or "Underground" dominate the radio airwaves.
Last but not least, the current Velvet era. Which everyone is still sleeping on!
Velvet is a strange era, with possible multiple lead singles, depending on who you ask and when. We got "Feel Something", the gospel-tinged ballad. However, while the effort ultimately made the final tracklist, it does feel the most disconnected.
That brings us to the 70s rock vibe of "New Eyes", a soulful, relaxed number that bare similarities to work of Niall Horan ("Slow Hands"). The track introduced fans to a restrained, sleek, instrumentally-driven Lambert, yanked out of familiar genre territory in exchange for a passionate performance that felt more authentically aligned with personal desire.
Dedicated to a then-boyfriend, there was passion and optimism in the artist's vocal performance. Surrounded in production haze, Lambert was still able to get his message across in an exciting new way.
It did not translate to chart success though, as "New Eyes" failed to make a dent on the charts and we quickly found ourselves with an album "re-introduction".
"Superpower" blended an already-introduced 70s rock era aesthetic with 90s alternative pop attitude a la Alanis Morissette. It was an intriguing attempt at making Lambert's current artistic desires a bit more radio friendly.
Crafted alongside singer-songwriter Ilsey Juber and producer Tommy English, "Superpower" shined vibrant light on Lambert's rebellious call to action. Fed up with rampant hate and discrimination, the artist encouraged people to stand up for themselves and find pride in their own individuality. He also appeared to vent his personal frustration with past record labels on the fierce anthem
"You try to put me in a box, make me something I’m not, don’t give a fuck, 'cause I’m gonna take back, my superpower," he belts on the fearless hook.
Even with some more pep in his step, "Superpower" also failed to generate any chart movement. Honestly, because of back-to-back singles with poor commercial reception, it seemed as if Lambert tried to save face and split his fourth studio album into an extended play and then a proper full album six months later.
It's a shame because the quick successions of singles, followed by long gaps of silence, forced the audience to leave both "New Eyes" and "Superpower" behind.
Dedicated to a then-boyfriend, there was passion and optimism in the artist's vocal performance. Surrounded in production haze, Lambert was still able to get his message across in an exciting new way.
It did not translate to chart success though, as "New Eyes" failed to make a dent on the charts and we quickly found ourselves with an album "re-introduction".
"You try to put me in a box, make me something I’m not, don’t give a fuck, 'cause I’m gonna take back, my superpower," he belts on the fearless hook.
Even with some more pep in his step, "Superpower" also failed to generate any chart movement. Honestly, because of back-to-back singles with poor commercial reception, it seemed as if Lambert tried to save face and split his fourth studio album into an extended play and then a proper full album six months later.
It's a shame because the quick successions of singles, followed by long gaps of silence, forced the audience to leave both "New Eyes" and "Superpower" behind.
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