by Stephen Thomas ErlewinePaula Abdul notoriously labeled Blake Lewis as "the contemporary rebel," a seemingly nonsensical assignation that nevertheless had the ring of truth. Compared to everything else on that turgid sixth season of Idol, Blake was contemporary and a rebel. Unlike the obligatory soul throwback Melinda Doolittle, Lewis seemed versed in music made after his birth year, and compared to teen queen Jordin Sparks, he was happy to bend (but not break) the rules, beatboxing as often as he sang. Of course, that bit of sputtering showmanship was designed to masquerade his decidedly limited range, but it nevertheless made for OK TV, pushing him to the forefront of a dull pack that gleaned its only personality through the skin of Antonella Barba and the hair of Sanjaya Malakar. Blake carried a tune better than those two, but not better than Melinda and Jordin. Where he trumped them was the fact that he seemed to have a sense of himself, a musical identity cobbled together from the scrap yard of '80s MTV -- all learned via VH1 Classic and YouTube, naturally, as he was a toddler when the network launched -- that nevertheless seemed fresh when put against the endless Motown versions and Celine Dion on American Idol, and helped justify Abdul's appellation, at least a little bit. What Blake had that the other contestants didn't was musical ideas that came from outside the confines of the show, which was enough to make him interesting on a weekly basis (even if he was maddeningly inconsistent), and it was enough to suggest that he could possibly pull all his thoughts together on his inevitable studio album.... Read More...