Adam Lambert’s ‘Time For Miracles’ Looks Back, But Should It Be Looking Forward?

Adam Lambert is poised to drop one of the most anticipated post-”Idol” debuts ever. With promises of glam-rock-meets-modern-studio-trickery, Lambert’s still-untitled CD could be a unique tour de force that mashes old with new. And the music industry seems generally stoked about it.

It’s curious, then, that Lambert’s camp has decided to release “Time for Miracles” — an unabashedly old school soundtrack power ballad — as his first foray into the real (non-”Idol”) world. Will the casual listener be confused when the PR campaign has been “modern alien invasion rock” but the first thing they hear is “Aerosmith Part II: Still Not Missing a Thing”?

“Time for Miracles,” which comes from the “2012″ soundtrack, finally leaked this past weekend. (Thanks, iTunes Netherlands, Italy and Belgium!) And the full track almost plays like a parody of late-20th century end credit scrawls. Take a little Aerosmith, a heaping helping of Jon Bon Jovi‘s “Young Guns II” album and the soaring glory notes from Celine Dion’s ode to a sinking ship and you’ve pretty much got “Time for Miracles.”

Lambert croons about having an “achin’ heart” and lovesick insomnia before hoping for a miracle to bring his lover back home. Lyrically, there’s nothing too groundbreaking. And while his emotionally dead-on vocals elevate the otherwise straightforward content into a majestic beast of a ballad, it doesn’t silence Lambert’s critics who suggest his arena rock wail might be more at home on the rock charts 25 years ago, when Warrant and Cinderella ruled the school.

Don’t get me wrong, “Idol” fans. I think “Time for Miracles” is awesomely (and appropriately) over the top. I appreciate the build-up, which allows for Adam to showcase both sides of his meaty vocal chops: tenderly quiet and ear-drum-bashing-octave-jumping-fist-pumping loud.

But considering Lambert and his record label, 19 Recordings/RCA, have been vocal about “Time for Miracles” being a side project that doesn’t reflect the tone of his major label debut, isn’t it odd that they’d allow this non-album throwback track be the first taste the world gets of their new performer?

What do you think? Will “Time for Miracles” give the general (i.e. non-Idoloonie) music-buying public an unfair first impression of a new artist? Or was it a smart move to market Adam to adult contemporary charts before unleashing his glam-meets-Gaga modern rock? Sound off below!