Producers Jason Lader and Dr. Dre protegé Mike Elizondo provide a backdrop that's spacious and precise, with an aural warmth that disguises its essential sterility. Musically, meanwhile, Lewis divides her loyalties between the old-school L.A. sound of "Dreamworld" and the studio dance music of "Dejalo." Throughout "The Moneymaker," a disco-driven porn-industry nod, and the underage boink tale "15," Lewis ratchets up her sexuality — and she's never been known for her Sister Bertrille imitations.
The combination is smart but calculating: It feels more like a means to an end than art for art's sake. Critical cred's fine, apparently, but banks won't exchange it for cash.