Sitting at No. 18 on the Billboard album chart in its second week, Jordin Sparks’ self-titled debut is already the weakest debut from an Idol winner in history.

But is the CD that bad?

To understand the release’s performance thus far, one needs to understand the ground Idol broke in seasons No. 4 and 5. With the rise of Carrie Underwood, the music-buying public was treated to an artist whose first CD wasn’t merely good; it was stellar.

And in Chris Daughtry, we were treated to an edgy release that has opened doors of critical acclaim for the world’s most popular reality show. Heck, if we stretch the bounds of this discussion to country, artists like Kellie Pickler, Josh Groban and Bucky Covington have succeeded beyond wildest expectations.

However, the primary issue I found in listening to Jordin Sparks is its inconsistency, its lack of identity. When Tamyra Gray came out with a CD some two years after Season 1, I found it to be a hidden gem, rife with well-constructed pop songs but again lacking an identity. When Season 2’s Kimberly Locke did the same, the songs were never a problem.

A lack of identity was.

Before those of you who love Jordin get too upset, understand that I have a pretty good feel for the reigning champ’s “identity.” She’s a sweet, young woman with good vocals and pop appeal in the stylings of something like “High School Musical.” She’s not threatening, and she doesn’t offer one iota of edge.

Jordin’s a total good girl, and in this year of Amy Winehouse, the pop culture of music has turned on its ear. Heck, take Rihanna’s “Shut Up & Drive,” which is a brilliant pop song, but which is also as thick with innuendo as a Prince track.

“Tattoo” was Jordin’s first release from the CD, and it’s performed fairly, getting as high as No. 11 on the Billboard Hot 100. However, upon listening to the entire CD some 20 times now, I don’t believe record executives put Jordin in the best position to win market share and, um, listeners.

Track 5 is a very current-sounding “Shy Boy,” a la somebody like Fergie. It has a pop, club feel, and it’s super radio-friendly, even if it wasn’t my favorite tune on this album. That honor would go to “Now You Tell Me,” which is a composition designed for somebody well beyond Jordin’s years. It’s mature. It’s adult contemporary, and while our champ did a fine enough rendition, the song just doesn’t do her any favors in this market — a market that really needed her to release something young and fresh.

Even “One Step At A Time,” while in Jordin’s pop wheelhouse, is something that easily could have been released by a Celine Dion, some 25 years Jordin’s senior. Same goes for “Next To You,” a track that would not have worked for somebody as majestic, if you will, as Celine, but that would have worked for virtually any female pop artist approaching 30.

One of my favorite tracks on the CD was her duet with Chris Brown, “No Air.” However, the production lacked any creative edge. On the other hand, with the touch of somebody like Timbaland or Kanye, this is a track that could capture somebody over 25.

Jordin’s beyond-her-years maturity showed up again in “Permanent Monday,” which I swear sounds like a Sheryl Crow song in different clothing. When I refer to maturity, I merely mean here that it makes Jordin sound too old.

Perhaps that’s the identity she’s going for. I am merely kidding. However, the suits at 19 Entertainment really needed to capitalize on Idol’s first teenybopper champ, and instead of pouncing — making Jordin as hip as Rihanna or Beyonce — they instead turned her into Taylor Hicks … and it spells ultimate doom for this record as a whole.

Best chance for a big hit after “Tattoo” - I’d lay money on “Shy Boy.”

My recommendation - Try to get at least one really big hit single from this CD and then move on to the next.