Battlefield * by Jordin Sparks

The American Idol winner doesn't ever really get to rest on their laurels until they're deep into their career. Coming off such an adrenaline-filled ride witnessed by 20 million people, they have to simultaneously tour, make a record, do promotion, film music videos, start doing promotion for their album, and finally release their debut album after years of trying to make it into the music business. If that's not bad enough, the sophomore slump is rearing its ugly head, a curse that has claimed a fair share former Idols. Now that their handlers aren't as involved with their career (because, of course, there's a new winner to be pimped), the winner is more free to do what they want on album number two, which is a blessing and a curse.

I actually enjoyed Jordin Sparks on her run to becoming the youngest American Idol winner. She may not have been my favorite (Melinda Doolittle was robbed), but she was constantly improving and seemed to have enormous potential for someone so young. After a schizophrenic but ultimately enjoyable debut album that produced some tremendous success on the singles chart, she got back in the studio and presented Battlefield, the so-called Emancipation of JoSp, during the scorching summer last year.
 
Battlefield took a little bit of getting used to because it's one of the more adult productions that I had heard from Sparks up until that point. Though the Ryan Tedder production is still decidedly youthful, there's a definite difference between it and the material from Sparks's platinum debut. Lyrically, it could have improved tremendously, as it relies on an extremely obvious metaphor that will definitely cause you to roll your eyes when really looking at the lyrics. It's one of those tracks that you can pick the flaws from (slightly overproduced, lyrically cliché) and you know that it's not the best thing ever, but it's unbelievably addictive. Walking on Snow gives me definite shades of Kelly Clarkson, a compliment of the highest order for an Idol contestant. It's not as good as Clarkson was at her peak, but it's still a pretty formidable pop-rock track that focuses on independence and self. As opposed to Clarkson's sometimes gruff persona, Sparks keeps it light and oddly friendly for a break-up track, her airy, uber girly delivery working well. It's not the heaviest or most challenging track that you'll find in pop music, but it's a nice blast of feel good positivity. No Parade is one of the few tracks where absolutely everything clicks and it showcases the potential that Sparks actually has. Vocally, she's masterful, bringing some complexity to the mournful lyrics that I personally didn't expect. It's a big ballad and isn't too far removed from a song like Battlefield but it has that extra bit of soulfulness to it that makes it a standout. It's appropriate, honest, and one of the few tracks you'll be repeating after the initial buzz from a new album has died off.
 
While I understand the appeal that songs like Faith have to Jordin, they're just not as inspiring as they could have been. It may be where I'm not in the typical demographic of a Jordin Sparks fan, but the greeting card ready lyricism and overdone vocal just don't resonate with me whatsoever. I appreciate it being such a sparsely produced ballad and Sparks has moments of really connecting, but where she's so young and inexperienced, it's not that affecting of a listen. The Cure sounds like a Leona Lewis reject as opposed to a Jordin Sparks track, which is one of my main criticisms of the record; there's literally no personality to grasp onto here. I realize that she's young and an Idol alum, but she's got to develop an identity soon. This is another well sang yet extremely disposable track that has no presence on the record. It's unmemorable in every aspect, which is something that's the kiss of death in today's pop music world. Emergency (911) tries so hard to be young and hip but there's such disconnect between Sparks's image and the material. The song can't decide what genre it wants to be (it's kind of rock-disco-pop, all three elements that could have been expanded separately into three strong songs as opposed to one mediocre song) and the lyricism is once again not very appealing. Like S.O.S., it tries to have this tough chick I'll-leave-my-man-for-the-very-next-one type of bravado but there's no passion, no believability. It feels like a little girl covering herself with make-up trying to appear edgier and has just about the same effect.
 
Though the album has sold pretty poorly and there hasn't been much singles success to talk about, I don't think Jordin Sparks needs to raise the white flag just yet. She's a likeable person with an above average voice that can only get better; she does her duty on Battlefield, but the production/lyricism leaves a lot to be desired. Sparks doesn't need to become the next Lady Gaga in order to stay afloat in the music industry, but she needs to liven herself up, determine her personality, and try to settle into a lane. Hopefully she waits a little bit before coming out again, as the added experiences of her early 20s can only be fuel for good material. Sadly, Battlefield is a seemingly endless series of bland adult contemporary tracks with an awkward dance cut and very light rock influences that is the epitome of a sleeping aid.
 
Tracklisting
Walking on Snow
Battlefield
Don't Let It Go To Your Head
S.O.S. (Let the Music Play)
It Takes More
Watch You Go
No Parade
Let It Rain
Emergency (911)
Was I The Only One
Faith
The Cure