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You wouldn’t expect a songwriter to give Jordin a better song than they gave Beyoncé, but it seems to have happened! This is the second 10 I’ve given this week, so I’m starting to feel very positive about the state of American pop music. I don’t think that would have gone down too well in the middle of Waitrose! In terms of Ryan Tedder songs, I’d say it sounds more like “Halo” than “Bleeding Love”, but it’s much more poptastic than “Halo” and in fact makes “Halo” seem quite half-hearted. I spent the entirety of the next day trying to stop myself from shouting out “GET YOUR ARMOUR!” in public places. Jessica Popper: When I first heard this song, I thought that the extreme difference between the quiet verses and the incredibly loud and intense chorus (particularly at the end of the song) was too jarring, but it didn’t take me many more listens before I was completely addicted.
#WHERE IS THE VIDEO FOR JORDIN SPARKS BATTLEFIELD FILMED FULL#
Ian Mathers: Far too many of the songs that come our way on the Jukebox bring to mind the lines from Macbeth about “a tale / Told by an idiot, full of sound and fury, / Signifying nothing.” But “Battlefield” is so aggressive at drilling its utterly pedestrian and uninteresting narrative/metaphor into your skull, and is so over-the-top (but not, sadly, ludicrous) in its stomp that I think I am finally going to deploy them.įrank Kogan: Nonstop prettiness – better than prettiness – the arrangement going to full-force loudness early on and never letting up, thundering Bonham toms, a gutsy choice, but I think it’s the wrong one, the song trying to hold its own amidst the cannonades but getting lost. But the production and the singing are fine-tuned to an inch of their lives (focus on the drums here, shriek there) that it just makes me despair that there has never been authenticity in pop. Martin Kavka: This song assumes that singing about conflict over punchy drums is equivalent to authenticity. Hillary Brown: Explosively lovely and repeatable. Ryan Tedder’s first indication that he’s got any tricks left that weren’t used up in “Bleeding Love”, a huge tune delivered with enormous weight and seriousness by Sparks to superb effect. Also the desperate breakdown at the end is cool, although I’m still not sure I’m talking about the song.Įdward Okulicz: Massive. Matt Cibula: A confused and confusing song but it lingers in the memory like the time you were alone with that one girl and she was weird and cool and so what if her individual features didn’t quite go together perfectly because there she was and she liked you and the lights were low and “Flash Gordon” was on the VCR and it was okay to surrender just that one time to the night.
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I think the world needs to hear some of that…something good and something happy.” I just talk about things that are kind of universal - love, friendship, things like that. “That’s what’s on this album…I don’t talk about things I don’t know about sex, drugs, rock ‘n’ roll, I don’t know about any of those things. “That’s how people fell in love with me on ‘Idol’ and how I came up,” she explains. (Let the Music Play),” which samples the Shannon hit that Sparks was unaware of until she recorded the song - but Sparks says that ultimately she’s “still just the ballad-singer girl from ‘American Idol.'”
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Luke, and the set also includes a cover of Fefe Dobson’s “Don’t Let It Go to Your Head,” which Sparks said “I had on my iPod for the longest time.” There is, she says, growth and maturity - as well as a step in a dancier direction on “S.O.S. Writers and producers on the album include OneRepublic’s Ryan Tedder, StarGate, T-Pain and Dr. 30 on the Billboard Hot 100 - between January and June and chose the 12-song list from nearly 40 that she worked on. Sparks recorded “Battlefield” - whose title track is No. I’ve grown up a little bit and gone through a couple of things, so I’m excited to see what people think.” “I’m excited for fans to hear my heart and hear what I’ve been thinking,” she says, ” ’cause it has been about two years (since ‘Jordin Sparks’).
Best of all, Sparks added, was she was able to write more songs this time out, four of which made the album with two others being used as promotional tracks.