Worse still, the album degenerates into sentimental mush in its final stretch, with Sparks delivering a series of threadbare clichés over dull, dated arrangements. Most of the rest is pleasant enough, but midtempo pop tunes like 'Watch You Go' and 'It Takes More' don't leave much of an impression after they're finished playing. Two excursions into dance-pop territory, the stomping, Shannon-sampling 'SOS (Let The Music Play)' and the boyfriend-baiting 'Emergency (911)', also do the business. 'Don't Let It Go To Your Head' is as catchy as midtempo pop-rock comes, while 'Let It Rain', with its church organ intro and screeching guitars, offers lots of soft rock bombast. Nothing here is as irresistible as the single, a brilliant update of the '80s arena rock sound that deserves better than its middling chart performance, but several tracks aren't too far off. These 12 tracks– not including two bonus cuts that originally appeared on her 2007 debut – jump through the "pop" and "rock" hoops far more often than those marked "dance" and "R&B". Which route did she plump for? Well, given that 'Battlefield' the song had just premiered to rave reviews from pop fans, it's no surprise to learn that it's given the final record more than its title.
"We have over 30 songs to choose from," the singer explained, "We could go dance, we could go pop, we could go R&B, we could go a little bit more rock".
When DS spoke to Jordin Sparks less than two months before Battlefield's release date, the album's direction had yet to be decided.
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