![]() ![]() (Let the Music Play),” evokes the brazen dance-pop of Lady Gaga. Intriguingly, the music on that song, and another club track, “S.O.S. On “Emergency (911)” the humiliation of being stood up for a date is cast in histrionic crisis-services terms. ![]() Sparks applies an epic scale to her endeavors. Like all of those righteous and beleaguered touchstones, Ms. Benatar is of less use to her than Beyoncé, or her “Idol” predecessor Kelly Clarkson, or even Celine Dion. She sounds vexed but in control, and undaunted by the copyright interests of Pat Benatar, who preferred her battlefield metaphors in declarative form. “Why does love always feel like a battlefield?” she wails, with remorse and rebuke, on the album’s title track, a Top 40 single. Sparks, now a worldly 19, has her principles, including a stake in overblown emotion. “Battlefield,” her expertly constructed second album, upholds a darker, more experienced tone without losing an ounce of melodrama. Her self-titled debut sold more than a million copies on the strength of four hit singles, each a gust of teenage wonderment or torment. Jordin Sparks entered the first phase of her pop career as an ingénue, winning “American Idol” with bright talent, bubbly charm and a willingness to learn. ![]()
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