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. ' Released: May 12, 2009. ' Released: August 14, 2009. ' Released: January 8, 2010 Battlefield is the second by American singer, first released on July 17, 2009 through. The album debuted at number 7 in the United States, number 11 in the UK, number 34 in Australia and top 20 in many territories. Contributions to the album's production came from a variety of producers, including,. The was released as the from the album in May 2009, peaking at number 10 on the chart in the United States.
' (which contains a sample from 's 1983 single ') was released as the second single from Battlefield in August 2009, followed by ' (a cover version of 's song of the same name) as the third single in January 2010. Upon its release, Battlefield received mixed to positive reviews from, most of whom complimented the production and Sparks' vocal performance, but criticized its lack of originality in terms of pop music.
The album sold over 600,000 copies worldwide. Contents. Background and production Sparks confirmed in several interviews that the album would take the themes from the first single, '.
Then it was announced through the official press release that the album would be named Battlefield, after the first single, because it was central to the themes and other recordings for the album. Speaking of the lead song, Sparks said “ 'To me, the title 'Battlefield' is about strength and perseverance, things can go from good to bad in an instant, it could be family, friendship or work; and my favorite line in the song is, 'you better go and get your armor,' because it's telling you to be prepared for that time so that you can overcome it.' ” Sparks spoke to magazine about how the recording process was much different to that of her previous album. Her debut had been recorded in approximately 20 days due to the huge appetite that fans had for her music.
On the new album Sparks took her time meaning that not only could she write some of the songs but also had time to make the sound more mature or reject records which she felt unhappy with. Writing for the album began in the middle of 2008.
Music On May 18, 2009 it was revealed so far Sparks had recorded 30 songs for the album but would select songs that fit well with the first single 'Battlefield' since that was now also the name for the album. Later in May during an interview with, Sparks revealed that she has been involved in writing songs for the album, in total contributing to about 12 of approximately 30 recorded songs. She also revealed that although the album had at that time produced no duets she was hopeful to collaborate with for a powerful. When asked who else she would like to collaborate with she said,.
None of these collaborations materialized although Sparks did confirm in an interview that she had made a pact to record a duet with Lewis for her future album as she believes the duo could be the next ' and '. The reason cited for no duets on this album was a lack of time and tight deadlines. As mentioned previously there are no vocal guests on the album although Tedder can be heard single backing vocals and ad-libs on the album's title song '. Originally the album was intended to feature one guest in the form of who had produced and appeared on the song 'Watch You Go' with his signature (singing ), but for unspecified reasons this version of the song was omitted and replaced with a solo version featuring just Spark's vocals. Furthermore, of the 12 songs she has penned four have made the final version of the album ('Emergency (911)', 'Was I the Only One', 'Faith' and 'The Cure') whilst a further two are being used as promotional songs (bonus tracks 'Vertigo' and 'Papercut').
All together between 30 and 40 songs had been short-listed for inclusion in the album, from which the final track list was selected and mastered. Release and promotion.
July 20 –. July 21 –,. July 22 – interviewed on. July 23 – interviewed on. July 24 –. August 9 – appearance at the.
August 17 – Live with Regis and Kelly. September 17 –. October 13 – Performance of ' on in the UK. The album was first announced to be released on July 14, 2009 in by Sparks herself through. However it was then later confirmed through the official press release from Jive Records that the album would in fact be released a week later instead on July 21, 2009. On May 10, Sparks went ahead with a planned photo shoot for the album's cover and future singles. A picture from the photo shoot was released in the aforementioned press release which shows Sparks wearing a partially buttoned denim jacket over a white dress, seen leaning against a big fan with stage lights shining through.
Sparks released a two disc deluxe edition featuring two bonus tracks at the same time as the standard edition, following in the footsteps of fellow label-mates. In international markets, ' and ' from her debut album were included as bonus tracks to help promote the album; both songs were successful in their own rights, reaching top 20 in Japan, the UK and Australia with no promotion. Singles. ' is the first single from the album peaking at number ten on the US and number five on the. Internationally the song reached number three on the, number four on the, nine in, and eleven in the UK. ' was confirmed to be lined up as the second single by Jordin Sparks on a radio interview with New York's.
The song was released in Australia on September 4, 2009 and in the US on September 29, 2009. It was released in the UK on October 12, 2009. The video was shot in Los Angeles, California on August 10, 2009, with serving as the director. He also worked with Sparks on the ' music video. ' is the third and final single to be released from the album. It was released as a digital download on January 8, 2010 in the UK only. It was released as a digital download with 'Landmines (Main Version)' as the.
Los DaMystro. Kelly 4:16 Total length: 44:45 Battlefield — Deluxe edition (bonus tracks) No. Title Writer(s) Producer(s) Length 13. 'Papercut' Sparks, Gad, Robins Gad 3:37 14.
'Postcard' Vito Colapietro, Neely Dinkins, Walter Whitney, Brandon Williams, Shaunise Harris, Stephan Jones The Co-Stars 4:02 Total length: 52:24 Battlefield — Deluxe edition (bonus DVD) No. Title Director(s) Length 1. 'Hangin' With Jordin Sparks' 11:27 2.
'Battlefield: Behind the Scenes' 9:27 3. 'Battlefield Photo Shoot' 6:57 4. 'Battlefield' (music video) 4:04 Battlefield — Pre-order (bonus track) No.
Title Writer(s) Producer(s) Length 13. 'Vertigo' Sparks, Gad, Robbins Gad 3:40 Battlefield — International edition (bonus tracks) No. Title Writer(s) Producer(s) Length 13. ', Stargate 3:54 14. ' Lauran Evans, Cutfather, Jonas Jeberg, Cutfather, Jeberg, Nevil 3:26 15.
![Battlefield jordin sparks youtube Battlefield jordin sparks youtube](http://cdn.popdust.com/wp-content/uploads/2015/03/Jordin-Sparks-Double-Tap-Music-Video-1_2015-03-10_17-07-44.png)
'Landmines' (Japanese bonus track ) Sparks, Gad, Robbins 4:27 Notes. denotes a vocal producer.
'SOS (Let the Music Play)' samples ', as written by Ed Chisolm and Chris Barbosaby, performed by Personnel Credits for Battlefield adapted from. ^ Graff, Gary. Retrieved 2009-07-13. Radio interview. Retrieved 2009-05-14. From the original on 6 June 2009.
Retrieved 2009-06-08. ^ +popline. Archived from on September 26, 2010.
Retrieved 2012-01-09. Radio interview. Retrieved 2009-05-18. From the original on 30 May 2009. Retrieved 2009-05-29. Retrieved 2009-07-30. Retrieved 2009-06-21.
Retrieved 2009-08-16. Official website. Retrieved 2009-07-10.
Retrieved 2009-08-16. Pre-order listing. Retrieved 2009-06-17. Official twitter. Retrieved 2009-05-10.
Retrieved 2009-10-02. Radio interview. Retrieved 2009-07-17. Retrieved 2012-01-09. Retrieved 2009-08-08.
Retrieved 2009-12-07. Gottlieb, Steven (2009-08-17). Video STATIC. Retrieved 2009-08-22. Retrieved 2009-08-16. Retrieved 2010-01-21.
Amazon.co.uk. Retrieved on 2010-01-21. 2009-07-19 at the. Hits Daily Double. HITS Digital Ventures.
Archived from on July 24, 2015. Retrieved 2009-12-11. Sullivan, Caroline (2009-07-17). From the original on 21 July 2009. Retrieved 2009-07-17. Archived from on 2009-07-19. Retrieved 2009-07-17.
Slezak, Michael (2009-07-15). Retrieved 2009-07-17. Levine, Nick. Retrieved 2009-07-26. Pre-order listing. Retrieved 2009-06-21. Retrieved 2009-06-29.
Retrieved 2009-07-18. Retrieved 2009-11-13. Retrieved October 16, 2014. (in German).
Retrieved October 16, 2014. Retrieved October 16, 2014. (in Dutch). Retrieved October 16, 2014. (in German). Retrieved October 16, 2014.
Retrieved October 16, 2014. Retrieved October 16, 2014. (in Polish). Archived from on 2012-04-07. Retrieved 2011-10-20.
Retrieved October 16, 2014. Retrieved October 16, 2014. Retrieved October 16, 2014. Retrieved October 16, 2014. Select albums in the Format field. Select Silver in the Certification field.
Type Battlefield in the 'Search BPI Awards' field and then press Enter. Retrieved 2009-07-15. Pre-order listing.
Retrieved 2009-06-14. Archived from on 20 June 2009. Retrieved 2009-06-17. Sonymusic Thailand. Retrieved 2009-07-18. Retrieved 2012-01-09.
Kelly Clarkson has garnered quite a few Pat Benatar comparisons since she laced up her rock boots back in 2005, but it looks like fellow American Idol winner Jordin Sparks is vying for the same fingerless-gloved market. Not only does the album title of her sophomore effort, Battlefield, evoke Benatar’s biggest hit “Love Is a Battlefield,” but the production of the title track is indebted to another one of the ‘80s icon’s power ballads, “We Belong.” Helmed by the Runaways and Ryan Tedder, the war metaphor- and digital siren-filled “Battlefield” is an anthem as immediate and catchy as predecessors “Bleeding Love” and “Halo.” Despite scoring a crossover R&B hit with her duet with Chris Brown, “No Air,” Sparks is a pop artist and makes no bones about it here. Much of the album’s running time is filled with the kind of soggy adult contemporary pulp that weighed down both the singer’s self-titled debut and Leona Lewis’s, and the addition of two paper-themed bonus tracks, “Papercut” and “Postcard,” on the deluxe version of Battlefield doesn’t help matters. “Don’t Let It Go to Your Head,” the first single from Canadian pop singer Fefe Dobson’s cancelled 2005 album, gets a deserved second life here, while the hook and whiplash sound effect of Shannon’s “Let the Music Play” are resurrected for “S.O.S. (Let the Music Play).” (Sparks reportedly hadn’t ever heard the ‘80s freestyle classic prior to recording her track—a reminder that, at 19, she is the youngest Idol winner to date.) As nice as it is to hear Sparks continuing to dabble in dance-pop, though, one wonders if it would have been a smarter move in terms of career longevity to try to build on the urban audience she started to cultivate with “No Air.” Label: Jive Release Date: July 16, 2009 Buy. After more than two decades of dealing in musical anachronisms, one might assume that Lambchop’s recent forays into electronics mean that frontman Kurt Wagner has finally gotten with the times. Defined by synths, vocoders, and drum machines, 2016’s FLOTUS and now This (Is What I Wanted to Tell You) are daring departures from Wagner’s previous attempts to mine outmoded styles of the past for new truths.
But these modern trappings are just misdirection, doing little to obscure the fact that he seems to be feeling more out of time than ever. Perhaps inevitably, This (Is What I Wanted to Tell You) isn’t as sprawling or stylistically immersive as FLOTUS. When you put out an album whose lead single is an 18-minute synth dirge, it’s probably a good idea to take a bit of a step back for the follow-up. This album lacks the stitched-together quality of FLOTUS, that certain emphasis on atmosphere, texture, and the unexpected, rather than structure and melody, that makes that album alternately impenetrable and transcendent.
This (Is What I Wanted to Tell You) is 20 minutes shorter, and far less formless. Even its more abstract passages, like the nearly five minutes of roaming piano and wispy horns that close the title track, feel more familiar within Lambchop’s pre-established paradigm of reimaging old genres—in this case, lounge jazz—and as new again than the alien soundscapes of FLOTUS did. The Wagner who spent much of the 2000s trying to turn himself into the world’s strangest, crustiest Vegas lounge singer is recognizable here as well. He’s just singing through a vocoder now. No one could credibly accuse Lambchop of making conventional pop music, but new collaborator Matt McCaughan, who co-wrote over half the album with Wagner and is responsible for much of its electronic instrumentation, at least steers the band in a less abstract direction. The whining synth motif that pops up in the middle of “The December-ish You” is a sneakily good earworm, and if it weren’t for Wagner’s creaking old-young voice, “Everything for You” might sound like something you would hear at Sephora.
That’s not to say Wagner sounds anything but disaffected by modernity. Just as FLOTUS’s title falsely promised political musings in an election year, the fact that all but one of this album’s eight song titles are written in second person is just a canard—as if anyone wouldn’t notice that the only person Wagner is singing about is himself. A song title like “The New Isn’t So You Anymore” seems to promise a withering indictment of some behind-the-times character, but in reality, it’s just about Wagner sitting in a car and trying to reconcile his own place in the dizzying 2019 cultural landscape. Political references abound throughout This (Is What I Wanted to Tell You), but they’re mostly just context-free phrases: “Be it so un-presidential,” “The news was fake, the drugs were real,” “Fell asleep during Vietnam,” and so on. Rather than grapple with politics, Wagner sounds like he’d much rather revel in daily mundanities: “I’m in a Mexican restaurant bar/Watching surfing and it’s amazing,” he sings on “The Air Is Heavy and I Should Be Listening to You.” In so doing, Wagner culminates a retreat into himself. Whereas Lambchop once boasted a grand, 12-plus-piece lineup, the band is now smaller and more insular than ever before. But Lambchop has always been whatever Wagner wants it to be, and if he wants “you” to mean “me” this time around, it simply does.
“I see your reflection,” he sings at the very end of the gentle, acoustic-based closer “Flowers,” as Nashville legend Charlie McCoy’s honey-sweet harmonica billows behind him, “and I say hello.” Label: Merge Release Date: March 22, 2019 Buy. The Meat Puppets have gone on hiatus and subsequently reunited at least four times now, rivaling any cash-grabbing classic-rock dinosaurs still out there in their ability to put boomer butts in arena seats. With the possible exception of guitarist Curt Kirkwood’s short-lived, Y2K-era solo project, it’s not as though the post-prime iterations of the Meat Puppets have been especially unwelcome. But their 15th studio album, Dusty Notes, marks the first such reunion that feels truly consequential, thanks to original drummer Derrick Bostrom returning to the fold for the first time since 1995’s No Joke! Anyone who might want to trace a direct lineage between the new album and alt-rock classics like Meat Puppets II, and who hasn’t kept up with the band since they broke up for the first time, will of course notice the audible effects of the intervening 35 years: Curt and brother Cris’s low, calm voices; the slower tempos; the preponderance of acoustic guitars, often in place of fuzzy electric ones.
One might also wonder if the band took the wrong lessons from Meat Puppets II’s acclaim. The idea of three former hardcore punks with acid-blasted brains playing a twisted psychedelic version of country and Americana music was novel and fascinating in 1984 and remained so 10 years later when Kurt Cobain invited them on stage to play during Nirvana’s MTV Unplugged. Remove the acid and hardcore, however, and you just get middle-aged Arizonians playing straightforward country music, like Dusty Notes’s pointlessly faithful cover of the Don Gibson standard “Sea of Heartbreak.” Fortunately, though an old-school country aesthetic defines the album—the banjo picking on “Nine Pins,” the sweet hillbilly harmonies on “Outflow”—Curt’s irrepressible songwriting quirks make the rest of Dusty Notes anything but formulaic. The post-Bostrom Meat Puppets have often veered much closer to modern alt-country than the hardcore of their early days, and Dusty Notes is no exception; in fact, it might be the mellowest of their albums to date. With key assistance from keyboardist Ron Stabinsky, Curt turns what are at first blush prototypical country strummers into weird, melodic concoctions. Stabinsky’s contributions—circus organ on “Nine Pins,” Mariachi-like synths on the title track—often leap out immediately from the mix. But it’s Curt’s songwriting that makes those same songs stick in the brain, from the demented polka groove of “Warranty” to the sunny Tex-Mex hooks and characteristic stoner turns of phrase on the title track.
![Sparks Sparks](http://images4.fanpop.com/image/photos/19300000/Battlefield-Music-Video-jordin-sparks-19363948-854-480.jpg)
If anything is missing from Dusty Notes, it’s certainly not hard-rock dalliances. Besides, with both Stabinsky and second guitarist Elmo Kirkwood—Curt’s son—abetting the original trio, the album features a fuller, richer sonic character than any of the band’s early albums ever managed. Rather, there’s not enough of Curt’s guitar playing. His inimitable jangle riffs from the ‘80s and fuzzed-out, spacey heroics from later years are both in short supply, which does render Dusty Notes more conventional-sounding than most Meat Puppets albums. This week Madonna’s iconic hit “Like a Prayer” turns 30.
The song is, by all accounts, her most broadly beloved contribution to the pop-music canon, landing at #7 on our list of the. Even the singer’s most ardent critics can’t help but bow at the altar of this gospel-infused conflation of spiritual and sexual ecstasy, a song that helped transform Madge from ‘80s pop tart to bona fide icon. To celebrate this sacred anniversary, we’re taking a look back at the single’s evolution over the last three decades.
Editor’s Note: This article was originally published on March 3, 2014. Video can’t be loaded: Madonna – Pepsi Commercial 1989 Like a Player (Pepsi Commercial Following a teaser that aired during the 31st Annual Grammy Awards in January of 1989, Madonna premiered “Like a Prayer” in a Pepsi commercial during The Cosby Show, the #1 rated series on U.S.
Television at the time. Part of a $5 million sponsorship deal with the soft-drink company, the ad, titled “Make a Wish,” was an innocuous bit of nostalgia that would soon be eclipsed by the scandal surrounding the single’s forthcoming music video. Video can’t be loaded: Madonna – Like A Prayer (Official Music Video) (Music Video Madonna dances in front of burning crosses and kisses a black saint in a church pew in this modern morality tale about racial profiling and pious guilt, prompting both the religious right and cultural critics, like bell hooks, to cry foul. Eventually, the mounting outrage caused Pepsi to pull out of their multi-million dollar deal with the Queen of Pop. The singer’s response was coyly defiant. Video can’t be loaded: Mad’ House Like A Prayer (Official Video HQ).wmv (Mad’House Cover Dutch Eurotrash group Mad’House’s claim to fame is their blasphemous take on “Like a Prayer” from 2002. The glorified Madonna cover band’s version is stripped of the original’s nuance and soul, a tacky, mechanical shell of a dance track.
Regrettably, this is the version you’re most likely to hear on Top 40 radio today. (Only slightly less heretical, the cast of Glee’s of the song peaked at #27 in 2010.). MTV On Stage & On the Record Then notorious for forsaking her older material, Madonna dusted off “Like a Prayer” in 2003 during the promotion of her album.
Thirteen years after her last live performance of the song, even Madonna’s comparatively reedier voice and noticeably more limited range couldn’t diminish its enduring magic. Sticky & Sweet Tour After performing crowd-pleasing but relatively anemic versions of “Like a Prayer” during her in 2004 and in 2005, Madonna reinvented the song for her Sticky & Sweet Tour in 2008, using elements of Mack’s “Feels Like Home” for an amped-up techno mash-up. Super Bowl XLVI Madonna closed her record-breaking Super Bowl XLVI halftime show in 2012 with “Like a Prayer,” and though she wasn’t singing live, it was the closest she’s ever gotten to her ecstatic Blond Ambition performances. (For those lamenting the lip-synching, she would go on to reprise this version of the song, completely live, during her MDNA Tour later that year.) And if there were any doubt, a stadium of nearly 70,000 football fans waving flashlights and singing along is a testament to the song’s transcendent, all-encompassing appeal. The performance’s final message of “World Peace” seemed attainable, if only for a brief moment. Met Gala 2018 Last year, Madonna dusted off her old chestnut for an epic performance at Vogue magazine’s annual Met Gala.
The event’s theme was “Fashion and the Catholic Imagination,” which seemed tailor-made for both the Queen of Pop and “Like a Prayer.” Madonna slowly descended the steps of New York City’s Metropolitan Museum of Art in a shroud, flanked on both sides by a choir of monks, as she sang a Gregorian-inspired rendition of the pop classic. The performance also featured a portion of a new song, “Beautiful Game,” and a cover of Leonard Cohen’s “Hallelujah.”.