做为最年轻也是最新一届AI的冠军,Jordin很自然的会被拿去跟她之前的前辈们做比较.而显然,不管是本身嗓音的本钱和唱功Jordin都不算是其中最出色的,但正如评委们所说,她在处理歌曲时那种自然就溶入其中的投入度,并不是每个歌手身上都能找到的特质.这些在她处理一些中慢版的抒情歌时显得特别的突出,甚至有些超乎她年纪的成熟感. 　　而这张同名专辑里,就我来说,Jordin的表现做为一个新人来说算是可圈可点,丝毫没有一般新人的青涩和怯场.而除了象第一主打这样迎合现在市场的流行曲,和同算是新人的Chris Brown合作的是专辑另一个大的亮点.顺畅的旋律,默契的合作,很有大热起来的潜质.Shy Boy这样的流行电音舞曲的尝试却是出人意表,原来Jordin也能是这样的~ 　　而个人很喜欢的却总是让我有种似曾相识的感觉,那种一层层不紧不慢迫近你的感觉象极了Take That的英伦流行曲调调,由Jordin唱来,格外的特别~当然不能不能不提的是Jordin的中低音比起她的几位师姐都更迷人,在这首里得到了相当好的展现. 　　最后收尾的是最早暴光的首发单曲.即使是过了几个月后的现在听来,仍然禁不住那样的感动.几乎可以说是历届AI继后最打动人的冠军单曲. 　　很快,Jordin的音乐之路就要真的在她眼前展开了,祝福这个美丽的小女生能走得精彩走得坚定~ 　　 　　Partway through the sixth season of American Idol, Jordin Sparks pulled out a heated, melodramatic interpretation of "I (Who Have Nothing)," a riveting performance that helped the spunky teenager pull apart from the bland pack. Until that song, Sparks had seemed like little more than an enthusiastic amateur, a teenager who loved to put on a show, but that rendition of the Ben E. King classic revealed a flair for drama and subsequent weeks revealed that she took direction well, absorbing the judges' criticisms and attempting something a little different with each passing week. This separated her from her two main competitors, the beat-boxing Blake Lewis, whose vocals always took a backseat to his style, and Melinda Doolittle, the former backup vocalist whose reliability was a liability, as she never ever seemed to be challenged. Sparks surprised by living up to those challenges — she didn't always thrive, but she always strived, so she provided a rooting interest and the one real dramatic story line in a season painfully lacking in any kind of intrigue. She was the one contestant with a character arc, plus she appealed to the show's core constituent of teens because still seemed like a teenager, totally wrapped up the excitement of it all. When she won the title, it was like she was crowned Homecoming Queen. 　　 　　All this makes for fine, not great, reality TV, but everything that made Jordin Sparks succeed on TV works against her on record. That energy, that enthusiasm, that eagerness to perform was all mildly ingratiating when seen on a weekly basis, as it made her relatable, either for the teens who followed her, or for older viewers who saw her as a daughter or a kid sister, but they're all ingredients that make for a pop star with almost no presence. If anything, the familiarity of Idol works against her, as her desperate-to-please persona is so deeply ingrained in her identity that any shift in music on Jordin Sparks can't help but be seen as the work of her producers, not her. To be fair, that's the way a lot of mainstream pop and R&B works, but having Jordin Sparks be so devoted to modern R&B — equal parts Beyoncé and Rihanna — feels entirely producer-driven, as Sparks never showed a flair for modern music on American Idol. She always favored the big, brassy numbers, almost never indulging in the sleek sound of modern R&B, even stumbling disastrously on No Doubt's "Hey Baby." Sparks may not have shown flair for this sound, but given her youth and vocal abilities, there almost was no other place to put her: there was a possibility of molding her as a High School Musical wannabe, but that would have been short-sighted, tying her to the moment, whereas an R&B makeover would at least suggest the possibility of a long-term career. Always happy to please, Jordin followed this path and she, as always, is eager enough to perform that she doesn't embarrass herself, yet she doesn't quite feel right singing over such stylized modern tracks. The tracks themselves sound good — particularly those that crib heavily from early-'80s Prince, as in "Young and in Love" and "Shy Boy" — but they're crying out a vocalist who would have some fun singing over these beats, somebody who would inject them with some mischief or sexiness instead of just being happy to be here. 　　 　　Jordin never quite sells any of these songs, even when she's belting out big ballads, songs designed to showcase her range but that wind up showcasing her youth, particularly on the ludicrous "Beautiful" rewrite, "God Loves Ugly." She's not a seasoned singer so she never seems to get inside the lyric, she never delivers them with nuance instead of power. This is a problem on the R&B cuts too, but on the ballads — which take up roughly half of the record — this flaw is more prominent as she's pushed to the forefront to give the kind of vocal gymnastics that are her comfort zone. On Idol, all this unformed youthfulness was endearing, but on this debut she just seems green, not quite ready for the big leagues she's been pushed into.