For one thing, it’s too similar to Jordin Sparks’ “Battlefield,” which has been popular for years, but the pairing of an awkward theme with production that could have been easily lifted from the latest Katy Perry album and a chorus that goes “boom, boom, boom” makes the song almost unlistenable. When a songwriter searches his or her vocabulary for things to compare love to, battleships are not the thing to settle on. ![]() The lowest point of this album is the attempted pop ballad titled “Battleships.” Where other songs are bland, this folk/rock/Katy Perry-like mash-up is just plain awful. The implicit message here is that it’s through religion that she can be saved, with Daughtry repeatedly mentioning angels and “salvation.” It’s unclear exactly how intentional this is, because many of his seemingly religious lines are also somewhat cliche, but it’s worth thinking about. The song about the helpless girl who’s looking for a savior is a pop-rock staple, but instead of placing himself in that savior role, Daughtry seems to be encouraging her to find salvation on her own. “Waiting For Superman,” the album’s first single, opens with a series of electronic blips that feels strangely reminiscent of Owl City’s “Fireflies.” The instrumentation quickly becomes more guitar-focused, but EDM influences are present throughout the song, with synths and the blips fading in and out over the song’s duration. The track introduces a religious theme that will be more or less present throughout the album. “Baptized” is one of Daughtry’s most original songs on the album, but it still feels formulaic and overly radio-friendly, with a sing-a-long feel and repetitive lyrics. The album’s title track opens with a fingerpicked banjo and simple percussion, developing into a Mumford & Sons-influenced rock ballad. ![]() Daughtry’s Baptized brings together various types of rock into a progressive and eclectic, but ultimately inconsequential, album.
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