John Legend Albums (6)
What The Critics Say
Evolver is more clever and appealing as an album title than Dabbler, yet the latter would be much more emblematic of John Legend's third studio album. Legend is up-front about his lane changes, which begin with the album's lead single, "Green Light," decked out in giddy synthesizers à la Paul McCartney's "A Wonderful Christmas Time" (or, OK, the glitziest part of Kanye West's "Flashing Lights") while benefiting from André 3000's off-the-cuff appearance. Following it is "It's Over," a relatively characteristic breakup song continues to set the tone for the album's anything-goes nature. There's a show-stopping ballad, a reggae-flavored Estelle feature, flashes of tropical lushness, a couple throwbacks to soul-informed soft rock, a track full of chunky synth riffs, a brave topical message song to close, and a couple other diversions throughout. Legend often sounds like he is occupied by the satisfaction that comes with hearing what his vocal cords are capable of achieving. ~ Andy Kellman, All Music Guide
'Live from Philadelphia'
Release Date 1/1/2008
Tracks 29
Label Sony/BMG
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What The Critics Say
In the U.S., the CD and CD/DVD versions of Live from Philadelphia were Target exclusives, though the DVD-only version was available elsewhere. The recording offers a fairly even balance between John Legend's studio albums to that point -- 2004's Get Lifted and 2006's Save Room -- and there's the high level of showmanship for which Legend has become known. He did, after all, pay some major dues as a performer prior to signing with a major. Legend's voice is a little rough, though it's really no hindrance, unless you can tolerate nothing short of precision. Some fun curve balls are thrown into the set, like a cover of Sly & the Family Stone's "Dance to the Music" and the clever incorporation of the Blackbyrds' "Rock Creek Park" within "P.D.A. (We Just Don't Care)," which fits both musically and thematically. A take on the Beatles' "I Want You (She's So Heavy)," however, is more like a temporary derailment. ~ Andy Kellman, All Music Guide
What The Critics Say
Get Lifted netted John Legend a major hit ("Ordinary People") that will be heard on adult contemporary stations and throwback-oriented programs as long as they exist, platinum status, and three Grammy titles -- including the potential kiss of death that is Best New Artist. If Legend hadn't linked up with Kanye West or any other connected industry figure, he'd probably be well into a string of independent albums and would likely have a fanatical cult following through persistent touring. It doesn't take much exposure to his songs to sense this alternate scenario. No one can deny that Legend has had considerable help from his collaborators, and he continues to get that support this time out -- there's West, will.i.am, Sa-Ra, Raphael Saadiq, Plant Life's Jack Splash, and a massive crew of session musicians, but it's already evident that Legend only needs a piano to get by. Even with its many producers, Once Again is much more focused than Get Lifted, and the quality of its songs is equally high. Legend's obviously doing everything in his power to not fall off. He pours so much of himself into each one of these songs, whether they're about flings with groupies or breakups with long-term girlfriends, that the album can begin to wear around the eighth track. The songs flit back and forth between easygoing, butterflies-of-love-type sentiments and deep drama, with both sides expressed through similar levels of intensity. As much as anyone else, Legend would benefit from the recent (and generally welcomed) return of the 40-minute R&B album. If the album is missing something, it's a snappy, unapologetically swaggering track in the vein of Get Lifted's "Used to Love U," or perhaps a song or two that doesn't seem intent on displaying impressive musicality, but there are enough undeniably bright spots to please those who have already been won over. While Once Again might not get as much attention as its predecessor, it's more assured and sounds nothing like an experiment to see what sticks. Legend now knows exactly where he fits, and he's not holding back in the least. ~ Andy Kellman, All Music Guide
What The Critics Say
If you've listened to Top 40 radio or flipped through the video channels during the past few years, odds are pretty good you know something about John Legend. He played piano on Lauryn Hill's "Everything Is Everything" and might as well be considered Kanye West's sidekick, having assisted the producer and MC on several sessions -- Jay-Z's "Encore" and Slum Village's "Selfish" being two of the more prominent 2004 singles featuring his work. A former choir director, he has also released a handful of energetic live discs, some of which are credited to his less hubristic birth name, John Stephens. And though he claims "I've got something new," you've also heard substantial chunks of Get Lifted in records made decades ago by Sly & the Family Stone, Curtis Mayfield, Quincy Jones, and Bill Withers. This might not be a problem for listeners who crave anything that recalls the music they first heard in their youth, but Legend's over-reliance upon his inspirations is an impediment as much as a slick way to grab attention. That's because he has more than enough talent and charm to get by on his own. His own lyrics and hooks are unique and clever enough to get the point across that he's no everyday R&B artist and, just as importantly, he has a personable and instantly fetching voice you could listen to all day long. However, the association with West -- whose Sony-distributed boutique label released the record -- is very helpful. Without it, Legend would likely be zoned into neo-soul (2003's Live at SOB's New York City really makes this notion apparent), thereby standing little chance of reaching the ears of anyone younger than 30. The production work supporting his songs strikes a fine balance between soul and hip-hop, allowing him to appeal to those who are coming from either angle. This is a very good record. It's a given that Legend is destined to make at least two others that top it. ~ Andy Kellman, All Music Guide
'Solo Sessions, Vol. 1: Live at the Knitting Factory'
Release Date 1/1/2004
Tracks 13
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'Live at SOB's New York City'
Release Date 6/10/2003
Tracks 10
Label DCN
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