Vinicius de Moraes e Toquinho - Testamento

Gabriel o Pensador - Muito Orgulho, Meu Pai

Green Light

Green Light (feat. Andre 3000)

John Legend is an artist mature beyond his years. He is a crooner in the best possible sense of the word — self-assured, gentle and debonair. For Legend’s sophomore album Kanye West resumes his role as executive producer, but Once Again is a mellower affair than Get Lifted. The songs get their gentility from Legend’s low, cocoa-smooth vocals, which never fail to bring a potentially hyper song to a place of calm. Though Once Again features an impressive assembly of producers — including Craig Street, will.i.am and West (all contributed multiple songs) — Legend is wholly in control of the album’s tone and tempo. The hip-hop underpinnings are balanced by the elegant jazz of “Again” and “Maxine.” “Where Did My Baby Go” is so simple that it feels timeless — it could be a piece of an old album by Arthur Alexander or even Joan Baez, made new again by Legend’s warm breath. “Save Room” is a song that glides so sweetly and effortlessly that it challenges every shred of malice that might be lurking within the listener. Even sweeter is “Slow Dance,” a melody as compact and pretty as a jeweled pocketwatch.

Once Again

Save Room

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. 

Ordinary People

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FelipeMell