Evolver (CD - 2008)

Personnel: John Legend (vocals, piano, keyboards, background vocals); Estelle, Brandy (vocals, background vocals); Agape International Choir, Kanye West, André 3000 (vocals); Malay (various instruments, keyboards, programming); Mitchum Chin (guitar, keyboards); Tomi Martin, Sharief Hobley (guitar); Dave Tozer (guitars, keyboards); Tim Pierce, Trevor Horn (guitars); Joel Pargman, Lorenz Gamma, Irina Voloshina, Nina Evtuhov, Katia Popov, Robin Olson, Mark Sazer, Tammy Hatwan, Jennie Levin, Alan Grunfeld, Neil Samples, Julie Rogers, Robert Martin , Sid Page, Bruce Dukov, Igor Szwec, Lesa Terry, Shalini Vijayan, Neel Hammond, Emma Kummrow, Darius Campo, Olga Konopelsky, Gregory Teperman, Charles Parker (violin); Alexandra Leem, Shawn Mann, Kate Reddish, Carole Castillo, Carolyn Riley, Piotr Jandula, Davis A. Barnett, Alma Fernandez (viola); Gioyanna Clayton, Larry Corbett, Jennie Lorenzo, Cecilia Tsan, Victor Lawrence (cello); Paul Klintworth, Dana Kelley, Jennie Kim, Jim Thatcher (French horn); Dean Fraser, Hornz Unlimited (horns); Eugene "Man Man" Roberts (keyboards, vocoder, programming); Stephen Tirpak, Jamie Muhoberac, Shannon Sanders (keyboards); Drew Dembowski, Bruce Morgenthaler, Pete Donnelly, Sue Raney, Ann Atkinson (bass instrument); Pharrell Williams (percussion, background vocals); Luis Jardim (percussion); Dwayne Chin-Quee (programming); Jessyca Wilson, Lenesha Randolph, Terrence "Scar" Smith, Christopher "Lonny" Breaux, Candice Anderson (background vocals).

Audio Mixers: Kevin "KD" Davis; Manny Marroquin; Alex Yenguen; Jean-Marie Horvat; Mike "Hitman" Wilson.

Arrangers: Dwayne Chin-Quee; Stephen Tirpak; Dave Tozer; Larry Gold; Nick Ingman; Pete Murray.

The third full-length from John Legend finds the neo-soul singer-songwriter mixing it up a bit. Whereas its predecessor, the excellent ONCE AGAIN, stayed the course of smooth yet passionate retro-themed R&B, EVOLVER experiments with different sounds and styles. The lead single, "Green Light," with its amped-up programmed beat, synths, and cameo from Andre 3000, sounds more like a 21st-century club jam than an old-school throwback. Reggae, ballads, adult contemporary, and digitized contemporary R&B all make their way into the album's diverse musical stew. Whether it's the mellow, low-key funk of "It's Over," the synth-pop of "Satisfaction" (one can imagine the song being performed by Depeche Mode), or the guest spots from Brandy, Estelle, and Kanye West, EVOLVER keeps the listener guessing. It may not have the consistency of Legend's first two releases, but its cornucopia of interesting sounds and directions offer something for everyone.

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

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, not just by admitting to the press that it does not sound like him, but also through the album's lead single. "Green Light," decked out in giddy synthesizers à la Paul McCartney's tolerated-or-loathed "A Wonderful Christmas Time" (or, OK, the glitziest part of Kanye West's "Flashing Lights"), sounds like an increasingly bad fit with each play, full of simpleminded gestures ("Dying to meet you/So let's mess around") while benefiting from André 3000's upstaging, off-the-cuff, don't-give-a-damn appearance. Following it is "It's Over," a relatively characteristic breakup song (albeit one where an auto-tuned West shows up to rhyme "kiddies" with "titties") that effectively sets the tone for the album's all-around erratic 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 clumsy track full of chunky synth riffs, a brave topical message song to close, and a couple other diversions throughout. The album's lack of focus would go down easier if a majority of the songs had the feeling and finesse of the highlights from Once Again and Get Lifted; the hooks aren't nearly as memorable and come off as forced, and Legend often sounds like he is being fed directions on what emotions to channel ("scorned, belligerent"; "heartbroken, twinkle in eyes") while remaining occupied by the satisfaction that comes with hearing what his vocal cords are capable of achieving. Easily the least accomplished of his albums, Evolver is nonetheless a refreshing change of sorts, for all its faults, at least as far as missteps are concerned. Safe, retraced steps from accomplished R&B artists are all too common, and this, if anything, is nothing of the sort. ~ Andy Kellman minimize