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John Legend on the Enduring Legacy of His Debut Album Get Lifted

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Two decades ago, before amassing gold statues, bestselling albums, and receiving critical praise, John Legend was a budding singer and pianist. He moved frequently between Philadelphia and New York, all in pursuit of a record deal. Born as John Stephens in Springfield, Ohio, he had previously featured on a major-label album (“Everything is Everything” from Lauryn Hill’s The Miseducation of Lauryn Hill) – a testament to his familiarity with the music industry elite.

Even though record executives initially weren’t convinced by Legend’s mix of gospel and R&B, their interest only grew after rapper-producer Kanye West, with whom Legend had been collaborating, released his debut album “The College Dropout” and gained popularity. As Kanye West soared to stardom, these same executives who once turned down Legend began showing renewed interest. During a recent interview with TIME in Manhattan, Legend explained, “I was signed to G.O.O.D. Music, but I was being rejected left and right before that. But as Kanye became more successful, everyone who we had previously met with called back saying, ‘You know what, Kanye’s on fire now, and John is the next artist from their camp.’ And it turned out to be me.

Released on December 28, 2004, John Legend’s debut album “Get Lifted” dropped when neo-soul was starting to fade out. Instead of using light acoustic drums and Fender Rhodes, he incorporated catchy choruses and edgy melodies, creating tracks that were deeply rooted in soul but also heavily influenced by hip-hop. While it’s not true that neo-soul artists like Erykah Badu and D’Angelo didn’t know how to create hits—quite the opposite—Get Lifted was more geared towards mainstream popularity. The album had a noticeable rhythm, as evident in songs like “She Don’t Have To Know” and “Number One,” and “Ordinary People” stood out among other radio hits at that time. Unlike the grandiose and festive nature of most popular songs, “Ordinary People” was stripped down, featuring only raw vocals and heartfelt discussions about the challenges of love.

Currently, Legend is commemorating the 20th anniversary of “Get Lifted” by releasing a special edition of the album and embarking on a tour. In an interview with TIME, he discussed the creation of the LP, the inspiration behind “Ordinary People,” and what his first album still represents to him after all these years.

TIME: What were the circumstances that led up to the recording of Get Lifted?

Origin Story: My journey began during my college years at Penn, having relocated from a humble town in Ohio. In search of financial support, I sought a part-time position at a church. A connection led me to a pastor at an AME church in Scranton, a couple of hours north of Philadelphia. Consequently, I found myself attending services there every weekend.

Among the choir members, there was an exceptionally gifted woman named Tara Michel, who used to attend high school with Lauryn Hill. Tara suggested to me, “You must meet Lauryn,” so I headed to a studio located outside of Newark. Later, Tara said, “You need to perform for her.” Surprisingly, I ended up playing the piano on “Everything Is Everything” from The Miseducation of Lauryn Hill, marking my initial credit in a significant label project. Subsequently, I collaborated with several producers linked to that project and other Philly-based ones, through mutual acquaintances. My roommate was Devo Harris, who is related to Kanye West.

And then what happened?

In the summer of ’01, I encountered Kanye who had recently relocated to New York and was on the brink of fame as a producer for Jay-Z’s album, “The Blueprint.” I visited his residence in Newark, and we embarked on a collaborative journey, writing songs together. Not only did I contribute to his project, but I also began singing and playing piano and hooks. Together, we penned hits like “Let’s Get Lifted,” “Alright,” and “Used to Love U.” Our apartments served as our makeshift studios. Later on, when I signed with a manager in ’02, he advised me to travel to Los Angeles and collaborate with Will.i.am.

2004 saw the release of “The College Dropout” in February, which gained massive popularity. Soon after, numerous calls came my way. In May of 2004, I signed with Columbia through G.O.O.D. Music. The majority of “Get Lifted” had already been penned; all I needed was a budget to re-record it. The only two songs I wrote following that were “Let’s Get Lifted Again” and “Ordinary People.

Get Lifted blends gospel, R&B, and hip-hop. How did you land on that sound? 

We recognized that neo-soul had run its course. I yearned for it to make a stronger impact, to be more robust, with melodies that were less polished and more jagged – edgier. Much of the neo-soul at that time seemed more like improvisations and casual performances, resembling a poetry reading and people riffing their way through the track. I drew significant inspiration from The Miseducation of Lauryn Hill, which beautifully blended soul, hip-hop, reggae, and gospel. Kanye West’s College Dropout was another influential work for me as well.

The album hits me differently now as an adult in my 40s going through a lot of transition and loss.

In writing “Ordinary People,” I drew from personal events in my life, specifically the complex relationship I had with my parents who divorced when I was young and later reunited after I graduated college, around the year 2000. They remarried but ended up divorcing again just as my album “Get Lifted” was about to be released.

It seems like the album was about the ups and downs of a personal relationship. What led to that? 

In my case, parts of my life were shaped by my parents, while other aspects were my own experiences. I didn’t have a committed romantic relationship, yet I encountered infidelity, which influenced some of the content in my work. However, when composing a song, it’s always a blend of personal history and allowing creativity to guide me. I never feel confined by strict truth, but I strive for everything to resonate as authentic.

The title of the album says a lot: Get Lifted. What does that reference? 

I innately possess an optimistic outlook. It’s not a conscious choice or strategy, but rather a natural way my mind operates. Additionally, this optimism is intertwined with spirituality and a deep connection to gospel music. Coincidentally, I had already penned the songs “Let’s Get Lifted” and “So High,” which seemed to align perfectly with this theme.

Was there pushback against your using gospel to talk about infidelity? 

It’s not uncommon for the Black church to welcome R&B artists who combine gospel with more secular tunes, as I discovered during my time at a Pentecostal church. In fact, many of our most talented R&B musicians were nurtured in this environment. There was often a tension, though, as some church leaders cautioned against artists pursuing secular music careers and performing for the world. Yet by that point, I had already distanced myself from my hometown. My upbringing gave me a sense of freedom to express myself openly. However, I never lost sight of my origins.

When “Ordinary People” came out, it felt unconventional because it was just your voice and piano, whereas everything on the radio had big drums, big everything.

Everyone finds the song so unexpected and unforgettable that it leaves them stunned. To this day, people recall their initial listen as a unique experience. I’ve always believed my mission isn’t to mimic others, but to express myself genuinely.

What did you learn about yourself during the creation of that album? 

A significant aspect of it was enduring rejection throughout the process. My initial demo pitch happened in ’99, and I didn’t secure a deal until ’04. This required me to persevere through numerous rejections, meet new individuals, adapt, and improve my skills. Each “no” I received only fueled my conviction that they were mistaken. However, I also listened to constructive criticism and worked on bettering myself. And I did improve. In ’99, I wasn’t yet ready. Instead, I spent those years learning and refining my sound, collaborating with the right people to achieve the perfect mix.

It seems like you’ve made the records you wanted to make. How would you say you’ve evolved over the years? 

I’ve consistently relied on my inner creativity and pursued what captivated me. Throughout the years, I’ve collaborated with various producers. Last year, I released a children’s album. I found myself thinking, “I want to collaborate with Sufjan Stevens.” I wasn’t sure if he would be puzzled by the idea of creating a John Legend album, but he was open, and together we created something unique, charming, and elegant. Although I won’t be making another children’s album, I approached it with the mindset that “if I’m going to do it, I want it to be intriguing, artistic, beautiful, and whimsical.

At what point did you know you had a thing with “Ordinary People” when it came out?

As a movie enthusiast, I often share a unique litmus test: When strolling through the airport, do strangers recognize you and serenade you with songs? Well, it seemed like everyone was crooning “We’re just ordinary people, we’re just ordinary people!” wherever I went. But the moment I truly knew I had struck fame was in 2005 when Magic Johnson and Oprah Winfrey both reached out to me. Each of them contacted me for different purposes, but they each wanted me to perform at their respective events held at their homes.

What would you say is the legacy of Get Lifted?

That moment marked a significant advancement in R&B music, one that many fans who appreciate our genre will undoubtedly recall. We were stepping into a new era, an event that ignited my career and led to accomplishments I never imagined possible. Even as I’ve created albums I’m incredibly proud of and cherish, Get Lifted remains unique because there’s nothing quite like the magic of that first time.

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2025-04-09 15:06

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