シャドーイング練習: John Legend reflects on his early career, songwriting process, Ordinary People & new album collab - 動画で英語スピーキングを学ぶ

It's been 20 years since your debut.

You could retire now and be fine.

What in the world keeps you inspired?

I got to pay this mortgage.

No. I also feel like, this is just me reflecting, it would be different if that's all you did.

Some people were the piano ballad guy in all the songs, but it was also unique in your catalog of Get Lifted.

Even on the album, it was the only straight up piano ballad.

We also did the Family Song, which was piano, but it was a fully arranged vocal thing.

But if you listen to the full catalog, there's so much dynamics on the album.

If you come to my shows, there's quite a range of energies and styles, but what I became most known for is the piano ballad.

Right.

But if you dig deeper, there's a wide breadth.

Oh yeah.

There's so much more.

I think that's the kind of stereotype.

If you don't know my catalog, oh, he's the piano ballad guy.

But I've always known that my career has been much more than that.

But I think for the casual listener that isn't deeply aware of my catalog, they might think that's all there is.

All right.

This man has 10 million records sold, even though we don't sell records anymore.

Still matters.

He's got 13 Grammy Awards, not nominations.

The first black man to win an EGOT, Emmy, Grammy, Oscar, and Tony.

He was the first one signed to good music.

He's literally a legend with the man John Legend.

Thank you.

Good to be here.

Amazing.

First off, this space is one of a kind.

This is a beautiful, amazing room.

I mean, it feels inspiring.

This is our piano room, our piano bar.

I write in this room.

We entertain our friends when they come over.

We have a few drinks in this room.

This is where a lot of the Grammys are stored.

Displayed, I guess, is a better word.

And yeah, this room means a lot to us.

Yeah, and the beautiful library.

We've got the library.

Yeah.

Yeah, this is incredible.

So I think there's some interesting trivia

that a lot of people still don't know after all this time that I find fascinating.

You played piano on Everything Is Everything by Miss Lauren Hill.

Yeah, that was my first time appearing on any major recording.

And what a nice one to be a part of.

That's right.

A classic.

You were 19 at the time?

Yeah, I was 19 at the time.

August 1998 is when the album came out.

And yeah, I was a student at the University of Pennsylvania at the time.

And I was introduced to Lauren by a friend of mine who sang in my church choir,

but grew up with Miss Hill and thought it'd be cool to introduce us.

And so she introduced us as Miss Hill was working on her debut album.

And so I got a chance to play and sing for her.

And she liked what she heard and asked me to play piano on the record they were working on at the time, which was Everything is Everything.

Rob Markman- Wow.

Classic moment.

From then on, a little bit later, you're a part of so many of these songs.

Background vocals on You Don't Know My Name by Alicia Keys.

Yeah.

Encore, Jay-Z, Worst Come the Worst.

Was that- Oh, you mean the Dilated People song?

It's called This Way.

Rob Markman- This Way, that's the one.

This Way.

We did Selfish with Slow Village.

Rob Markman- Selfish with Slow Village.

So there's all these iconic classic tracks that you're doing before you even release a classic.

Yeah, well I was signed to Kanye West's production company, Good Music, as you mentioned,

and he would take me in on a lot of the sessions where he was producing other artists

and he would just ask me to contribute whatever I could.

So I would sing sometimes, play keys sometimes, both sometimes, and

so it ended up being a great opportunity for me to be a part of a bunch of great records being made.

Right.

Yeah, that's a healthy repertoire.

So it's been 20 years since your debut.

What ...

You could retire now and be fine.

What in the world keeps you inspired?

I gotta pay this mortgage.

No, I love making music still.

I love the creative process.

I'm constantly motivated to continue to be creative,

innovative, productive as an artist.

And yeah, I can't imagine not doing it.

Can't imagine not wanting to write music.

I can't imagine not wanting to play live for my fans.

So I don't see this stopping anytime soon.

How's the...in your...you have this piano room and you, you know, obviously you can make an album whenever you want, you can make songs whenever you want.

Do you have a hard time playing just for you?

Do you imagine everything is eventually like, you've got to make a song?

Or are there moments where you're just sort of meditative, musical?

Occasionally I'll just play as a moment to relax.

But most of the time I sit and play, it's because I'm thinking about the next song.

I'm very creative.

I love to write songs.

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And whenever I sit down, there's a good chance I'm either writing something new

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or learning how to play something that I'm going to perform for my show

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or practice something I'm going to perform for my show.

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Yep, yep, yep, yep.

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How often do you practice? Is that?

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I don't really practice much.

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It's more about learning a song.

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So I'm not practicing scales and things of that nature, which it's not that you shouldn't do that.

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There's a lot of pianists who continuously practice.

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I do that kind of work for my voice, but I don't do as much of that for my piano playing.

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I think of my piano playing more as accompaniment for my singing and as the vehicle for my songwriting.

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So it's less a technical thing where you feel like you have to...

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I'm less a keyboardist or pianist first than a singer and songwriter who plays the keys for myself.

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That makes sense.

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So you've written a song, you bring it to a producer.

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What's the collaboration process like for you and a producer?

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What's your involvement?

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Well, I'm very involved in deciding which producers I want to work with, first of all, and then working with them to shape the arrangement.

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Some songs have been created in the studio with producers.

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So a lot of your producers that use your sounds will probably say, I make beats and then songwriters come in,

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top line writers come in and are inspired by the beats and they create songs.

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So a lot of times in our industry, that's how it happens.

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And it happens like that for me a lot too.

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But I also start songs on the piano

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and then bring them to a producer for them to arrange and flesh out the full production.

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So it can go either way.

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It can start with a producer giving me ideas that I write a top line for, or I can write the song, the chords on piano, the lyric on piano,

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all that, and then give it to a producer to arrange and produce.

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So my last album, my favorite dream was a children's album.

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I wrote everything here at my house, inspired by my kids and my family.

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And then I brought every song as a piano vocal version to the producer of the album, who was Sufjan Stevens.

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And then he built these beautiful, gorgeous, whimsical arrangements around it.

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So my main input in the production process started with just deciding

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that I wanted to work with Sufjan

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because I was a big fan of his work and I thought his style would be perfect for that album.

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And then just giving him feedback as he was bringing in different instrumentalists

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and playing around with the tracks and figuring out what the full sound of the album would be.

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Rob Markman- This is one of the most fascinating things is discovering that Sufjan, you tapped Sufjan to produce an album,

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which I mean, that's a core indie hero for a lot of us.

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Rob Markman- I've been a fan of his for like 20 years.

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I remember I was a part of the Mercury Prize voting one year.

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And his album was included in the albums we were supposed to listen to.

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He was a finalist.

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And I fell in love with his work back then.

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I think this was around 05 or 06.

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And I just became a fan of his from then on and started listening to him.

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And when I was writing the children's songs, I was like, you know, it would be cool to produce this.

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It would be Sufjan Stevens.

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So I didn't know him personally.

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I just loved his music.

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And my manager knew his manager and put us together on the phone.

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And I was like, listen, I know this is random and wild, but would you ever want to do my children's album?

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And he was like, oh, you know, send me the songs and let me think about it.

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So I sent him a few demos and he was into it.

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He wanted to do it.

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And then we created this beautiful album together.

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I mean, yeah, that's such a fascinating.

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I have to put you on the spot.

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this is a this is a spicy question yeah favorite Sufjan album

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favorite favorite Sufjan album I fell in love with his music

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through come on field of Illinois yeah what's the one named after his parents though I really love

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that out of her in yes well Karen Lowell I think

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that was named retro his parents I really love that album there's a few others I've listened I've been into a lot.

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Seven stars.

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Yes, that one's really good too.

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I think Illinois is like closest to my heart because that's when I fell in love with first.

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And then I really do love Carrie and Lowell a lot.

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Yeah.

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All right.

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So we are at the 20th anniversary.

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This is the 20th anniversary release of Get Lifted.

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Almost up to 21 now.

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Oh, yeah.

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Legally drinking.

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Yeah.

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And there's so many amazing moments on this album, but obviously the one that,

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you know, put things into the stratosphere was Ordinary People.

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Yeah.

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And, you know, you had to fight for this to be a single, right?

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This...

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No, not exactly.

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No?

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First of all, I had to take the song back from Will I Am.

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That was, you know, that was the hardest part of things because, you know, I'd written the idea for the Black Eyed Peas.

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Not that he was fighting me for it, but I had to wrest it away from the Black Eyed Peas

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because it was written to this hip hop beat and it was going to be a hook for the Black Eyed Peas.

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But the more I thought about it, I was like, you know what, I'm going to keep this for myself.

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So I kept it for myself.

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So that was one hurdle.

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Then I wrote the song and everybody loved it.

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Everybody loved it.

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And I recorded a demo

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and I was going to let Will.i.am produce the demo as kind of like the exchange for me taking the song back.

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I was like, I'll let you produce it.

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But I sent him the piano vocal version and he loved the piano vocal version.

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Everyone else loved the piano vocal version.

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And it was like no one thought we could top it by adding a beat.

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So we tried, but everyone was still in love with the original version and we ended up releasing the demo version.

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And then my single was Used to Love You, the first single.

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And at the time there were these sampler CDs

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that we would give out to radio and to fans at little shows that I was doing.

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And on the sampler, it was supposed to be Used to Love You as a full version,

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then 30 seconds of each of the other four songs.

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But my A&R, Kwon Prather,

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K-P, Legendary A&R, decided we should put a full version of Ordinary People on the sampler on a whim, like on his own.

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He kind of went rogue and decided we should put the full version on there.

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So you didn't even know this was happening at the time?

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I didn't know it was happening at the time.

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And I was not really pleased about it because we were focused on You Still Love You.

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And it wasn't time for Ordinary People in my mind yet.

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But the full version got out

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and a radio station in Chicago started playing it before we were even promoting it as a single.

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And it blew up in Chicago first and then it went nationwide and became the biggest hit from Get Lifted.

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Okay, so there wasn't even a plan where it was like, we got to do this.

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Because what's the sound of radio at the time?

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Well, I think we eventually wanted to make Ordinary People a single, but it wasn't clear that it was going to be the second single.

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And it also wasn't the plan to kind of take over the first single that we were already promoting, but it ended up taking over based on it getting on

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that sampler and then radio stations taking their own initiative to play it.

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And it was very different from what was on the radio at the time.

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And this is early to mid 2000s and a lot of crunk and B and confessions had just been huge.

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So on the R&B side, it wasn't anything other than Alicia that was really similar to me.

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And then for it to be just me and my voice and the piano, it pretty much stood alone on radio.

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And I think that is partly why it made such a big impact

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because it really sounded singular in that moment and it made people stop and listen.

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Yeah.

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And I mean, it sounds like a situation where like the people spoke.

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You played it and the people reacted.

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The people spoke, they reacted.

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They were, it was arresting.

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It grabbed you when you first heard it.

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It sounded so different.

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And a lot of people will tell me they remember where they were when they first heard it.

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They pulled over.

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Something happened, it was like, whoa, what is this?

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And I think that kind of moment,

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that kind of urgency, that kind of opportunity to just stand out

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and be one of one in that moment really made a big difference in my career.

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I also feel like, this is just me reflecting, it would be different if that's all you did.

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Some people were the piano ballad guy in all the songs, but it was also unique in your catalog of Get Lifted.

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Yeah.

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And even on the album, it was the only straight up piano ballad.

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We also did the Family Song, which was piano, but it was a fully arranged vocal thing.

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So this was kind of a standalone song on the album, but it became a signature for me.

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So pretty much any John Legend album you get,

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there'll be at least one solo piano ballad on there that kind of harkens back to that original signature.

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But if you listen to the full catalog, there's so much dynamics on the album.

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If you come to my shows, there's quite a range of energies and styles, but what I became most known for is the piano ballad.

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Rob Markman- Right.

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But if you dig deeper, there's a wide breadth.

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There's so much more.

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And I think that's the kind of stereotype if you don't know my catalog, oh, he's the piano ballad guy.

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But I've always known that my career has been much more than that.

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But I think for the casual listener that isn't deeply aware of my catalog, they might think that's all there is.

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Right.

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So you mentioned the family song, it's the, it don't have to change, that one.

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And it's your whole family song, right?

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Yeah.

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Did you write that with them in mind?

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I wrote it with them in mind.

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I thought about the times we would gather together to sing.

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A lot of times on my mother's side it was at church, but on my father's side, which was featured on this album,

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a lot of it was not only at church, but at holiday celebrations.

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We'd often go to my granny Steven's house

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and we would celebrate Christmas there and we would do sing-alongs at the end of the day.

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We'd play football and watch basketball and have dinner, all those things.

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But at the end of the day, the most important thing was us gathering around the piano to sing.

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Were you the one playing?

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Sometimes.

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And my grandmother would play sometimes and my cousin would play sometimes.

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But that was a huge part of our family tradition

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and I thought it'd be cool to write a song that we could do together.

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Wow.

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Wow.

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So now flipping that, so you're a family man now.

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Married with kids.

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You've written one of the most iconic love odes to your wife with all of me.

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But at the time, there's a very strong, at least hard-rated, saint and sinner theme with Get Lifted.

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Sure.

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Right?

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Just because I cheated on you doesn't mean I don't love you.

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And this sort of pain, sin, and redemption.

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Are these stories, are these characters, is this inspiration from your life?

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Yeah.

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A lot of it was inspired by my own life.

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And even when I write a song that may not be directly autobiographical, it at least reflects my state of mind at the time

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and where I am in my life and my point of view at the time.

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So yeah, I was a young bachelor at the time and I was writing about it.

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The experience, yeah.

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Yeah.

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These songs span ...

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When were you writing these songs?

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These songs was ...

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The oldest song on Get Lifted was 2001, Stay With You.

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So I'd already graduated from college and I was living in New York and I was writing in New York, but also going back and forth to Philly,

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writing with Dave Tozer, who's one of my main co-writers and producers on that album.

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And so either in New York or Philly, I was writing these songs.

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And I was living in New York, working a day job as a management consultant almost that entire time,

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and gigging on the weekends and at night, and writing songs on the weekends in at night and then holding down a day job during the week.

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And at some point it was time to say goodbye to the day job.

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Yeah, things started to progress.

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So I started working with Kanye in 2002 and we were working on my demo which eventually became Get Lifted.

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He was working on his demo which eventually became The College Dropout

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and he eventually got signed as a rapper

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and he was already producing a lot of other artists like Jay-Z

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and Beanie Segal and all the Rockefeller guys and eventually the Alishas and the Dilated Peoples and Slum Villages.

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And he was bringing me in on all these sessions and his mixtapes were starting to blow up.

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And we were getting close to the release of College Dropout

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and I felt like it was a good time for me to stop working my day job.

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And I was able to go on the road with him

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and make enough money to win sessions and going on the road to quit my day job.

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All right, that's a tough transition.

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Yeah, I mean, it was the transition I wanted.

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I still wasn't making the kind of money I needed to really thrive in New York City.

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But I did what I had to do and eventually all those different looks,

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all those different moments where people were hearing my voice and starting to see my name in different places,

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started to build momentum and then Kanye's album came out in February 2004 and then I got signed in May of 2004.

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So pretty quickly after the success of College Dropout, everybody was like, oh, we got to sign whoever's next out of good music.

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And I was next.

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And a lot of the people that had turned me down before, thought my demo wasn't ready before, all of a sudden- Changed their tune.

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Changed their tune.

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We had multiple labels that wanted to sign me at that point, and I decided to go with Columbia.

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And most of Get Lifted was already written up until that point.

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So most of it was written while I was an unsigned artist, while I was getting turned down by everyone.

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Most of it was part of my demo.

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But notably, Ordinary People was written after I was signed.

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Ah, okay.

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So that's when they came after.

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Interesting.

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So it's a good thing it did.

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Yeah.

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Right.

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And so for this, the re-release here, you've updated some tracks.

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You've got some killer features.

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And Ordinary People has this warm Afrobeats production and you've got Tim's on it.

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And it sounds like you re-recorded vocals.

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Yeah, we re-recorded vocals.

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So the re-release of the album has the original version first and then there's a bonus disc basically with some remixes.

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And the bonus disc features some of my favorite artists right now, like Killer Mike and Lil Wayne and Thames and Simi.

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We got production by my musical director, Eugene Man Man Roberts, who did that Ordinary People remix.

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We've also got 9th Wonder and a couple of other producers on the album.

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So we've got some really great new kind of reinvigorated, refreshed remixes of the songs, and then some really great guests.

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And my musical director, Man Man, came up with the beat for Ordinary People's remix.

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And it's in some ways reminiscent of a cover version that Tims had done on her own.

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So she was a fan of the song and had done a cover version years ago.

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And we found it and we were like, why don't we do it as a duet version?

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So we kind of remixed her vocals, brought mine in with it, and created a duet version.

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Oh, okay.

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That's special.

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That's amazing.

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Did you re-record vocals for other tracks, for some of the other bonus?

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Most of the other tracks we left the vocals the same

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and just kind of did a traditional remix where you take the old vocal and just put a new musical bed underneath.

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But this one's a special one.

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But this one was different because we wanted it to match up with what Thames had already done.

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And you mentioned all these artists, you've got an amazing verse from Kill Em Mike and Lil Wayne and Black Thought.

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And how do you, I'm sure a lot of artists would love to be a part of this project.

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How do you land on it?

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You're just reaching out to your favorite people and- Yeah, just brainstorming and thinking about what does this feel like.

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Like for Let's Get Lifted Again, I wanted Southern rappers and I particularly wanted someone from New Orleans

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because there was a really dope New Orleans bounce version of Let's Get Lifted Again

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that came out close to when the album came out originally.

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And so I thought it'd be dope to include a New Orleans rapper for that.

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So of course, why not Lil Wayne?

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And then Killer Mike, obviously from Atlanta.

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And so I just wanted it to have that Southern feel, because the beat really had that feel.

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And then with 9th Wonder and Black Thought,

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9th Wonder came up with this great idea to use the imaginary playmates for the remix for Used to Love You.

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And he had been working with Black Thought on a project already, and so it just made perfect sense for Black Thought to be a part of it.

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And Black Thought

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and I go way back to my early days in Philly where I'd go to the open mic nights

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that The Roots hosted.

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And then The Roots and I made an album together called Wake Up.

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And those guys are my friends.

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We toured together.

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We're very close and just have a great musical connection over the years.

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So it was a no brainer to ask Black Thought to be a part of it.

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And he's truly one of the greats of all time in my mind.

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And so it was an honor to have him as a part of this too.

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And then Tim's and Simi, both of those songs kind of had an Afrobeat kind of feel.

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And so we were trying to find the right Nigerian artists to include and we thought both of them would be wonderful.

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Amazing.

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Amazing.

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The Philly crew is strong.

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They've been going- The Philly crew is strong.

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A lot of my band is from Philly.

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My producer and musical director, Man Man, is from Philly.

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most of the instrumentalists from the band are from Philly as well.

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But you grew up in, you grew up in Springfield, right?

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You went to college in Philly?

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Yeah.

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So I grew up in Springfield, Ohio.

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I was there until I was 16, graduated high school and went to college in Philadelphia, and then lived in Boston for one year.

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And then most of my adult life until we started having kids, I lived in New York.

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Gotcha.

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Okay.

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Okay.

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Now, fast forward to recent times, still packed schedule, still in demand.

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And there's been some talk of you being in Paris with Pharrell recording stuff.

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Is that where the Clips verse, this Clips chorus for the song on the Clips?

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Well, everything I've been doing with Pharrell started with the Clips record.

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So they reached out through a mutual contact

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and they had written this song honoring their parents who had both passed around the same time.

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Birds don't sing.

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Yeah.

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And they had written this song for them and they wanted me to sing it.

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And the demo had Pharrell singing it and they asked me to be a part of it.

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And I recorded it and they were just thrilled with what I had done with the record.

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And Pharrell was thrilled with it and he got inspired, honestly.

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So basically him wanting to do an album with me started

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with how excited he was with what I'd done with the Clips track.

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And he was like, man, I'm just so inspired by your voice.

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I really feel like we could create something amazing together.

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So we embarked on a journey to create this new album together starting in January of 2025.

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And I had recorded the Clips chorus back in 2024.

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But I went to Paris and we started working on this new album.

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And we've been working on it off and on for the better part of this year.

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And in 2026, we'll have an album.

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Officially, there is Pharrell, John Legend collaboration.

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Well, it's exciting to work with someone new.

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I'd worked with Pharrell very briefly before we did a couple songs together years ago.

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We hadn't ever really done a whole project together or really spent a lot of time together.

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And it just felt like exciting and fresh and new to do something with him at this time in our careers.

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And I can't wait for people to hear it.

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Is there anyone on your list, artist or producer, that you are still waiting for that moment to work together?

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I don't really maintain a list like that.

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I'm just more like, let's just be creative and be in the moment and let's be open.

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And so there are newer artists that I'm really enjoying right now

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and there are artists that have been around for a long time that I really enjoy, some of whom I haven't worked with yet even though the list is long of people that I have worked with.

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But I just stay open.

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Yeah.

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Are there any new artists that you can't stop listening to recently?

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I've been listening to a lot lately.

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The Clips album is one.

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Not new artists at all.

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Yeah, but hell of a comeback.

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Maybe my favorite album this year is the Clips album.

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But there's a lot of great young R&B artists.

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I really love Moses Sumney's album that came out last year, the EP.

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Just absolutely love it.

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I love Leon Bridges.

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I love Daniel Caesar.

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I love her.

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I love, there's quite a few young R&B artists.

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I love Ari Lennox.

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We just did a really cool collab at my DC show.

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Quite a few young R&B artists that I really enjoy.

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And they keep me inspired, you know?

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Yeah.

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So I also think something very important with your legacy beyond the music is The activism, you just said it's fair,

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that seems to be central to your character and how people know you.

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And from a young age, this is there from the beginning.

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Yeah.

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Yeah.

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I always was inspired by artists who gave back, but also spoke up, used their platform to speak out for what was right, for what was just.

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So I looked up to people like Harry Villafonte and Nina Simone and Paul Robeson and Aretha Franklin and Mahalia Jackson,

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all these artists that helped provide the soundtrack to the civil rights movement,

456

but also behind the scenes were contributing money and influence and resources whenever they could.

457

And I always felt like that's part of what it means to be an artist and to be

458

present and alive in the moment that you're living in, reflect the times that you're living in,

459

and your voice to say something.

460

And so I've always looked at my role as an artist as including that.

461

And so I definitely implement that in my life.

462

Does this time feel more pressing for you?

463

Oh, this time is scary.

464

It's scary for the entire country, but particularly people of color,

465

people who are marginalized

466

and the target of kidnappings and immigration enforcement

467

and even historians and medical researchers are being targeted and universities are being targeted and the free press is being targeted.

468

And so we have to be vigilant and we have to fight back.

469

We have to join together to fight back.

470

I think there's power and strength in numbers.

471

And it's a difficult time, but the only way we'll get through it is together.

472

If we, the people, stand up together.

473

I think that's a great place to wrap.

474

Okay.

475

Incredible.

476

Thank you so much.

477

Thank you.

478

Good, sir.

479

My pleasure.

シャドーイングとは？英語上達に効果的な理由

シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。

シャドーイング練習: John Legend reflects on his early career, songwriting process, Ordinary People & new album collab - 動画で英語スピーキングを学ぶ

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シャドーイングとは？英語上達に効果的な理由