Although I've been trying really hard to like 'Once Again', John Legend's follow-up to his grammy award-winning debut album 'Get Lifted', I can't quite get over my disappointment of  what seems on first listening at least, a mediocre offering from the pioneer of 'neo- retro soul'.

By all stretches of the imagination, Legend and his team of maestro producers, including regular Kanye West, the lesser-known Craig Street and soul heavyweight Raphael Saadiq, have had their work cut out to create a second record which can reach the same dizzying heights of success as 'Lifted'.

Releasing the opening track  'Save Room' as the first single was therefore a safe choice. With its horn stabs and pleasing melody, the song is accessible enough to capture the interest of the music buying public but also musically credible enough to please the critics. An extra dose of syrupy pop injected by guest producer Will.I.Am of Black Eyed Peas, guarantees that 'Save Room' will undoubtedly be the party tune that has everyone bopping around at this year's Christmas do.

Indeed, in terms of production ‘Again’ stands out where ‘Lifted’ fell down. Unlike its predecessor which dressed all of the tracks to a blanket rnb beat, ‘Again’ is a collection of songs each individually wrapped so as to allow Legend to flesh out his own vision of love, loss and happiness. His upbeat songs -  the exhibitionist rolic 'PDA' and the lusciously grimy 'Slow Dance' reveal a dirtier, darker side to Legend's usual pretty, suburban soul. The feel of 'Show Me' is altogether different, with guitar licks replacing piano virtuosity as the main sound in the song. Legend does away with gravitas here, using his voice as a freer and more flexible instrument in a way that is reminiscent of Jeff Buckley.

Although not as stunning as 'Ordinary People', 'Again' is the ballad which creates light relief amongst the middling tempos which weigh down the album. The next single 'Heaven' offers delicious vocal harmony to complement Legend’s relaxed vocal delivery over an off-centred beat.

The second half of the album is where the balmy bossa nova 'Maxine' and

the Beatles-esque ' Where did my Baby Go?' mark a venture into territories previously unchartered by Legend. Although refreshing musically, the lounge soundtrack quality of these tracks repeatedly relapses into Broadway schmaltz, resulting in a washed-out finale to an otherwise promising start.

If not spectacular, ‘Again’ is most definitely a step in the right direction. Perhaps what is most frustrating about Legend’s work is that the sum is weaker than its parts. Whether this be a musical case of too many cooks spoiling the broth, or at least not serving up a satisfying meal, it is at times baffling how the songwriting ability, the piano skills, the voice do not equate to a stomper of an album.

Yet, for someone with so much to offer musically and with so much support from industry bods, it fundamentally doesn’t matter. Legend is long-term talent, and when all those parts come together, it  will truly be an album worth waiting for.