John Legend's fifth studio album opens with a startling admission. “They say sing what you know, but I've sung what they want,” the University of Pennsylvania grad, born John Stephens, announces on “I Know Better,” copping to allowing the marketplace to shape his art in a way that nearly everyone does, but few would admit. Those days are over, he proclaims: “Some folks do what they're told, but, baby, this time I won't.”

Legend, of course, has had enormous success singing wedding dance-worthy ballads going back to “Ordinary People,” from 2004's “Get Lifted,” on through his 2013 monster hit “All of Me,” which he seems to feel (needlessly) guilty about.

“Darkness and Light” means to situate his richly resonant voice in a more musically adventurous setting, with a socially conscious focus in line with “Wake Up!” his 2010 collab with the Roots, and the work he did on the “12 Years a Slave” soundtrack in 2013.

“Darkness” shifts focus with the aid of Alabama Shakes producer Blake Mills, who pushes Legend ever so slightly out of his comfort zone. The strategy reaps rewards with the title cut, a stunner of a duet with Brittany Howard, and “Penthouse Floor,” with Chance the Rapper as a guest. Legend sounds energized and engaged throughout, but fans shouldn't worry: This is hardly a radical makeover, and “Darkness and Light” still makes plenty of room for romance.

— Dan DeLuca

Catchy rap hooks

This late-in-the-season entry to hip-hop's year-end best (e.g. Childish Gambino, J. Cole) comes from the cocky, Dallas-born rapper/guitarist Post Malone, whose wonky 2015 smash, “White Iverson,” made him a cool contender for a hot minute. So, maybe he didn't follow that hit, dedicated to the 76ers baller, with another equally contagious cut, but Malone's debut studio album, “Stoney,” is subtler and snakier.

Though there's a slight outlaw country flavor to the rap-rockabilly “Broken Whiskey Glass” and the smoldering vocals of “I Fall Apart” (Malone's got a handsome quaver), don't think of young Malone as Kid Rock-Lite. This is salty, soul-flowing hip-hop, from the silk degrees of “Up There” (produced by Pharrell Williams) to the rope-a-dope funk of “Feel” and particularly his dramatic R&B duet with touring pal Justin Bieber on “Deja Vu.” After a while, some songs sound repetitive. Malone could have used more of the signature swagger on “White Iverson” (included here), but as far as debuts go, Malone's is nothing but net.

— A.D. Amorosi