In the Black church, this song is what would be considered the "benediction"; the song to close out the service with a soul-moving message. If the original, instrumental version was to highlight those who show humanity towards each other, this soul-stirring version would be an "altar call" for others to get their hearts right and do better for their fellow man and woman and love and care for one another. It's an especially fitting theme for today's tragic issues and crises, and it was rendered beautifully by the unequalled vocal dynamo that is Cleveland P. Jones, who wrote these lyrics and sang it angelically (I only did slight vocal arrangements in the final song edits). Even though there's no drums, the finger snaps and overall rhythm was set to 6/8, which is the traditional time measure for Gospel songs, even though this one isn't one, but it carries that essence, as well as a slight nod to the Doo-Wop era style, which I used the upright bass to mimic how a male vocal of that style would sing it. This song, I felt, was a perfect ending to the album, in terms of the official 12-song setlist (before going into the 2 bonus tracks I didn't reveal when I debuted this project, but are now part of the visible set but denoted as "bonus" tracks).