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Rating: Perhaps we will never fully understand the revolutionary impact of Barack Obama's election as President of the United States. The first African American president in history, a historic opportunity for the American black people but also for those who believe in progress dictated by civil equality, dialogue, and anti-racism.
Before the elections, artists also played their part. Mary J. Blige, Wyclef Jean, and Babyface got involved to encourage people to vote. John Legend, along with Amir ?uestlove Thompson and the Roots, wanted to express their views with a project inspired by the revivals of funky soul classics from forty years ago, to revive the splendor of music that was a form of civil consciousness, and never like now does that message return necessary. But listening to the record really gives you goosebumps with the groove that is created, the intention, combined with a passion that recalls the mentioned artists, such as Marvin Gaye with the song "Wholy Holy," Harold Melvin and the Blue Notes with "Wake Up Everybody" and the precious support of Common and Melanie Fiona, Curtis Mayfield with "Hard Times" placed at the beginning, which startles and immediately sets things straight, "I Wish I Knew How It Would Feel to Be" by Nina Simone that rises to the sky like a gospel from other times.
With "I Can't Write Left Handed" by Bill Withers, it really soars with over 11 minutes of robust soul paste among fluttering Hammond, blues-rock guitars with amps at full blast, and Legend's warbles as a backdrop; a text that Withers wrote against the Vietnam War, a theme that becomes terribly current again in an America torn by campaigns against terrorism that have left many lives on the field. And still, the introduction by Malik Yusea "Little Ghetto Boy" by Donny Hathaway, the other face of Islam that seeks dignity, respect, and brotherhood while "Black Thought" of the Roots takes over without lowering the aim.
The conclusion is entrusted to the only original piece, "Shine," the shuttle on its journey through time returns home with its passengers a bit dazed by the demanding restoration (doing better than those classic paintings of life, hope, and love in music, as if to say... ok, it was nice, but we live in a damn new millennium that they had described to us as projected towards progress and now we have to roll up our sleeves again and wake everyone up.
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