[a] A stylistically diverse album, Boz Scaggs incorporates several genres, including Americana, blue-eyed soul, country, and rhythm and blues.

Scaggs recorded the album at Muscle Shoals Sound Studio with producer Jann Wenner, the co-founder of Rolling Stone magazine.

[2] At the time, Scaggs lived in Potrero Hill, and was next-door neighbors with Jann Wenner, the co-founder of Rolling Stone magazine.

After some initial discussions with Scaggs, Wenner suggested he record the album at Muscle Shoals Sound Studio in Sheffield, Alabama, based on the style of music he had been making.

Scaggs said that having Allman come back was a catalyst for the album, as the musicians in the Muscle Shoals Rhythm Section had great respect for him.

[4] In addition to Allman, Boz Scaggs featured many backing musicians, including: Hawkins, Hood, Barry Beckett, Eddie Hinton, and Jimmy Johnson.

"[8] According to Wenner, Boz Scaggs was inspired by the music of Clarence Carter and the Bob Dylan album Nashville Skyline.

[7] Ed Leimbacher of Rolling Stone expanded upon the Warwick connection, describing the track's gentle interplay on the organ as having a heavy influence of gospel music.

[10] The contemporary country track "Finding Her" features a bridge section with more slide guitar and a piano instrumental, which Leimbacher compared to Moonlight Sonata.

[6] Side two opens with a cover of the Jimmie Rodgers song "Waiting for a Train", in which an accentuated piano is accompanied by Scagg's yodels.

[7][10][15] Billboard highlighted the tracks "I'll Be Long Gone", "Finding Her", and "Waiting for a Train", and wrote how the album would boost Scaggs into the public eye.

[15] Robert Christgau of The Village Voice praised Allman's role, and called Boz Scaggs "a nice tribute to American music".

[14] Rolling Stone critic Ed Leimbacher credited Scaggs for exploring rock, gospel, soul, and the blues "effortlessly" and with "panache".