[8] The Boston Globe's Jonathan Perry regarded it as "classic New York Dolls" full of "heart, soul, and swagger", and concluded, "Johansen's bowery rasp still has the texture of old shoe leather, but against improbable odds and the ravages of time, it somehow works beautifully.

"[14] While surprised at the band's newfound appreciation for "a range of rock styles so disdained by punk", Andy Gill of The Independent believed the album is "far better than we had any right to expect".

[15] Writing for MSN Music, Robert Christgau conceded it is the first of the Dolls' albums that is "less than epochal", but ultimately observed redeeming qualities: Not all the tunes are surefire.

Its garage-rock derivative is several degrees bluesier than the permanently exploding protopunk they reprise on the closing 'Exorcism of Despair' just in case you forgot the thrill.

And in the end David Johansen's lyrics somehow combine extreme skepticism, metaphysical despair, romantic agony, rock-solid agape and luv l-u-v.[9]Steve Kandell from Spin was more critical, disregarding Cause I Sez So as "all fun and harmless garage blooze ... ultimately as trifling as their '73 debut was essential".