[12][13] Robert Christgau concluded that "Feathers refuses to insult anyone's intelligence pretending he's horny as a teenager, putting his past behind him in the forlorn collection of old song titles 'We Can't Seem To Remember To Forget' ... His resonant bullfrog undertone and hiccuping upper register evoking a less cocky George Jones, he explores rockabilly as a musical form—the white man's blues he's always saying it is.

"[16] Greil Marcus, in Artforum, called Feathers "a quirky, sometimes doggedly weird rockabilly survival, now lapsing into birdcalls and animal noises, now pumping his legend, and then (as, here, on 'A Long Time Ago') shifting without warning into a reverie—loose, spooky, wailing, and more than anything emotionally unclear—of the way things never were, of the man he never was.

"[20] The Austin American-Statesman deemed Feathers "one of the original rockabilly renegades," writing that he "offers testament to the music as a primal lifeforce rather than a nostalgic fashion statement.

[15] The Philadelphia Inquirer opined that "Feathers writes songs that alternate convoluted wisdom with lucid directness, and these extremes are reinforced by his delivery, which ranges from eerie deadpan to enthusiastic shouts.

"[13] AllMusic thought that "all the playing here is expert, authentic, and full of raw immediacy," writing that Feathers "is a man haunted by the past eternally, trying to make it a renewable present, and offering the truth in how forgotten it all is in his delivery.