The album's abstract rhymes in strange syncopations laid on top of sampling experiments proved widely influential, from Public Enemy to gangsta rap to several generations of underground hip hop artists.

[13] Music journalist Jeff Chang writes that Ced-Gee "pushe[d] sampling technology to its early limits, providing sonics that are less bassy and more breakbeat heavy than most of their contemporaries.

"[14] Shapiro dubs it one of the greatest hip hop albums and comments on its musical legacy, "Recorded at a time before 'street' and 'experimental' were mutually exclusive terms, it ushered in hip-hop's sampladelic golden age and laid the foundation for several generations of underground rap.

[15] The Anthology of Rap, published by Yale University Press, makes note of such terminology in Ced-Gee's lyricism on the album's 1986 single "Ego Trippin'", particularly the lines "Usin' frequencies and data, I am approximate / Leaving revolutions turning, emerging chemistry / With the precise implications, achieved adversively".

[15] His lyrics on "Ego Trippin'" also criticize the musical aesthetic of old school hip hop artists at the time: "They use the simple back and forth, the same old rhythm / That a baby can pick up and join right with them / But their rhymes are pathetic, they think they copasetic / Using nursery terms, at least not poetic".

[14] Pitchfork's Alex Linhardt called it "a flawless album—one that stands tall today as one of Golden Age's most ageless," lauding Kool Keith's "lyrical ingenuity" and citing Ced-Gee as "the source of the album's most insane, digitalk-quantum gibberish, spouting lines [...] [T]hey should be studied in seminars alongside general relativity.

And like most great rap albums, many of them come from the patron saint of yelps, James Brown, and flurry and flux with such abstraction and chaos that they make the beats feel deceptively fast-paced.

"[9] Melody Maker stated in a retrospective review, "full of scratch-tastic heavy beat, gold plated hip hop which manages to combine the minimalist ground-breaking Sugar Hill sounds with the show-no-mercy aural assault of the then-emerging Public Enemy.