When the album was released, the cover depicted the band members in a gravel pit at work in prison garb, ball and chain attached to them, digging with picks and shovels.

The inside of the cover had the group members presented individually with mug shots and related personal information.

[8] It was reported by Billboard in the 18 October 1969 issue that the Foundations were touring Scandinavia and Philips were doing a promotion for the album.

The reviewer made note of the fact that since "Baby, Now That I've Found You" the group had failed to make the Top 30 and then with the departure of Clem Curtis, there was a presumption by many of the knockers that this would be the end of The Foundations.

But with the vocals of Colin Young on "Build Me Up Buttercup" which was a rocket powered boost to the top of the charts in both the UK and the US, the group's potential was obvious.

[3] Calling the group "a great little band" and complementing Colin Young's vocal style, the reviewer said that this was their best album to date and that it should have had more folk digging them.

Calling the album nice, the reviewer said that the band bridged the pop-R&B-bubblegum gap.

Barry Class, the manager of the group was due to meet with Pye chief Louis Benjamin when the article went to press.

Foundations organist Tony Gomesz was interviewed by Brian Matthew for the 23rd June Top of the Pops show.

Prior to "Waiting on the Shores of Nowhere" being played, Matthews asked Gomesz why after a string of hits, the Foundations have opted to produce their own discs, and when did they make that decision?

[21][22][citation needed] Due to the racial policies of South Africa and the authorities not allowing multi-racial groups to be seen, the album had to be released there in a plain cover.

However the reviewer in 2022 said that the Foundations' version had a lot going for it and mentioned that it had an air of an early Drifters hit and a touch of the Isley Brothers about it.