Most of the album's songs were originally written by early calypso musicians between the 1920s and 1940s, but had fallen into the public domain by the time Discover America was recorded in 1972.

A brilliant, almost chamber string arrangement carries the overall melody, yet this is combined with the Trinidad steel band music that Van Dyke Parks was fully and happily involved in at the time.

[15] In their review, Billboard praised the "richly rewarding" album as a "marvellous synthesis of sounds and eras", drawing attention to the memorable songs, the presence of Parks' "strange charisma" and the appearances from the Esso Trinidad Steel Band throughout.

[16] Rolling Stone writer John Mendelsohn noted the album saw Parks' continue his "celebration of the musical culture of the West Indies" after his prior production of the Steel Band.

Describing the album as far more accessible than Song Cycle (1967), he wrote that the record is danceable, interesting and sometimes enchanting, but found that the musician had yet to capture the steel band sound effectively.

[17] Gene Sculatti of Creem highlighted the calypso focus and deemed it an art rock project reminiscent of those released less than five years earlier.

He also drew attention to its unusual compositional elements, highlighting the "rampant counterpoint, counter-rhythms, odd harmonic progressions, non-resolving chords and obscure lyrics".

[1] AllMusic reviewer Lindsay Planer praised Parks' "purity of vision", writing that few could create a concept album about America "entirely in the style of the Caribbean, most specifically Trinidad circa the 1940s".

"[6] In Uncut, Alaistar McKay considered the album a "joyous" celebration of Trinidadian culture balanced by sly commentary on post-colonial Trinidad and American race relations.

Nearly all tracks on Discover America are listed on the album sleeve as being "Public domain, arranged & adapted by Van Dyke Parks".