[5][6] In the early summer of 1969, at the invitation of singer Madeline Bell, Troy attended the overdub sessions for Billy Preston's first album on Apple Records, That's the Way God Planned It.

[7][8] Having experienced fleeting success on Atlantic Records in America, Troy was more demanding than new label-mates such as Preston,[9] and she in fact signed three contracts with Apple: as an artist, a songwriter, and a producer.

[6][10] She was given her own office at Apple's headquarters, with a piano installed[6] – a provision that encouraged songwriting collaborations with Beatles Harrison and Ringo Starr, and with other visitors to the band's premises at 3 Savile Row.

[17] In November, just before their European tour, Delaney & Bonnie arrived in London from the United States and immediately participated in Troy's session for the song "So Far", co-written by bassist Klaus Voormann.

[18] Stephen Stills was also in London, soon to record his first solo album there, and contributed to a number of tracks,[7] including Troy's R&B rendition of his 1967 Buffalo Springfield composition "Special Care".

[29] Troy helped promote the reissue; she referred to the relevance of some of the song lyrics in the 1990s, with regard to racial tensions within America, and recalled of the project's blending of musical genres and cultures: "Doing that album was a reminder that 'soul' didn't have a color.

[39] Also writing for AllMusic, Richie Unterberger finds Troy "in great voice" on the album but bemoans the "pedestrian" quality of much of the material, adding: "[T]he heavy rock/soul arrangements often have an over-beefy, early-'70s super-session feel.

[10] Leng identifies "So Far" as the "songwriting highlight" and, with regard to George Harrison's career, "Jacob's Ladder" as the "pivotal" track – "an unlikely companion piece to the 'Hare Krishna Mantra' and a pointer to 'My Sweet Lord'".

[45] Sharon Davis of Blues & Soul writes that "from the opening track 'Ain't That Cute' … American born Doris' distinctive R&B vocals settled easily into this pot pourie of musical styles", which "crossed mid tempo, high melody, into rock and red-blooded gospel".

[36] Less impressed, Ed Ward of The Austin Chronicle views Harrison's collaborations with Troy and Preston as betraying an "uneasy tension between black American gospel and the attempts of some of the Brits to play backup – the Dixie Flyers they weren't".

[47] Writing for the reissues review site The Second Disc, Joe Marchese groups Troy's album with Apple releases by Preston and Lomax, under the term "Harrison's Soulful Trio".