: Rap Music's Rise to Prominence in the Aftershock of Black Power (2009) ISBN 9780865479975, described MC Ren's writing style as "elaborate storytelling and acrobatic verbiage", while the D.O.C.

Jason Birchmeier from AllMusic gave a considerable amount of attention to the album's production, saying that "Dr. Dre and Yella meld together P-Funk, Def Jam-style hip hop, and the leftover electro sounds of mid-[19]80s Los Angeles, creating a dense, funky, and thoroughly unique style of their own.

[3] Glen Boyd of Blogcritics said that the album has "Deep-ass bass lines, old-school funk samples, and plenty of street smart ghetto attitude are what powers this record.

[6] The album's title track and lead single "Eazy-Duz-It", written by MC Ren, opens with a woman acclaiming Eazy-E's style.

The song declares that Eazy is a "hardcore villain" who collects money from his prostitutes, and feels great when his "pockets are fat.

It conceives the "ghetto landscape as a generalized abstract construct… [and] also introduces a localized nuance that conveys a certain proximity, effectively capturing a narrowed sense of place through which young thugs and their potential crime victims move in tandem," as put by cultural historian Murray Forman.

[7] Music journalist Robert Christgau gave the album a C+, criticizing the thin beats and lyrics like "I might be a woman beater but I'm not a pussy eater".

[13] The New York Times considered it "a wild party album" and "a throwback to knuckleheaded 60's hits like the Coasters' 'Yakety-Yak'—a welcome outbreak of silliness in today's earnest pop climate.

"[14] AllMusic's Jason Birchmeier noted that "the album plays like a humorous, self-centered twist on Straight Outta Compton with Eazy-E, the most charismatic member of N.W.A, front and center while his associates are busy behind the scenes, producing the beats and writing the songs.

[2] The Spin Alternative Record Guide (1995) gave the album a seven out of ten rating, referring to it as "comparatively forgotten" compared to Straight Outta Compton, while noting it was a more funny, with "scraps of dialogue and mock interviews, more thoroughly cinematic" while that the albums attempts to promote Eazy-E as a major gangster was "nonsense".

[12] Soren Baker from the Los Angeles Times called it a "landmark albums brimming with violence, profanity, sexually explicit content and antigovernment themes," and said that it established Eazy as a "major player in the rap industry".

[16] Dan Snierson of Entertainment Weekly described the album as "an obscenity-littered depiction of violent, hollowed-out life in Compton.

Boyd also said that songs like "Boyz-n-the-Hood" and "Radio" would establish "the street buzz that N.W.A would later ride to platinum selling success as the first true West Coast rap superstars.

"[4] Jon Wiederhorn from MTV wrote that it "demonstrated Eazy's knack for provocative lyrics," and also said that it paved the way to Straight Outta Compton.