It features guest appearances from Tory Lanez (removed later), Jhené Aiko, Masego, Lucky Daye and James Blake, Megan Thee Stallion, as well as uncredited vocals by Ty Dolla Sign.

They subsequently shared the album's artwork throughout social media, which finds them peeking over a wall in their garden while holding a water hose.

[12] In its first week of release, It Was Good Until It Wasn't debuted at number two on the US Billboard 200 chart, based on 83,000 album-equivalent units earned (including 25,000 copies of pure album sales).

[28] Shakeena Johnson of Clash wrote that "The album's arrangement of serenading beats and jazzy undertones has genuinely proven that Kehlani is a force to be reckoned with."

"[18] The Guardian's reviewer Alexis Petridis opined that "It Was Good Until It Wasn't is an album so concise and focused that songs regularly clock in just a shade over two minutes, and which offers a succession of 21st-century reboots of the old-fashioned R&B slow jam."

While Petridis noted that "everything proceeds at pretty much the same pace – languorous crawl to the bedroom", he praised the album for its variety and for not sounding monotonous.

[20] Writing for The Independent, Roisin O'Connor stated that the album's "15 tracks waft in as though carried by a summer breeze; Kehlani's crystalline vocals shine through arrangements of sedate beats, jazz piano motifs, and luxurious twangs of Spanish guitar."

[22] Pitchfork's reviewer Stephen Kearse noted the album's production as more moody than previous releases by Kehlani, writing that it replaces "the sunny, poppy swells of SweetSexySavage with cloudy grooves that rock and sway rather than ascend and drop."

Hannah Mylrea of NME stated that the problem with the record is that "it loses sight of the sheer brilliance Kehlani has demonstrated on previous releases.

The dark and sexy new songs shine their brightest when coated with a layer of [their] previous sparkle; which makes the artist's second album a fine but frustrating release.

"[19] Reviewing in his "Consumer Guide" column, Robert Christgau appreciated how Kehlani "conceives sex almost exclusively as pleasure rather than power, and as eros too—that is, love, which can hurt plenty emotionally but in physical form generally feels good", as well as the presence of clothes as a thematic device in the songs' narratives.