[3] Oh No started working on the album when Stones Throw's manager Eothen "Egon" Alapatt asked him to compose two tracks for his series called Fan Club 45s,[4] but Oh No instead recorded 27 beats in three days.

Peter Macia of Pitchfork praised the album, saying that "Oh No gracefully layers these compositions the way MacDermont did with his own, fusing inspirations with the same wide-eyed gusto and ending up with the same kind of buoyant and elegant songs".

Club, called the album "a typically eccentric project for [Stones Throw]" that "finds [...] Oh No transforming the vast archive of Hair composer Galt McDermott into kaleidoscopic beats".

[7] Eric Solomon from Prefix praised the instrumentals, which he called "as funky as you might expect", but also criticized some of the guest performances.

[8] Andrew Matson of RapReviews ended his review saying that "the crowning achievement is that Oh No has not only made a great album, but also paved the way for rap fans to get into music that they might not check out normally".