Big Break Records remastered the album for re-release on CD in 2014 with new liner notes and an interview with Billy Paul.

"[2] Located at 3738 Germantown Ave. in North Philadelphia, the Cadillac opened in 1965 and was run by Benjamin and Ruth Bynum before becoming the Impulse Discothèque in 1977.

[3] Benjamin Jr., who with his brother followed in their parents' footsteps and ran their own jazz club Zanzibar Blue from 1990-2007 and collaborated with Gamble & Huff on The Sound of Philadelphia (TSOP) nightclub and restaurant, recalled how as a young boy he met entertainers like Gladys Knight & the Pips who regularly visited the family's house when they were in town to play at the Cadillac: "Most times I was in bed.

He had a record shop on South St & Philly - right round the corner and I was singing with a trio at the Sahara club on Friday, Saturday and Sunday.

It makes a lot of sense, because one of the first things that strikes a listener hearing him for the first time is the horn-like quality of his voice, particularly in the way he phrases the lyric.

From the frenetic pace of Toots Thielemans' jazz standard, "Bluesette," to the haunting approach of "Somewhere," Billy Paul runs the gamut of versatility.

"Feeling Good," a big production number, is notable for the dominating figure created by the piano, drums and bass which makes for an almost hymnal effect.

Arranged by pianist Stanley Johnson (as are all the numbers) "Clear Day" has been given an unusual Latin background, and so startling is the effect that one cannot help wondering why it was never done before.

All in all, an auspicious introduction to a new and exciting talent, Billy Paul - a young man who will probably be making fine albums, like this one, forever.

His perfectly defined and totally supple singing style, a unique amalgam of jazz, pop, and R&B influences, embodies a potential that transcends even his biggest hits.

This breakthrough LP typifies his ability to do just that...and more.Allmusic's Ron Wynn gave the album three out of five stars and said: "Paul might have been successful in jazz; if he emerged in the '80s or '90s doing this kind of supper-club/cabaret fare, he would immediately be routed into the adult contemporary and Quiet Storm market and probably be a huge hit.