Largely produced by Pete Glenister, the album includes contributions from Kirsty MacColl, Steve Lillywhite, Marius De Vries, and ex-Fine Young Cannibals Andy Cox and David Steele.

Moyet's record company, CBS, wanted her to continue producing pop hits, but this left the singer feeling artistically compromised and under pressure to deliver.

[7][8] Although the album failed to chart in the United States, Billboard magazine reported in February 1994 that Hoodoo had sold 85,000 copies.

"[16] Stuart Maconie of NME also had a mixed reaction, describing it as "pretty good in parts", including the "very groovy and modern" "It Won't Be Long" and the "splendid" title track, but ultimately "only firing on half its cylinders".

He noted that Moyet and her "formidable team" have "fashioned a sound that takes on board a whole cargo of '90s reference points but stays true to Alison's soulful leanings", but felt the album "carr[ies] a lot of ballast; material that, frankly, isn't up to it".

[17] Musician commented, "Moyet certainly understands style – her gospel shout would be the envy of any Pentecostal choir, while her ballad voice is as naked and soulful as a Nina Simone lament.

"[18] In a retrospective review of the album, Tom Demalon of AllMusic described it as "possibly her most soulful collection yet" and "another strong offering from the distinctive Moyet".

[14] Attitude writer Josh Lee described it as "great" and noted the "rawer, more aggressive sound" in comparison to Moyet's previous albums.

He likened the change to Kylie Minogue's "switch from pop princess to IndieKylie" but added that Moyet presented "more anger and a brassier soul sound".

[19] Gay Times writer Darren Howard described Hoodoo as an album that's "now seen as a modern classic that slightly under-performed".