[2] I'm the One fuses blues, jazz, avant-garde electronic music (including extensive treatment of her own voice through a Moog synthesizer)[3] and free form poetry and rap.

[9] In an article for The Guardian, John Fordham called the album a "seismically influential session," and wrote: "for all the familiarity of computer-assisted vocals now, nothing prepares you for the howl of her searingly high notes spiralling up out of spooky organ chords and soul-brass riffs on the title track, or against the rolling blues groove of 'Pony', or the dark and prowling one of 'Blood'.

"[12] In a review for Perfect Sound Forever, Richard Mason wrote: "this is a remarkable recording, featuring song formats ranging from free jazz to soulful funk, but all with the unmistakeable Annette Peacock touch, music that invites you in, implores you to get involved, to think, to feel physically and cerebrally, to hear and listen actively.

"[13] Stephen Judge, writing for Blurt, stated: "Forty years on, I'm the One shouldn't sound so unusual – the collision of singer/songwriter pop and electronic tomfoolery has become fairly common in the current millennium.

"[14] Martin Aston called the album "revelatory", and commented: "I'm The One remains a visionary slab of darkly intimate avant-funk electronic torch blues... Out there and yet equally soulful, I'm The One had no peers, save perhaps Tim Buckley if you combined his jazz odyssey Starsailor and his subsequent sex-funk riposte Greetings From LA.