He found that "the combination of being freed from the image management of American Idol and the creative freedom allowed by one of the best independent music labels around, Shanachie Entertainment, has given Ruben the boost he needed to revive his career and remain a relevant and successful artist.

"[2] SoulTracks critic Melody Charles felt that the album "does offer illuminating glimpses into the life-and-death cycle of a relationship (more likely factual than fiction).

[4] AllMusic editor Andy Kellman noted that "Four brief "letter" interludes help guide the listener through the stages in the singer's relationship; without them, the album would still have a discernible linear flow.

There's some Southern-friend funk, neo-Philly soul, alternately silky and churning adult contemporary R&B [...] There is almost enough shifting to fill a season's worth of American Idol performances, and it detracts from the fact that this clearly is Studdard's most personal set of songs to date.

"[1] Billboard found that "reminiscent of Marvin Gaye's musical forays on Let's Get It On, Studdard sends listeners everything from smooth soul and funky/jazzy dancefloor grooves to movie-theme pop and gospel.