[1] He re-teamed with his production partner Christopher Stewart, who produced most of the tracks on the album, and Los Da Mystro[1] He also enlisted the help of Lil Jon for the song "Let Me See the Booty".

"[12] Macpherson views the album's centrepiece, its two title tracks, as a "stürm und drang" turning point for The-Dream's character, in which he mulls over a disastrous relationship.

[12] Jordan Sargent, critic for PopMatters, mused on The-Dream's approach to composition: He doubled down on his signature formula of classicist R&B song structures and themes fused with production influenced as much by Southern rap as Prince.

[13]The Washington Post's Allison Stewart writes that the album "cribs heavily from vintage R. Kelly in the same way its predecessor,... 'Love Hate', borrowed from 'Purple Rain'-era Prince".

[20] Reviewing in March 2009 for Rolling Stone, Jody Rosen found most of the album's songs "unforgettable" and said, "the combination of classicist songcraft, wild sound collage and a muse that partakes equally of the sensual and the silly makes Love vs. Money far more than just an accomplished genre piece".

[26] Alex Macpherson of The Quietus noted its cyclical thematic structure, but stated, "it's how the wheel turns, endlessly and inevitably, which is what compels about Love vs Money.

He also called the album "a cohesive, front-to-back artistic statement", and said of its studio and hook-oriented "songcraft": "What keeps all this over-production from being distracting is Nash's intelligent arrangements and a keen avoidance of clutter.

[21] Sean Fennessey of Vibe praised The-Dream's production and stated, "The craft is meticulous, and the sound so epic, and at times, operatic [...] that moments on this album comprise some of the best pop music of the decade".

[28] Ajitpaul Mangat of Tiny Mix Tapes applauded The-Dream's interpretation of the "pop formula" and dubbed the album "a fascinating and at-times sonically remarkable post-structuralist-esque move".

[10] The Boston Globe's Ken Capobianco called it "a seamless, brilliantly produced affair featuring his unmatched contemporary pop technique and songwriting craftsmanship".

[9] Robert Christgau, writing in Blender magazine, said The-Dream and Tricky Stewart's "multiplex jams" are of "deeper intrinsic sensual interest" than the hooks of the more popular R&B singer Akon, highlighting the track "Love vs. Money: Part 2".

"[22] More critical was Entertainment Weekly's Mikael Wood, who believed the lyrics are marred by "material obsession", and said The-Dream's "vision of romance mostly plays like a nightmare".