[1] Peter Jones, Murphy's biographer, calls the album "an obvious attempt to reach the rock generation".

[1] Jones writes, "Many singing stars of the Fifties had experienced similar helplessness in the face of pop and rock's continuing onslought".

The album feature two guitarists, John Tropea, who recorded with Eumir Deodato, and Sam Brown, who worked with Gary Burton and Keith Jarrett, and who also appeared on Bridging a Gap.

Bassist Michael Moore and pianist Kenny Ascher make their only studio appearance with Murphy.

[2] Ron Wynn writes, "Strong, individualistic material featuring Murphy doing scat, interpretations, and reworkings of jazz and pre-rock pop tunes with his vivid delivery and dynamic manner".

Despite ludicrously overblown liner commentary claims to the contrary, he is little more than a “polite supper-club singer” who decided, this time, to record tunes by the likes of Joni Mitchell and Stevie Wonder instead of by Irving Berlin or Bacharach/David.

[5] In his book A Biographical Guide to the Great Jazz and Pop Singers, Will Friedwald laments, "Much of his second Muse release, Mark II, is a waste".