Critics noticed two distinct tones on the album, which Olivia identified as softer R&B alongside harder hip hop sounds.

Following its release, Olivia was removed from J; she later criticized its founder Clive Davis for being too controlling and forcing her into a bad girl image; he denied these claims.

[2][3] After she held a showcase at the China Club, a New York venue, which was attended by Timbaland and Jay-Z,[1] Thompson's manager arranged for her to meet with Arista executives, including its vice president Keith Naftaly.

[7][12] Righi characterized the first ten songs as "dreary complaints" with "a mercenary attitude" before transitioning into music that was "girlish and even gooey".

[12] Vibe's Dimitri Ehrlich wrote Olivia delivered "an X-rated MC's attitude to the romantic tales of an R&B diva".

[7] Henderson noted the instrumental was "synthed-up",[13] and AllMusic's Jon Azpiri said there was a strong contrast between its "seductive music and brutally frank lyrics".

A Billboard reviewer praised Olivia as "ha[ving] the mouth of a bad girl and the voice of an angel" and the potential to be "a bona fide R&B singer".

[19] Mulvey of NME commended the single as giving a "steely boot to a crap lover" in the style of TLC, Kelis, and Eve.

[21] Prior to the album's release, she performed "Bizounce" on Soul Train, BET, MTV's hip-hop video block Sucker Free (known at the time as DFX), and The Source Sound Lab.

[2][10] Explicit and clean versions of the album were issued on cassette and CD; a bonus track ("Under New Conditions") was included on the Japanese edition.

[30] In 2014, Olivia said she wanted "It's On Again" to be a single, and described it as one of her favorite songs from the album; she said it "makes me feel like I'm on a deserted island, just me and my boo with cherry blossoms blowing in the wind".

A Honey reviewer praised Olivia as a "real voice" in hip hop soul,[33] and a CMJ contributor commended the album as "unique and ground-breaking".

[34] A Q magazine reviewer wrote that Olivia was "well-versed in the not always noble art of the R&B ballad" and the music had "a list of saucy demands that would make Lil' Kim blush".

[32] In a The Source review, a contributor found Olivia to be the "most memorable when she's in woman-scorned mode" and likened her to "a thugged-out Aaliyah and pissed-off Mýa".

[7] Azpiri praised the album, saying "her softer tracks show some versatility", but felt Olivia's best work came "when she is venting her spleen rather than revealing her soul".

[9] Entertainment Weekly's Mark Bautz praised the album's production and mix of R&B and hip hop but criticized it as "lack[ing] the overall energy and excitement of its best songs".

[31] Righi wrote that Olivia and Aaliyah were examples of how "the right attitude, hip-hop production and clothing -- not to mention a body to die for" were considered more important than "the plaintive human voice in the throes of transcendent ecstasy or bottomless hurt" in contemporary R&B.

[1] In an official statement, J Records' representatives pointed to Olivia's credits as a co-writer for a majority of the album as proof of her involvement with the project and maintained: "Clive doesn't categorize artists as good or bad girls".

The label's founder 50 Cent said he enjoyed Olivia's previous work and blamed J Records for sabotaging her career.

[36] After leaving G-Unit, Olivia continued to release music, and in 2011, she starred in the reality television show Love & Hip Hop: New York.