According to club biographer, Andy Pemberton, as of mid-1996, the nightclub's "personality" was divided between the Frisky and Rulin' nights at the weekend, which played house and garage music "where the patrons swoon to the latest garage guidance counselors", and the Logical Progression nights mixed by LTJ Bukem, which featured "the hard edged underground throb of drum and bass.

"[2] The nightclub celebrated its fifth anniversary in September 1996 in numerous different ways, the most notorious being the projection of their logo onto Buckingham Palace with the message that the Ministry of Sound "lasts longer than a royal marriage," in reference to Prince Charles and Princess Diana's divorce.

Clare Gage, Grace Garcia Sutcliffe, Lynn Cosgrave, Mark Rodol, Russell Bradley, Simon Gurney and Steve Canueto all conceived, produced, marketed and "agonised over" the album.

[2] According to AllMusic's Jason Birchmeier, the album "attempts to present a quick summary of the massive developments made in the genre of electronic dance music in the early '90s.

[2] The second disc, Frisky?, is based around the club's then-Friday night event Frisky?, described in the album's liner notes by Lucy Vignola as "a night of hedonistic, atmospheric, raunchy, burning house that smashes the north/south club divide and breaks the barriers surrounding dance music genres.

[8] A critical success, Jason Birchmeier of Allmusic was positive, highlighting Seb Fontaine and LTJ Bukem's mixes as the best due to their "less out of the ordinary" track listings.

"[9] The album's unusual packaging, designed by the Ministry of Sound's art director Scott Parker, consists of cardboard sleeves stored in a rigid silver box, and is designed to resemble the shiny foil packets in which computer components are sold in, complete with details such as warning labels, futuristic typefaces and technical photographs.

[10] Parker explained: "We wanted to link the CD to a clothing idea and decided to pastiche the silver foil packaging for computer parts, complete with the yellow and red warning sticker and bar code.

The aim is to look non-designed, that’s why I mixed up the fonts and played with the branding, adding a number of different, futuristic logos.

"[10] In order to "make it feel like a piece of technical equipment," Parker used photographs that Tony Stone had taken of a pressing plant, as well as "snapshots of the Ministry building.