"[4] The Boston Globe concluded that the album "is a magnificent show of first-class songwriting by the Savages (especially guitarist Milton Reder) and allows Whitfield the freedom to smash stereotypes about his limited range.

"[13] The Houston Chronicle stated that "Whitfield growls and prowls, whoops and hollers, while his ready-steady Savages get to setting a wild yet solid foundation etched in guitar and sax.

"[12] The Washington Post wrote that "the album boasts some great party tunes, beginning with 'Rockin' the Mule, a blustery old-fashioned Little Richard-whooping shout mercilessly driven by the band.

"[14] Spin deemed the album "loaded with ultra-tuff swing and sway," writing that Whitfield's "lean and mean butt kick has developed more nuance while losing none of its maximum torque groove power.

"[10] AllMusic wrote that "what makes this the strongest Whitfield/Savages album is its variety, and the fact that Barry's voice is strong and versatile enough to bring more nuance and emotion to the material.