Other major hits of hers include her signature song "Maybe It Was Memphis", along with "Shake the Sugar Tree", "Spilled Perfume", a cover of Jackie DeShannon's "When You Walk in the Room", and "All the Good Ones Are Gone".

[6] Kevin John Coyne of Country Universe rated the album two stars out of five, stating that "Pam Tillis, even in her early days, is a smart songwriter with cutting insights on the human experience.

She also supplemented her career by singing advertising jingles for Country Time powdered drink mix, Coca-Cola, and Coors beer.

Tillis was one of the first five acts signed to the label, alongside Alan Jackson, Lee Roy Parnell, Michelle Wright, and Asleep at the Wheel.

[19] Twenty different country music acts contributed vocals to the project, including Highway 101, Lynn Anderson, Vince Gill, Dan Seals, and Brooks and Tillis.

[6] According to Billboard, Arista Nashville executives were initially reluctant to release "Maybe It Was Memphis" as a single until Tillis was "firmly established" as an artist, due to the song's more country pop sound.

[27][28] Alanna Nash of Entertainment Weekly gave Put Yourself in My Place a "B+" rating, saying that it "shows how well she can craft smart and sassy country material...and also sell it with a commanding, big-voiced presence".

"[13] Brian Mansfield of AllMusic wrote that "The album that established Pam Tillis as a performer in her own right has a traditional country base cut with bluegrass, folk, and rock.

[2] Tillis and Worley both enjoyed the sound of Stephanie Bentley's vocals on the demonstration track and chose to retain them on the final recording.

Tillis co-wrote half of the album's songs including "Cleopatra, Queen of Denial" with her then-husband, songwriter Bob DiPiero.

[7] The album's lead single "Spilled Perfume" (which Tillis co-wrote with Dean Dillon) reached top five on the country charts after its release.

[2] The album's closing track "'Til All the Lonely's Gone" featured bluegrass musician Bill Monroe on mandolin,[7] plus backing vocals from Mel Tillis along with Pam's siblings Carrie, Cindy, Connie, and Mel Tillis Jr.[6][44] Brian Mansfield rated the album four-and-a-half stars out of five, writing that it "found the magic blend of Nashville sound, California country rock, and post-Beatles pop.

At the time, Tom Roland of The Tennessean noted the rarity of female producers in country music, citing Gail Davies, Rosanne Cash, and Wendy Waldman among the few.

She told The Tennessean at the time of the album's release that she thought her then-recent divorce from Bob DiPiero would make any song she co-wrote "dark and depressing".

[48] Tillis co-produced with guitarist and producer Billy Joe Walker Jr., with additional production from Chris Farren on his composition "We Must Be Thinking Alike".

[2] Kevin Oliver of Country Standard Time described "Please" as "one of those uplifting slice of life anthems that sounds great on the radio and connects with women on some level that men will never completely understand."

[60] Trisha Yearwood and Rhonda Vincent sang backing vocals on a cover of "Honey (Open That Door)", a number-one single written by Mel Tillis for Ricky Skaggs.

[59] Country Standard Time writer Eli Messinger praised Pam Tillis's vocal delivery on her father's songs, calling the collection "heartfelt".

[63] In 2005, she replaced Linda Davis as the lead act of an annual Christmas concert held at the Gaylord Opryland Resort & Convention Center in Nashville.

[65] Kevin Oliver of Country Standard Time found influences of rock music and jazz, stating that the album was "widely varied and enjoyable".

[17] Tillis, Morgan, and Terri Clark held a benefit concert in 2018 for country singer Anita Cochran after she was diagnosed with cancer.

[4] Tillis described her own vocal style as "not the twangiest country singer out there", as she thought her voice also contained rhythm and blues and rock phrasings.

[76] Roch Parisien of AllMusic described her voice as "pure, full-bodied country" and a "genuinely throaty twang", despite considering it "exaggerated to the point of annoyance" on "Do You Know Where Your Man Is".

"[77] Alanna Nash of Entertainment Weekly wrote of Sweetheart's Dance that "Moving beyond the attention she gained from her Kewpie doll face and piercing soprano, she’s gone the distance to incorporate all of her musical past into the country framework for an updated, '90s feel.

"[78] Robert K. Oermann, in the book Behind the Grand Ole Opry Curtain: Tales of Romance and Tragedy, described Tillis as having a "torrid soprano", "vivid songwriting", and "enchanting wit".

Reviewing All of This Love for Country Standard Time, Joel Bernstein noted Tillis's affinity for wordplay in her song titles, such as on that album's "Tequila Mockingbird".

[79] Nash criticized the song for similar reasons,[78] and Kevin John Coyne of Country Universe cited "Blue Rose Is" as another example of wordplay.

[80] Nash, reviewing Collection in 1994, thought that because the album contained material recorded earlier in her career, it lacked the "plucky personality and the supercharged vocals that now punch their way out of the radio".

[81] Both Nash and Larry Crowley of The Arizona Republic thought that "Spilled Perfume", which is about one woman confronting another over a one-night stand, displayed feminist themes.

[6] Of acting, Tillis said that she did not find it considerably different from singing, because both roles require "taking the raw material of emotion and making something out of it.