Although some were ambivalent towards its loose blaxploitation concept and Saadiq's songwriting, critics praised the album's production quality and vintage musical approach.

In 2002, Saadiq released his debut solo album Instant Vintage, which received critical acclaim and earned him five Grammy Award nominations.

[4] Saadiq subsequently formed his own label, Pookie Entertainment, on which he released the double live album All Hits at the House of Blues in 2003.

[6] Saadiq also continued working as a producer for other recording artists, including Erykah Badu, Kelis, Jill Scott, Nappy Roots, Earth, Wind & Fire, Sunshine Anderson, and Jaguar Wright.

"[5] In an interview for The Baltimore Sun, Saadiq discussed the inspiration behind the album's blaxploitation concept: I was watching some Rudy Ray Moore flicks, some Superfly and got to thinking that all this is a part of our history, you know?

[12] AllMusic's Andy Kellman views that the album's music is "a little funkier and a lot more energetic than 2002's Instant Vintage, yet just as full of Saadiq's stylish flourishes.

[8] Ken Capobianco of The Boston Globe characterizes the album's mood as "playful" and writes that it is composed as "a bouncy song cycle that's a throwback to '70s funk.

"[12] Clearly a man possessed by a bygone era, Saadiq transforms himself into a musical superhero, a good-natured, pseudopimp armed with a bass guitar and a tendency to fall instantly in love.

[8] It shows Saadiq dressed in a vintage cornflower blue suit, knicker pants, and lime green argyle socks, while leaning on a white 1967 Mercury Cougar.

[20] Reviewing the album in The Independent, Phil Johnson called it "madder and badder" than Saadiq's debut record and found its sound "more radical".

"No one can distress a production like Raphael", he said, believing the singer's "multi-instrumental talents and Stevie Wonder-ish voice make him a Prince for the Noughties.

"[4] Andria Lisle of Paste commended Saadiq's "versatility" and found the album "softer than Cee-lo and sexier than Ricky Fanté".

[10] Neil Drumming of Entertainment Weekly complimented Saadiq's "bass virtuosity" and "grown and sexy" vibe, although he viewed some of his songwriting as "amateur".

[11] The Boston Globe's Ken Capobianco observed an "overriding sense of joy and mischief throughout jams", and found Saadiq's "musical exuberance ...

[12] Slant Magazine editor Sal Cinquemani found it flawed as a concept album, but commended Saadiq for "conjuring soul greats like Stevie Wonder ('Live Without You'), Curtis Mayfield ('Grown Folks'), and Prince ('I Know Shuggie Otis') throughout", and stated, "just because the storyline(s) ... ceases to exist after the first few songs that doesn't mean the rest of the tracks aren't good.

[3] Andrew Simon of Vibe found a "handful" of songs to be poorly conceived and viewed that the album's strength was Saadiq's "crisp" production and bass playing, writing that "On a dime, the thick tones of the multi-instrumentalist's weapon of choice go from low and rumbly to high and tight.