[2][3] It features performances by Mobley with trumpeter Woody Shaw, guitarist George Benson, pianist LaMont Johnson, bassist Bob Cranshaw, and drummer Billy Higgins.

Only during "Good Pickin's"—a laidback bop original that's easily the best thing here—does he come alive, weaving a spell with long, liquid lines, but its subtle grace just illustrates the problems with this curiously bland record".

[4] In JazzTimes Bill Shomaker called it a "severely blemished date" and wrote "only the truly clinical Hank Mobley fanatic is going to buy this ’68 anomaly.

This post-Lion Blue Note recording goes even farther than the gutbucket r & b that Lee Morgan was purveying in kowtowing to the rock and roll emperor: Mobley includes two pallid covers of contemporary soul hits ...

Neither capture the burning dynamism of the originals ... Discs like this failed in their intention - to recapture an audience for jazz in its worst crisis - and are poignant in their documentation of fine artists searching for a viable direction.