[6] The album drew upon the production talents of Mike Knott and Gene Eugene.

On this release the band has a rockabilly sound, somewhere between the Stray Cats and The Reverend Horton Heat,[2] or "like a rockabilly version of Mike Knott..."[3] Lyrically the album addressed hard issues such as racism ("Skin"), the underground church in China ("People Underground"), materialism and temptation ("Fat Cat"), New Age spiritualism ("Rock 'n' Roll & My Baby"), and internal spiritual battles with our sinful nature.

"[1] The album also deals with the victims of the holocaust ("Death Train"),[4] and finally closes with "Let's Go", a "no holds barred celebration of salvation.

"[1] One reviewer found the album to be on various tracks "cliché-ridden but vaguely worshipful", "weakly inspiring", and "shallow & dumb.

"[5] The reviewer went on to state that the attempt "to bring 1950s wholesomeness into today's moral morass" fell flat.