Saadiq was inspired by the loud, raw quality of his concert performances in support of the 2008 album The Way I See It, leading him to pursue a grittier, more aggressive sound for Stone Rollin'.

A widespread critical success, Stone Rollin' was deemed by some reviewers as Saadiq's best work and noted for its stylistic breadth, groove-based compositions, and varied subject matter.

[7] The album was also an exemplary release of the "classic soul revival" during its peak at the time,[8][9] a music scene marked by similarly retro-minded work from mainstream artists such as Amy Winehouse and Adele, independent acts such as Sharon Jones & the Dap-Kings and Mayer Hawthorne, and older artists making comebacks such as Al Green and Bettye LaVette.

[10][11] In promoting the album, Saadiq broadened his audience demographic and expanded as a touring artist,[7] playing various music festivals throughout Europe and the United States.

[12] Along with the musical aesthetic of the album, Saadiq himself adopted a vintage soul image, donning old-fashioned attire and performing traditional R&B dance moves at shows.

[7][8] His touring also inspired his approach for Stone Rollin',[12] as he considered the louder, raw sound and general feeling of performing live.

[16] In an interview for Bullett Magazine, Saadiq explained his idea of the album's title, stating "Stone Rollin' basically symbolizes the action of throwing dice and taking chances with life.

[7] However, for Stone Rollin', they sought to eschew its predecessor's Motown aesthetic for a more eclectic style, in keeping with Saadiq's other musical projects.

[7] In his interview for EQ Magazine, Brungardt discussed using a Massey TapeHead, one of his preferred plug-ins, in the recording process, stating "I’ll use that on a lot of things to get a little more grit.

[7] Some of the album's songs were recorded by Saadiq with his live band, which included drummer Lemar Carter, bassist Calvin Turner, and guitarist Rob Bacon.

[25] Andy Kellman of AllMusic wrote that the songs are "tied together by the Mellotron, a vintage keyboard – commonly associated with psychedelic and progressive rock recordings, but not foreign to soul – that evokes diseased flutes and wheezing strings", adding that "Saadiq tends to use the instrument for shading".

[26] Music journalist Jim DeRogatis observed "a little less Motown gloss" than The Way I See It and "a little more rock grit in Saadiq's grooves, heavy on the Sly Stone (witness the opening 'Heart Attack'), late '50s/early '60s Isley Brothers (the joyful 'Radio'), and Ray Charles ('Day Dreams'), to say nothing of the skillful use of Mellotron orchestrations as a connecting thread throughout the disc, sort of like the Moody Blues suddenly finding the funk ('The Answer').

[28] The opening track, "Heart Attack", is a rock and roll/soul song that incorporates driving bass, reverberating rhythm guitar,[26] and a four-on-the-floor drum beat.

[30] Saadiq said he wanted to open Stone Rollin' "with that sense of urgency, that global soul and rock & roll feel".

[36] In the opinion of Lloyd Bradley, the song exemplifies the album's combination of traditional styles and contemporary production: "It has every bit of digital snap needed to succeed among today’s sounds; but Saadiq's masterful use of a big brass section lurking w-a-a-ay into the background picks the tune up and puts it down in a completely different era.

[39] The album's closing track, "The Answer", features a wistful, jazz-funk sound,[21] and lyrics expressing a call for collective and individual responsibility.

[17] Stone Rollin' was promoted with the release of three singles:[6] "Radio" on December 21, 2010,[41] "Good Man" on February 15, 2011,[42] and the title track on March 22.

[43] A music video for "Good Man" was filmed by Isaiah Seret, featuring fashion model Yaya DaCosta and actor Chad Coleman.

[53] To reproduce the recorded music onstage, Saadiq performed with an eight-piece band[16] that included bass player Calvin Turner, drummer Lemar Carter, keyboardist Charles Jones, guitarists Rob Bacon and Josh Smith, and backing singers Erika Jerry and BJ Kemp.

[56] Reviewing the album for AllMusic, Kellman deemed it not just a "period-piece" but also "the high point of Saadiq's career, his exceptional output with Tony!

[65] Steve Horowitz from PopMatters wrote that the album "shows off Saadiq's genius as a singer, writer, instrumentalist, and producer of modern rhythm and blues that pays homage to its traditions", adding that it does not have "a false step or even a dull note".

[28] In MSN Music, Robert Christgau said Saadiq "plays with himself to beat the band" like Prince and "makes these 10 tracks bump and pulse.

[25] Slant Magazine's Matthew Cole was more critical, finding the record too involved in fabricating retro sensibilities "to leave a lasting impression of its own ... even the highlights are complacent genre exercises".