[9] Later in a September 12, 1996 article in the Los Angeles Times, writer Jon Matsumoto revealed that the album had left Wiedlin "bitter" about the music industry.

"[10] Upon release, Orange Coast described the album was Wiedlin's "best individual project to date" and singled out "Paper Heart" as the best track.

[9] Caitlin O'Connor Creevy of the Chicago Tribune commented on the Wiedlin's "distinct tone" and "an almost ethereal uniqueness to that familiar Go-Go's beat".

"[12] Mike Boehm of the Los Angeles Times felt that half the album was "slick and over-sweet", adding it was more successful when Wiedlin "set[s] her fragile, Cyndi Lauper sound-alike voice in more intimate ballad surroundings.

The 10 selections lean toward bouncy, guitar-driven pop with engaging female harmonies that recall such 1980s Go-Gos hits as "Our Lips are Sealed" and "We've Got the Beat.

"[15][16] Newsday writer John Anderson felt the album had Wiedlin creating "pop rooted in '60s guitar rock and ringing with defiant optimism".

[18] San Jose Mercury News described the album as "gracefully engaging pop, setting Wiedlin's pixie trill amid brisk, simple waves of guitar".

He commented: "Although a decent musician, Wiedlin doesn't have much of a voice - and her inadequacy as a singer is made all the more obvious by the pedestrian nature of the songs.