AllMusic's Scott Yanow wrote that "after her unexpected success on the pop charts, most of Washington's sessions for Mercury and Roulette during the last four years of her life were quite commercial, with string arrangements better suited to country singers and Dinah nearly parodying herself with exaggerated gestures ... In general, this is a more successful date than Washington's earlier investigation of Bessie Smith material, since the backup band is more sympathetic and the talented singer is heard in prime form. Dinah Washington clearly had a real feeling for this bluesy material".[1]