In a positive review, Clarence Page of the Chicago Tribune said that the album has a hit title track and "other potential hits, adding up to one of her better albums."John S. Wilson, writing in The New York Times, felt that Flack and producer Joel Dorn "have resisted the pitfalls of overproducing that you would suppose such a long gestation period would induce."Billboard magazine called the album a "delicate, introspective work" by Flack, who is a "masterful interpreter of clean lyrics fusing a sophisticated pop sound with that dark side of the blues."Robert Christgau, writing in Creem, gave the album a "C", indicating "a record of clear professionalism or barely discernible inspiration, but not both." He compared Flack negatively to Jesse Colin Young because she also "always makes you wonder whether she's going to fall asleep before you do."
In a retrospective review, The Rolling Stone Album Guide (1992) gave the album two-and-a-half out of five stars and found its music "inocuous". By contrast, Allmusic's Ron Wynn gave it four-and-a-half out of five stars and wrote that it "continued in the same tradition as Chapter Two and A Quiet Fire", observing "simmering ballads, declarative message songs, and better-than-average up-tempo numbers".