In his review for AllMusic, Bill Dahl wrote: "Give this New Orleans master enough studio time, and he'll redo the entire history of postwar R&B his own way."[2] The Chicago Reader wrote that "the core blues feel remains, but Eaglin's remarkable flexibility allows him to inhabit nearly any situation with grace, from the furious key-changing blues of bassist George Porter Jr.'s instrumental 'Aw' Some Funk', a real showcase for the guitarist, to the heart-wrenching lament his playing expresses on 'Nine Pound Steel'."[7] The Times-Colonist wrote that "Eaglin drives the band with majestic blues string bending and grace."[8]