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The embarrassingly goofy title cut to the contrary, this is War's deepest, most versatile and most musically accomplished album to date. As usual, ballads are War's most impressive fare. The solos on "Don't Let No One Get You Down," "Smile Happy" and "Low Rider" (taken by harpist Lee Oskar and saxophonist Charles Miller) are emotionally direct and involving. War borrows heavily (but successfully) from the Stylistics on "Lotus Blossom" and does a passable (though noticeably inauthentic) Latin medley in addition to the usual quota of tasteful funk.
- Gordon Fletcher, Rolling Stone, 9/11/75.
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War's return to the album scene after a lengthy hiatus caused by complex business squabbles shows that the layoff only improved the soul/rock group's grasp on the concept. Once again, War alternates their LP cuts between get-down funk tailored for AM hit-dom and flowing sophisticated jazzy instrumentals. The guys return better than ever in each category. Best cuts: "Why Can't We Be Friends?" "Don't Let Nobody Get You Down," "Low Rider," "Heartbeat."
- Billboard, 1975.
I like the way "Low Rider" does its bit for fuel economy, but the rest of the good stuff disappoints: the title hit is greater on the radio, "Heartbeat" is greater by the Wild Magnolias, and the salsa section of "Leroy's Lament" gets lost on a record that's a laid-back revision of their basic schtick. They're better off heavy. B-
- Robert Christgau, Christgau's Record Guide, 1981.
War returned with a vengeance and new material in the mid-'70s, as the title hit was both a pop and R&B top 10 smash and "Low Rider" did even better, topping the soul surveys and peaking at number seven pop. More importantly, they were once more a carefree, loose, jamming band. Unfortunately, it was the last definitive War album, as ego and production battles would soon undermine their success. * * * *
- Ron Wynn, The All-Music Guide to Rock, 1995.
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