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Producing the album was bassist Harvey Brooks, who played alongside Dalton on It's So Hard to Tell Who's Going To Love You The Best. Brooks, who prided himself on being simple, solid and supportive, understood Dalton's process but was also willing to offer gentle encouragement and challenge the artist to push her creative bounds. I tried to present her with a flexible situation, he told Kaye. I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I'd present options. Everyone was sensitive to her. She was the leader. Dalton, who rarely performed her own compositions, selected a range of material to interpret-from traditionals like Katie Cruel and Same Old Man to Paul Butterfield's In My Own Dream and Richard Tucker's Are You Leaving For The Country. She also expanded upon her typical repertoire, peppering in such R\u0026amp;B hits as When a Man Loves a Woman and How Sweet It Is. In a departure from her previous LP, Dalton's new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians. While 70s audiences may not have been ready for Dalton's music, a new generation was about to discover her work. In the decades following her death, many artists would name Karen Dalton as an influence including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recently acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton's unique appeal: There's a sort of demand made upon the listener, he explains. Whether you like it or not, you have to enter her world. And it's a despairing world. Peter Walker, who also appears in the film, elaborates on this idea: If she can feel a certain way in her music and play it in such a way that you feel that way, then that's really the most magical thing [one] can do. 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