All That May Do My Rhyme

The album was produced by Speedy Sparks, Stuart Sullivan, and Casey Monahan.[9]

Paul Leary, Barry "Frosty" Smith, and Charlie Sexton contributed to All That May Do My Rhyme. Lou Ann Barton sang on one of the two versions of "Starry Eyes".[10] Sumner Erickson, Roky's brother, played tuba on the album.[11]

It was released on Trance Syndicate Records, an independent record label founded in 1990 by King Coffey, drummer of Austin, Texas band the Butthole Surfers.[12]

Professional ratings

Review scores
Source	Rating
AllMusic	[13]
Chicago Tribune	[14]
The Encyclopedia of Popular Music	[15]
MusicHound Rock: The Essential Album Guide	[9]
Record Collector	[16]
Rolling Stone	[17]
Spin Alternative Record Guide	8/10[8]

Rolling Stone determined that "if Erickson covers a lot of territory, it is because his music has always functioned as a living archive of musical form, exploring the seams between supposedly incongruous genres."[17] The Boston Globe wrote that "Erickson looks at loves lost and sought in ballads given a light, melodic touch."[18] The Austin American-Statesman deemed the album "arguably his most accessible and listener-friendly to date, with the sort of buoyant melodicism, lyrical invention and shimmering jangle that the R.E.M. generation can accept as a kindred musical spirit."[19]

The Philadelphia Daily News stated that "the psychedelic pioneer brings his Bob Dylanesque phrasing and charmingly vulnerable voice to a mixed bag of old and new material that focuses more on love than on his past themes of demons and aliens."[20] The Santa Fe New Mexican concluded that "We Are Never Talking" "could almost be mistaken for a long-lost Blood on the Tracks outtake."[21] The Chicago Tribune determined that "best of all is the plaintive 'Please Judge', in which Erickson pleads, 'Don't send or keep the boy away'."[14]

AllMusic wrote that "Roky's most excessive traits are mostly absent; he sounds sort of like an eccentric, updated Buddy Holly."[13] Record Collector thought that his "dishevelled yowl elevates [the songs] into the otherworldly realm, spookily channelling both his fractured mind and convincingly extra-terrestrial soul."[16]