"The Raw & the Remix" was released on 11 December 1990; in the United Kingdom, it was released by London Records and in a separate edition by MCA Records, whilst in the United States, it was released by I.R.S. Records and MCA. The original London Records UK edition featured a slightly different artwork than those used on the MCA Records UK edition and American editions. The booklet features four flaps which can be folded out to create a cross. The band's abbreviated name, FYC, is used throughout the packaging instead of the band's full name; the abbreviation was introduced in 1989 in order to make the band more marketable and in order not to alienate those put off by the usage of the term "cannibals" in the band name, and although "The Raw & the Cooked" and its singles featured both the band's full name and FYC abbreviation, "The Raw & the Remix" is the band's only release to feature the abbreviation alone. The album was not a commercial success, debuting and peaking at number 61 on the UK Albums Chart and only staying on the chart for one week. Writer Steve Binnie, in his 2014 book "The Sound of the Crowd", described the album as having "limped" to its chart position. Though this was a relative failure compared to the number one peak achieved by "The Raw & the Cooked", the remix album is still seen as a mild success when its near lack of promotion and status as a remix compilation of previously released mixes is taken into consideration. The album has received mixed to positive reviews from music critics. "Trouser Press" praised the album, singling out the "danceable overhauls" and "significant variations." In the "Encyclopedia of Popular Music", writer Colin Larkin rated the album three stars out of five. William Ruhlmann of Allmusic only rated the album two stars out of five, suggesting that although the remixes may sound good on a dance floor, "off the dance floor, none of this improves on the originals." "Pop Rescue" said the album was successful in bringing the band to a wider audience. In his book "Rhythm and Noise: An Aesthetics of Rock" (1996), writer Theodore Gracyk described the album as a great example of remix albums being released at the time with "intention to produce something that is to be treated as a distinct work, usually signaled by the fact that the remix is given a separate title."