"},"author":{"wt":"Thom Jurek"},"source":{"wt":"[[Allmusic]]"}},"i":0}}]}" id="mwKw">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}
Streetnoise was a record that may have been informed by its era, but it certainly isn't stuck there, especially as the 21st century opens. The music here sounds as fresh and exciting as the day it was recorded. The sound on the reissue is completely remastered and packed in deluxe form; it all adds up to a must-have package for anyone interested in the development of Auger's music that was to change immediately after this record with the invention of the Oblivion Express, and also for those interested in Driscoll's most brave, innovative, and fascinating career as an improviser who discovered entirely new ways of using the human voice. Streetnoise is brilliant. [4]
— Thom Jurek, Allmusic
sub-titled: HOW GOOD WOULD IT BE TO FEEL FREE
sub-titled: KISS HIM QUICK, HE HAS TO PART
sub-titled: LOOKING IN THE EYE OF THE WORLD
sub-titled: SAVE THE COUNTRY
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