wˈʌn mjˈuːzɪk ɹˈaɪɾɚ, dʒˈɑːn bɹˈoʊvən, dᵻskɹˈaɪbd ɪɾ æz "ɐ wˈaɪld ænd wˈʊli ɹˈɑːk ˈɛn ɹˈoʊl sˈɛt wɪð spˌɑːntənˈeɪᵻɾi wˈʌn nˈoːɹməli ˈoʊnli dɹˈiːmz ɐbˈaʊt," wˌaɪl ɐnˈʌðɚ, lˈæɹi bᵻnˈaɪswɪkz, klˈeɪmd ðˈæt "sˈʌtʃ ɐ mˈæstɚpˌiːs, nˈoʊ dˈaʊt, spˈɔːnd ˈʌðɚ ɛkspˈɛɹɪmənts lˈaɪk wˈeɪn tˈuːps zˈaɪd kˈeɪdʒən stˈaɪl ɔːɹ, pɚhˈæps, ɐ zˈækɚɹi ɹˈɪtʃɚd zˈæk ɐtˈæk,ɐ sˈɪmɪlɚ fjˈuːʒən ʌv kˈeɪdʒən, zaɪdˈiːkoʊ, ænd ˈɑːɹ ænd bˈiː."
One music writer, John Broven, described it as "a wild and woolly rock 'n' roll set with spontaneity one normally only dreams about," while another, Larry Benicewicz, claimed that "such a masterpiece, no doubt, spawned other 'experiments' like Wayne Toups' 'ZydeCajun' style or, perhaps, a Zachary Richard 'Zach Attack,' a similar fusion of Cajun, zydeco, and R&B."