The Chicago Tribune wrote that Thomas's "keening guitar solos never overstay their welcome and his lyrics brim with urgency."[1] The Los Angeles Times deemed the album "a strange brew of deep soul, country blues, modern funk, Hendrix and Marley that falls somewhere between a more rockin' Robert Cray and a Lenny Kravitz without the Lennonisms."[10]Greil Marcus, in The Village Voice, praised the "deep soul guitar" and "deep soul crying," writing that "up against the likes of N.W.A., Thomas sounds pathetic—but also real."[13]The Washington Post thought that Cry of the Prophets contained "some of the year's most pleasurable music," writing that it's "a groundbreaking fusion of '60s Southern soul singing, '70s rock 'n' roll guitar and '80s funk rhythms."[4]LA Weekly said that the album "claims and revitalizes a lot of African-American heritage without any fuss."[14]
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