That the bulk of Jeremiah’s new material was created during his first tour of France and ended up being recorded in an Amsterdam church is amazing. Because despite all the ties to the old world, when you listen to the streets implied in the title, you associate them with those of New York City in the early 1970s. Which is probably also due to the fact that he is accompanied here by a 20-strong, voluptuous string orchestra and what is probably the most beautiful female background choir arrangement since the late sixties.
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Jeremiah first practices in velvety soul pearls in the tradition of Curtis Mayfield or Marvin Gaye, which fade almost seamlessly into one another (and bring back the first “The Deuce” season), he evokes, shortly before the end of the third and final one Acts, in the highly emotional “Early Warning Sign”, which is primarily reduced to voice and piano, also Elton John. Only to let us off into the night with “Sirens In The Silence” and an atmosphere that is by no means too beautifully coloured, but still emits a spark of hope.
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