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Julie Driscoll Brian Auger & the Trinity - Streetnoise (2014) SHM-CD FLAC Beolab1700

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  Julie Driscoll Brian Auger & the Trinity - Streetnoise (2014)
SHM-CD FLAC Beolab1700
  
  
  
 
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   Brian Auger With Julie Driscoll -
Streetnoise
  ---------------------------------------------------------------------
  
 
Artist...............: Brian Auger With Julie Driscoll
  Album................: Streetnoise
 
Genre................: Rock
  Source...............: CD
  Year.................: 1970
 
Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
  Codec................: Free Lossless
Audio Codec (FLAC)
  Version..............: reference libFLAC 1.3.0 20130526
  Quality..............:
Lossless, (avg. compression: 66 %)
  Channels.............: Stereo / 44100 HZ / 16 Bit
 
Tags.................: VorbisComment
  Information..........: 
  
  Posted by............: Beolab1700 on
12/01/2015
  
  
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Tracklisting
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  1. Tropic of
Capricorn (Brian Auger) [5:30]
  2. Czechoslovakia (Julie Driscoll) [6:45]
  3. Take Me to the Water (Nina
Simone) [4:00]
  4. A Word About Colour (Julie Driscoll) [1:35]
  5. Light My Fire (John Densmore, Robby
Krieger, Ray Manzarek, Jim Morrison) [4:30]
  6. Indian Rope Man (Richie Havens, Price, Roth) [3:00]
  7. When
I Was Young (Traditional Arr. by Julie Driscoll) [7:00]
  8. Flesh Failures (Rado, Ragni, McDermot) [3:05]
 
9. Ellis Island (Brian Auger) [4:10]
  10.In Search of the Sun (Dave Ambrose) [4:25]
  11.Finally Found You
Out (Brian Auger) [4:15]
  12.Looking in the Eye of the World (Brian Auger) [5:05]
  13.Vauxhall to Lambeth
Bridge (Julie Driscoll) [6:30]
  14.All Blues (Miles Davis, Oscar Brown) [5:40]
  15.I’ve Got Life
(Rado, Ragni, McDermot) [4:30]
  16.Save the Country (Laura Nyro) [3:56]
  
 
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  The final collaboration between
singer Julie Driscoll (by that time dubbed as “The Face” by the British music weeklies) and Brian
Auger’s Trinity was Streetnoise in 1969, an association that had begun in 1966 with Steampacket, a band that also
featured Rod Stewart and Long John Baldry. As a parting of the ways, however, it was to be Trinity’s finest
moment.
  A double album featuring 16 tracks, more than half with vocals by Driscoll, the rest absolutely burning
instrumentals by Trinity. (Auger on keyboards and vocals, Driscoll on acoustic guitar, Clive Thacker on drums, and Dave
Ambrose on bass and guitars.) “Tropic of Capricorn,” an instrumental Auger original, kicks off in high gear.
It’s a knotty prog rock number that contains elements of Memphis R&B. it sounds better than it reads; it
twists and turns around a minor key figure that explodes into solid, funky grit with Thacker double timing the band.
Driscoll enters next with “Czechoslovakia,” a wide-open modal tune that hints at the kinds of music she
would explore in the very near future on her debut 1969 and later, with future husband Keith Tippett. Broken melody
lines and drones are the framework for Driscoll to climb over and soar above, and she does without faltering before she
slides into the traditional gospel tune, “Take Me to the Water.”
  
  And this is how this record
moves, from roiling progressive rock instrumentals and art songs, done rock style, to inspired readings of the hits of
the day such as “Light My Fire,” “Flesh Failures (Let the Sunshine In)” from Hair, and one of
most stirring readings ever of Laura Nyro’s “Save the Country” that closes the album. “Indian
Rope Man,” is a burning, organ-driven churner that fuses Stax/Volt R&B funkiness with psychedelic rock and
jazz syncopation. Driscoll’s vocal is over the top; she’s deep into the body of the tune and wrings from
it every ounce of emotion from it. Auger’s organ solo is a barnburner; reeling in the high register, he finds the
turnarounds and offers his own counterpoint in the middle and lower one with fat chords. The rhythm section keeps the
groove, funking it up one side and moving it out to the ledge until the coda. Another steaming rocker is “Ellis
Island,” with it’s dueling Fender Rhodes and organ lines. it may be the finest instrumental on the album.
“Looking in the Eye of the World” features Driscoll in rare form, singing in her voice’s lower
register accompanied only by Auger’s piano on a blues moan worthy of Nina Simone. Streetnoise was a record that
may have been informed by its era, but it certainly isn’t stuck there, especially in the 21st century. The music
sounds as fresh and exciting as the day it was recorded. This is a must-have package for anyone interested in the
development of Auger’s music that was to change immediately with the invention of the Oblivion Express, and also
for those interested in Driscoll’s brave, innovative, and fascinating career as an improviser, who discovered
entirely new ways of using the human voice. Streetnoise is brilliant.
  
 
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https://www.youtube.com/watch?v=LGp4rTEw7z4
  
  
   						

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