Label: Polydor Records (Japan), P30P 25072
Style: Progressive Rock, Art Rock
Country: United Kingdom
Time: 74:51
Format: Flac Tracks 16/44,1 kHz
Size: 455 Mb
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 1969's Streetnoise -- it was 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 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.
(allmusic.com/album/streetnoise-mw0000654691#review)
01. Tropic Of Capricorn (05:33)
02. Czechoslovakia (06:27)
03. Take Me To The Water (04:20)
04. A Word About Colour (01:41)
05. Light My Fire (04:24)
06. Indian Rope Man (03:25)
07. When I Was Young (07:05)
08. Flesh Failures (Let The Sunshine In) (03:08)
09. Ellis Island (04:11)
10. In Search Of The Sun (04:25)
11. Finally Found You Out (04:15)
12. Looking In The Eye Of The World (05:05)
13. Vauxhall To Lambeth Bridge (06:35)
14. All Blues (05:45)
15. I've Got Life (04:30)
16. Save The Country (03:56)
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