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 (now available as a single CD from Disconforme
in Spain) that featured 16 tracks, more than half of them with vocals
by Driscoll, and the rest absolutely burning instrumentals by Trinity
(which was Auger on organ, piano, electric piano, and vocals), Driscoll
on acoustic guitar, Clive Thacker on drums, and Dave Ambrose on bass and
assorted guitars. "Tropic of Capricorn," an instrumental Auger
original, kicks the set off in high gear. It's a knotty prog rock number
that has near key change elements of Memphis R&B. it sounds better
than it reads; it twists and turns all around a minor key figure that
explodes into solid, funky major seventh grit with Thacker double timing
the band. Driscoll enters next with "Czechoslovakia," a wide-open
modal tune that hints at the kinds of music Driscoll would explore in
the very near future on her debut 1969 and later with her 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, 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 possible and then some. 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 with enormous chords.
The rhythm section just 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" featured 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 as the 21st century opens.
The music here sounds as fresh and exciting as the day it was recorded.
The sound on the reissue is completely remastered and packed in deluxe
form; it all adds up to a must-have package for anyone interested in the
development of Auger's music that was to change immediately after this
record with the invention of the Oblivion Express, and also for those
interested in Driscoll's most brave, innovative, and fascinating career
as an improviser who discovered entirely new ways of using the human voice.
Streetnoise is brilliant.
(by Thom Jurek, All
Music Guide)
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