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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 (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. ~ Thom Jurek
Full performer name: Brian Auger/Julie Driscoll/Trinity.
Liner Note Author: Tom Vickers.Rolling Stone (9/6/69, p.29) - "...The Auger trio are three top-flight musicians, beginning to find a voice of their own....They're not blazing any new trails right now, but they have some pertinent and articulate statements to make..." -Lester Bangs
Mojo (Publisher) (p.116) - 4 stars out of 5 -- "[T]racks such as 'Czechoslovakia' thrillingly warp you back to that era of politically engaged music..."
Record Collector (magazine) (p.78) - 4 stars out of 5 -- "[The album] contains plenty of meaty blues-originated workouts and intelligent takes on contemporary songs, such as `Light My Fire' and music from the musical HAIR."
Brian Auger / Auger, Brian & The Trinity / Julie Driscoll / Trinity - Street Noise Songs
| 1 | Tropic Of Capricorn | | | |
| 2 | Czechoslovakia | | | |
| 3 | Take Me to the Water | | | |
| 4 | Word About Colour | | | |
| 5 | Light My Fire | | | |
| 6 | Indian Rope Man | | | |
| 7 | When I Was Young | | | |
| 8 | Flesh Failures (Let The Sunshine In)  | | | |
| 9 | Ellis Island | | | |
| 10 | In Search of the Sun | | | |
| 11 | Finally Found You Out | | | |
| 12 | Looking In The Eye Of The World | | | |
| 13 | Vauxhall to Lambeth Bridge | | | |
| 14 | All The Blues | | | |
| 15 | I've Got Life | | | |
| 16 | Save the Country | | | |
Street Noise Music Review
Average Rating: (4 out of 5 stars)   essential 60s jazz-rock
a great 60s band, in the same vein as Traffic, If, with amazing Jools Driscoll vocals. Great moods and arrangements.
Submitted by jeff (Vic, Australia)
Was This Review Helpful? Yes No  VAUXHALL TO LAMBETH BRIDGE
I'VE NEVER FORGOTTEN "VAUXHALL TO LAMBETH BRIDGE" WHERE CAN IT BE FOUND
WHAT AN INCREDIBLE SOUND TO NOT BE FORGOTTEN FOR OVER 30 years
Submitted by smithk7888 (kihei, maui, HI USA)
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A Small, Overlooked Gem
This record was widely overlooked in its' day, and to this day, but contains some spectacular talents at or near their respective peaks. Auger is just getting ready to hit his commercial zenith and lays down some of the tastiest Hammond B-3 licks on record to accompany some deeply felt and impassioned vocals from the great (and greatly underappreciated) Julie Driscoll.
"Jools" and Brian went on to produce some more adventurous tracks (some with each other), but they've never sounded better than on some of these late '60's covers and originals that display some unique budding talents.
Of particular note is the best cover of the Doors' "Light My Fire" that you're ever likely to come across, as well as a couple of tasty renditions of hits from the musical "Hair".
Not as impressive as having the original LP artwork, but still interesting, is the cover art by Ralph Steadman (best known for illustrating Dr. Thompson's "Fear and Loathing in Las Vegas). A solid groove all the way.
Submitted by mroach (Detroit, MI, USA) 
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This review is for a different format. GOOD MUSIC
ALL THE BRIAN AUGER´S RECORDINGS ARE VERY GOOD AND A GUARANTEE OF GREAT MUSIC, AND OF COURSE A GREAT ARTIST THAT CREATED AN OWN STYLE THAT CAN BE RECOGNIZED WHEN YOU HERE HIM
Submitted by rocola (MEXICO CITY, MEXICO)
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This review is for a different format.  GREATER MUSIC FROM AN ERA OF GREAT
The hot, simmering soul + jazz stew of this band - with 'Jools' Driscoll wailing fire and brimstone a la Nina Simone one bar, breathing lyrics like a seductive temptress on the next - was overlooked by most back in its day. That's too bad, because had they picked up on it, their taste in music would likely have elevated a few steps and saved the world from a lot of the rubbish that emerged in the intervening years. This was a 2-disc set that spanned blistering instrumental work from the Trinity (B3/bass/drums), soulful covers ('Light My Fire', the stellar Richie Haven's tune 'Indian Rope Man', the Miles Davis classic 'All Blues'... ) and originals that serve to remind the originality of writing back in those days. From the cover art to the final note, 'Streetnoise' is a compendium of greater music from an era when great music was the norm. Too bad so many missed out...
Submitted by wayne.b1 (fredericton, NB, Canada)
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This review is for a different format.
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