BRIAN AUGER TRINITY w/JULIE DRISCOLL STREETNOISE RARE ORIG'69 ATCO 2-LP SET MINT

$

44

WE CURRENTLY HAVE   MORE THAN 600   LISTED ITEMS

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·       JULIE DRISCOLL WITH BRIAN AUGER’S TRINITY – STREETNOISE – ORIGINAL 1969 ATCO RECORDS STEREO 2-LP SET (DOUBLE ALBUM) SD-2-701

·       ORIGINAL U.S. PRESSING

·       ORIGINAL YELLOW ATCO LABEL WITHOUT WEA LOGO ALONG THE LABEL’S EDGE AND WITH BROADWAY, NY ADDRESS (LATE 60’s STYLE)

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       THICK CARDBOARD GATEFOLD COVER.

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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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.

 (EXCERPT FROM AN ONLINE REVIEW BY THOM JUREK, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·                               CONDITION:

·                               RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL  AS  NEAR MINT. Some VERY LIGHT AND SUPERFICIAL abrasions – mostly sleeve scuffs -  are (barely) visible, but are probably inaudible,  and do not affect visual integrity or beauty of the vinyl. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

(b)          The records come in their original stock inner sleeves.

(c)             The records are pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER

COVER IS NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP  (A SMALL PIECE OF SHRINK WRAP IS MISSING)

The following flaws or imperfections are noted on the cover:

-         Cover has some writing on its back side (a small price code written in one corner)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No ring wear

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No wrinkles or creases

-        No yellowing from aging

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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