STREETNOISE

The Julie Driscoll/Brian Auger Trinity collaboration comes to an end with this double album: which is a perfect testament to an amazing singer and her wonderful support crew musicians. I think it only just that this "support crew" is given their due: their own Side (Three); time to shine on their own.

LP Side One: 1. "Tropic of Capricorn" (5:32) syncopated cymbal play with matching organ, piano and bass notes leads into the establishment of a kind of ELP/"Take Five" jazzy blues-rock motif, which then smooths out with vocals into what sounds very much like something from THE SOFT MACHINE's second album. The ensuing instrumental section adds some Ray Manzarek-style organ soloing while Clive Thacker and David Ambrose keep the rhythm section very interesting yet very tight. This is really cool stuff--including a really impressive (and so well-recorded) drum solo in the fifth minute! (9.5/10)

2. "Czechoslovakia" (6:21) rockin' music that sounds like both a Sandy Denny-led JEFFERSON AIRPLANE and a pissed- off Grace Slick-led RENAISSANCE (and even Canterbury bands like EGG and The Soft Machine). This Julie Driscoll is a force! The stripped down guitar + Julie center passage is so powerful--so much like the very best of the strong-Mama female singers of the second half of the 1960s. It's important to remember the Czechoslovakian uprising of 1968 that was so brutally suppressed by the Soviet army. (9.25/10)

3. "Take Me to the Water" (4:17) the "Negro spiritual" (that must surely have influenced Al Green's "Take Me to the River") here done in a fairly standard (for the time) gospel blues style in which it opens as a dirge before shifting into gear as a wake-like celebration. Very powerfully rendered. As I said above, this Julie Driscoll is a force! (This is really my first fully-focused exposure to her singing.) (8.875/10)

4. "Word About Colour" (1:38) Julie's anguished voice, here accompanied by a lone acoustic guitar, delivers another very powerful vocal. More bluesy folk than jazz-rock but that's okay. (4.625/5)

LP Side Two: 5. "Light My Fire" (4:21) Yep, The Trinity did a cover of the Doors' monster hit. Stripped down, bluesy, with some awesome funk/R&B bass from David Ambrose and virtuosic blues organ from the band leader. Julie gives a very passionate rendering and interpretation to the Jim Morrison vocal and Clive Thacker is rock solid. (9/10)

6. "Indian Rope Man" (3:22) here The Trinity take on a rather obscure Richie Havens song and give it the SPENCER DAVIS GROUP treatment. Stevie Winwood could not have done it better. The band is so tight! And what an organ solo by Brian! (9.125/10)

7. "When I Was a Young Girl" (7:03) droning organ softly cushions and floats Julie's plaintive vocals on their version of this 1952 Tex Galdden song that had been made famous by Feist and, more recently, Nina Simone. Tom's and gentle arpeggiated bass chords are added as the song goes on. Man! I find it hard to imagine anyone recording/performing this song better than Julie does here. Incredible! Makes Grace Slick's most impassioned vocals pale in comparison. Still, these amazingly emotional vocal performances do not help make either Jazz-Rock Fusion or Progressive Rock music launch. (14/15)

8. "Flesh Failures (Let the Sunshine In)" (3:04) a version of this song far more attuned to the stage performance from Hair than any of the pop versions that had been made by the likes of The Fifth Dimension and The Spencer Davis Group in the first years of its existence. Great performance from Julie but also from Brian's loud organ. (8.875/10) (Hair premiered on Broadway on April 11, 1968. It had premiered the year before [on October 17] Off Broadway [at Joseph Papp's Public Theater] but was such an immediate hit that it was moved to Broadway within six months. Its first soundtrack recording was released on May 6, 1968, as performed by the original Broadway cast. Within the first two years of its existence, the song was covered by other artists on vinyl recordings no less than 20 times. Hair was, by the way, the first rock musical to play on Broadway.)

LP Side Three (the "no Julie" side): 9. "Ellis Island" (4:10) a flat-out crazy display of solo organ play over a tight blues-rock motif. And the organ is recorded so cleanly! I have to reward the band, and especially Brian, for this one. (9.125/10) 10. "In Search of the Sun" (4:22) gentle-yet-insistent psychedelic blues-rock with Brian singing the lead vocal. He's really good! Not unlike Spurogyra's Martin Cockerham. Solid if unspectacular song. It's just so solid, so mature and well-polished that I have to reward it. (9/10)

11. "Finally Found You Out" (4:12) more great blues-rock with great organ play--not as up-front in-your-face as his work on "Ellis Island" but definitely more dynamic and passionate. The guy is massively good! Piano and a more laid back background motif provided by the "cool" rhythm section. Song fades out. Apparently, there "wasn't time" to add the vocal/singing track before the song/album had to go to press. (9.25/10)

12. "Looking in the Eye of the World" (5:02) a real "old"feeling blues piano-and-voice tune that sounds like something right out of Mark Isham and Charlélie Couture's music from the 1988 film, The Moderns. (One of my all-time favorite soundtracks.) (9/10)

LP Side Four: 13. "Vauxhall to Lambeth Bridge" (6:31) Julie is back with a more blues-folk-Americana-like performance that rivals anything Sandy Denny, Maddie Prior, Laura Nyro, Grace Slick, Karen Dalton, or even Nina Simone were doing at the time. The instrumental accompaniment is solely Dave Ambrose's MASON WILLIAMS-like acoustic guitar. Wonderful song with a vocal performance that stands out, for me, as one of the greats. (9.75/10)

14. "All Blues Davis" (5:41) piano, bass, and drums launch into a unified march through a MILES DAVIS song with Julie Driscoll providing a true blues vocal over the top (something that is not present in Miles' original version from the 1959 masterpiece, Kind of Blue). Julie's performance sounds very much like the kind of highly-individualistic take Nina Simone would put on a classic song like this. Brian's piano work is great though the way the piano's sound is rendered on the record leaves a lot to be desired. (9/10)

15. "I've Got Life" (4:28) the weirdest and weakest song on the album, sounding far too much like an aberrant white Baptist corruption of a Negro Spiritual. The organ and other instrumental performances are awesome; it's just Julie's misfitted performance that grates. Too bad. I hate to see this amazing album with so many incredible Julie performances maligned and diminished. (8.375/10)

16. "Save the Country" (3:58) Julie's cover of Laura Nyro's peacenik anthem. The blues-jazz bent that Dave and Brian give the song is awesome. Julie's vocal seems a little loose and haphazard--not as well versed or invested as her other performances. Plus, it's poorly recorded. Then there's the unfortunate circumstance of giving little room or for the voices of the instrumentalists--other than David's excellent electric bass. Brian and Clive seem relegated to orchestra pit musicians for a rock musical. (8.5/10)

Total Time: 74:02

Though this album is by no means a straight up jazz-rock fusion, prog, or even jazz-rock album, it has many elements throughout the album that would make strong representation to all three of the newly-emerging musical genres. Where the album's music clearly stands out is in the stunningly powerful performances by singer Julie Driscoll, the dynamic organ play of Brian Auger (both in support and in lead capacities) as well as the near-virtuosic performances of the rhythm section performers, Clive Thacker and David Ambrose. Too bad about the album's final two songs.

A-/five stars; a masterpiece of folk- and psychedelic-tinged jazzy blues rock that happens to present some of the finest female vocal performances of the 1960s.