Streetnoise - Julie Driscoll, Brian Auger & the Trinity

	£		56
	$		74

Streetnoise - Julie Driscoll, Brian Auger & the Trinity

ORIGINAL COPY. FIRST UK  PRESSING. Released 1969.  Stereo. Marmalade Records, catalogue number; 608005, Matrix numbers; 608005 A//1, B//3, A//2,B//2.

Super hard to find Jazz/Psych LP. Incredible and intelligent musicianship on this record - the music bridges the gap between 60s psychedelic rock and the progressive rock of the early 70s. There's a lot of heavy organ on this record and excellent "freeform" drumming, and, of course, Julie Driscoll's ethereal, soulful vocals - just excellent.

The last comparable condition copies sold on eBay for £50-307!.

Not currently for sale anywhere else worldwide.

99p start.

Overall Sleeve Condition : VERY GOOD.

GATEFOLD textured sleeve. light rubs and creases to surfaces and edges. 1 cm tear to rear by centre of opening, not that noticable.

Vinyl Condition, Visual: EXCELLENT (NEAR MINT).

No scratches or damage visible. Two fingermarks and ba few very light surface marks.

Vinyl Condition, Audible: EXCELLENT (NEAR MINT). MINT.

Plays superbly with no faults, very light dust/static crackle in a few isolated spots.

Label Condition :  MINT.

This item is offered with a money back guarantee, please see below.

Tracklist:

Brian Auger was raised in London, where he took up the keyboards as a child and began to hear jazz by way of the American Armed Forces Network and an older brother's record collection. By his teens, he was playing piano in clubs, and by 1962 he had formed the Brian Auger Trio with bass player Rick Laird and drummer Phil Knorra. In 1964, he won first place in the categories of "New Star" and "Jazz Piano" in a reader's poll in the Melody Maker music paper, but the same year he abandoned jazz for a more R&B-oriented approach and expanded his group to include John McLaughlin (guitar) and Glen Hughes (baritone saxophone) as the Brian Auger Trinity. This group split up at the end of 1964, and Auger moved over to Hammond B-3 organ, teaming with bass player Rick Brown and drummer Mickey Waller. After a few singles, he recorded his first LP on a session organized to spotlight blues singer Sonny Boy Williamson that featured his group, saxophonists Joe Harriot and Alan Skidmore, and guitarist Jimmy Page; it was Don't Send Me No Flowers, released in 1968.

By mid-1965, Auger's band had grown to include guitarist Vic Briggs and vocalists Long John Baldry, Rod Stewart, and Julie Driscoll, and was renamed Steampacket. More a loosely organized musical revue than a group, Steampacket lasted a year before Stewart and Baldry left and the band split. Auger retained Driscoll and brought in bass player Dave Ambrose and drummer Clive Thacker to form a unit that was billed as Julie Driscoll, Brian Auger and the Trinity. Their first album, Open, was released in 1967 on Marmalade Records (owned by Auger's manager, Giorgio Gomelsky), but they didn't attract attention on record until the release of their single, "This Wheel's on Fire," (music and lyrics by Bob Dylan and Rick Danko) in the spring of 1968, which preceded the appearance of the song on the Band's Music from Big Pink album. The disc hit the top five in the U.K., after which Open belatedly reached the British charts. Auger and the Trinity recorded the instrumental album Definitely What! (1968) without Driscoll, then brought her back for the double-LP, Streetnoise (1968), which reached the U.S. charts on Atco Records shortly after a singles compilation, Jools & Brian, gave them their American debut on Capitol in 1969. Driscoll quit during a U.S. tour, but the Trinity stayed together long enough to record Befour (1970), which charted in the U.S. on RCA Records, before disbanding in July 1970.

Our accurate condition gradings are based on those used in the UK 2008 Record Collector Rare Record Price Guide. Please see below for a complete explanation.

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UK Record Collector Grading System:

MINT: The record itself is in brand new condition with no surface marks or deterioration in the sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition.

EXCELLENT (US version of this term: Near Mint): The record shows some signs of having been played, but there is very little lessening in the sound quality. The cover and packaging might have slight wear and/or creasing.

VERY GOOD (US version of this term: VG++): The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover, or extra items, without any major defects, is acceptable.

GOOD (US version of this term: VG): The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits etc.