Linda Hoyle sang on that wonderful album, and their music sounds like The Zombies stepping out from their sunshine psychedelia towards mellow, jazzy prog. The band sadly disbanded while they were recording their second album, leaving behind such classics as their 7-minute wonderland visit called Night Flight and their 11-minute cover of All Along The Watchtower.
One year later in 1971 Linda released an album of her own called Pieces of Me. This album is a very personal exclamation, in which Linda unleashes her strong feminist side. Each song is a statement, such as Hymn to Valerie Solanas especially (read more about Valerie Solanas and her relationship to Andy Warhol here) and once I discovered the album, it immediately became one of my favourites. Compared to the sweet prog Affinity had, this album has some unusually rough and heavy material. Black Crow is paying tribute to Beatles‘ Hey Bulldog and the featured song of the album Pieces of Me is one of the heaviest pieces (pieces of me are so heavy!) yet released at the time, while still preserving its somewhat jazzy structure.
Now, that was to remain Linda‘s last release for 44 years, which is a real shame, since she has such a marvellous voice, said by some to be a crossover of Grace Slick‘s grace with the power of Janis Joplin.
Suddenly, while I was discussing Affinity on one of the prog forums and bringing up Linda Hoyle‘s solo production, I couldn’t help but notice that a new album was released — in August of 2015, just one month ago!
That was an even stronger surprise than seeing Robert Plant perform on stage in Pori Jazz. I had to immediately have a listen to the album, and so I did. Even if just for a while, it felt like I was living in the 70’s! It was not just a fantasy anymore — all the music that was made then, all the artists, they suddenly became a reality. And I was a part of that reality.
Let’s not bring up that Linda‘s new album The Fetch wasn’t really that good. Most of the songs were not interesting musically, rather resembling Christmas carols concentrating on the quality her voice — which had lost quite a bit of its shine due to the years. Yet there were a couple of very good, proggy songs, and the voice was good enough to clearly hear that it’s still her singing, Linda Hoyle, in person, true to her style! Some of the lyrics also had some of that feminism left in them (even the word “fuck” was heard, quite abruptly so amidst a relaxing, jazzy piece), and the first song of the album is pleasingly different from all the prog I’ve heard until now. I just hoped that the whole album would be just like its first piece, however this album gave me more than just music. It gave me new feelings, just like Hoyle‘s first solo album. “Affinity fans spanning generations will surely be overjoyed. It’s as if Linda never left…”, Tom Semioli writes in Huffington Post.
What is more, Linda states in the interview above that she’s writing “a lot, so much that I have to restrain myself” and that she’s already working on her next album. This is surely happy news for anyone respecting her style.
I’m considering writing her a fan letter, there is a whole lot that I would like to convey. I also think I’ll drop by the store today and see if I can find either a copy of The Fetch or Pieces of Me. Affinity will also do.
By the way, do you have any idea who is responsible for the album cover art of The Fetch? That’s right, it’s Roger Dean himself! The person who’s famous for painting the surreal album covers of Yes and a great deal of other prog bands. Just another little thing that was done right for Linda‘s album.