AFFINITY Affinity LP PARAMOUNT 1970 USorig+promo+foc LINDA HOYLE-JOHN PAUL JONES
£
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Description
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AFFINITYLINDA HOYLE, LYNTON NAIFF, MIKE JOPP, MO FOSTER, GRANT SERPELL
Signed by Vertigo in 1970 on the crest of the jazz-rock wave, the short-lived Affinity released
only one single and album before splitting. Comprised of young singer Linda Hoyle,
bassist Mo Foster, guitarist Mike Jopp, keyboardist Lynton Naiff, and drummer Grant Serpell,
a musical maturity was displayed, blending folk, jazz, soul, blues, and elements of contemporary
psychedelia and progressive rock. Highly regarded by critics, who praised the young Hoyle's powerful
vocals and Naiff's inherent organ skills, it looked as if the band were to have a healthy career.
Derek Jewell of The Sunday Times wrote, "Naiff is already a virtuso, soul-style,
and the whole group is probably the best new thing heard in the jazz-pop area this year."
But although the seven-track album was well received, the band split soon after
"AFFINITY"
1970 LP PARAMOUNT RECORDS PAS 5027 Stereo
PRINTED IN U.S.A. ORIGINAL PRESSING PROMOTIONAL COPY
GATEFOLD + THICK CARDBOARD COVER (AMERICAN STYLE)
This version: promotionally stickered on front, white labels promo
the release year etched on runout grooves: 12-17-70
Barcode and Other Identifiers
LABEL: PARAMOUNT - WHITE 'PROMO' LABELS - BLACK TEXT
Catalog on cover: (spine) PAS 5027 (front) PAS-5027
Catalog on labels: PAS-5027 (LPS-5027-A / LPS-5027-B)
Matrix / Runout (Side A, Stamped): PAS 5027 A-3 (Etched): 12-17-70
Matrix / Runout (Side B, Stamped): PAS 5027 B-3 (Etched): 12-17-70
On labels: (logo) Paramount A G + W Company ®
rim text reads "Paramount Records, A Division of Famous Music Corporation, New York, New York 10023"
Produced by John Anthony
A Product of Ronnie Scott Directions
On Front Sleeve: Paramount Records A Gulf + Western Company
A Division Of Famous Music Corp.
"Promotional Copy Not For Sale) sticker
On Inside Sleeve: A Product of Ronnie Scott Directions
Production/John Anthony
Arrangements: 'I am and so are you'-brass arrangement/John Paul Jones
'Three Sisters'-brass arrangement/Chris Hughes
Type Design by Sandy Field
Album designed and photographed by Keef
Inside notes by MICHAEL WALTER, MILES KINGTON, DEREK JEWELL, BOB DAWBARN
JAMES GREENWOOD, ANNE NIGHTINGALE, BRIAN BLAIN
tracklisting
Side A: I AM AND SO ARE YOU - NIGHT FLY
I WONDER IF I CARE AS MUCH - MR. JOY
Side B: THREE SISTERS - COCOANUT GROVE
ALL ALONG THE WATCHTOWER
grading
RECORD VG(+) but (please, read above description)
SLEEVE VG(+) but (please, see pictures and read above description)
The self-titled album by the short-lived outfit Affinity displays a lot of potential, which if not wholly successful
has an individuality separating them from their more jazzy and progressive peers.
If Linda Hoyle's talent for fusing the vocal traits of Bessie Smith, Grace Slick, and Sandy Denny together
semi-successfully is the defining point, then Lynton Naiff's pounding Hammond workouts fall somewhere
between the exceptional and the overdone. With the addition of John Paul Jones' fine brass arrangements,
which are to the fore throughout, a very soulful feel reminiscent of the latter work of
Brian Auger, Julie Driscoll & the Trinity is created. And the album's variety of moods sustains interest throughout.
"Coconut Grove" (the Lovin' Spoonful song) is given a similar slow treatment to Donovan's diversions into jazz
on Sunshine Superman, notably "The Observation," while a heavier element is supplied by
a few heavy Hammond numbers, with a take on Dylan's "All Along the Watchtower" being the most impressive.
Although over 11 minutes long, some complex progressive organ work similar to Caravan's David Sinclair
is displayed, preventing it from becoming predictable. A forlorn baroque Harpsichord interpretation of the
Everly Brothers' "I Wonder if I Care as Much" adds a haunting quality to the set with Jones' string arrangements
and Hoyle's vocals working hand in hand, and "Mr. Joy" allows the young singer to pay patronage to her heroine,
Grace Slick, in which the Jefferson Airplane comparisons can really be heard.
As an early work of post-'60s progression, this album is a pleasurable experience recalling the days
when musicians and singers really worked hard at what they did...(AllMusic)
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