| Member Since | 5/20/2007 | | Band Members | Mo Foster - Bass
Linda Hoyle - Vocals
Mike Jupp - Guitar
Lynton Naiff - Keyboards
Grant Serpell - Drums | | Influences | 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 Jupp,
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. To label their
work under any one genre is a hard task, and the jazz-rock/blues-rock
classification they are usually squeezed into is far from fitting. As with many
other late-'60s progressive acts, Affinity was just getting their footing when
they split.
The self-titled album by 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. At times
overambitious. And a plethora of cover versions given the progressive treatment
instead of Affinity originals is a major letdown. But 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.
~ Jon 'Mojo'
Mills, All Music Guide | | Sounds Like | Catapilla | | Record Label | Unsigned |
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