Category Archives: LINDA HOYLE
Albums like this one are few and far between, and it’s true when you have class, talent and soul like Linda Hoyle has, it will always manifest itself in albums as great as this one.
Classic Rock Society (November/December 2015)
With the tenor of a British Janis Joplin Linda’s voice has aged considerably. But her unique bluesy sound doesn’t change. The music has the feel of a British style AOR and the performance by the talented musicians is likeable. I don’t want you to expect the phantom of Affinity, I want you to judge this as the good work of a veteran female singer.
Tachikawa Yoshio (October 2015)
Since the 1971 release of the masterpiece Piece of Me, 44 years later a second solo album is realised. Mo Foster, leader at the time, is taking part. The artwork is Roger Dean and expectation is high. Ray Russell, Katie Husband etc, in the back the legends are active. Organic feeling of floating and beautiful transparency support every track…the expressiveness of the mixture of folk and jazz is amazing.
Itou Masanori (October 2015)
Demanding your full attention, Hoyle’s voice is the star of the show, having lost none of its unique mix of power and delicacy. It’s your guide through 12 tracks of jazzy folk, with melancholy, nostalgic lyrics and notable influences from The Great American Songbook (‘It’s The World’).
Shindig Magazine (October 2015)
On the last track “Acknowledgements” Hoyle lists the artists she has worked with and has been influenced by in a very beautiful tribute . A very classy move by Hoyle. For softer and gentler fare with lovely vocals, The Fetch is in a word sublime. It does not get much classier than this.
Sea Of Tranquility (September 2015)
…Always cozy jazz on ‘Brighton Pier’ which features the cello and a light saxophone. The sound palette is further enriched on ‘It’s A World’ with violin, mandolin and accordion, voice and intoxicating beauty. Distinguished guest BJ Cole (ex-Cochise) provides pedal steel guitar illuminating ‘Snowy Night’…the track ‘Earth and Stars’ is loosely based on Dido’s Lament PURCELL, and frankly we are in a state of grace by so much beauty. The album ends with the beautiful ‘Acknowledgments’, including church organ, piano, acoustic guitar, and is almost religious, with a choir.
Highlands Magazine (September 2015)
This is a surprising return, and a triumphant one. The album has genuine depths in the songwriting and production, whilst Hoyle’s singing is timewarped from the ’70s in an astonishing resurrection of talent. Closer ‘Acknowledgements’ is a hoot, by the way: a hymnal litany of other singers/performers as influence, and acknowledgement of such.
Some Diurnal Aural Awe Blog (September 2015)
…it is a waste of time to judge songs that are better than others in this album because the general level is so high and the arrangements superfine. They are all compositions that, as Hoyle notes, are new – not accumulated over these 44 years of silence…The Fetch is a disk from other times, composed by an extraordinary artist and singer that we no longer find. We continue to wait eagerly for other amazing adventures of the English lady. Long live Linda Hoyle.
Distorsioni (September 2015)
Joining Linda on this album are Mo Foster, Oliver Whitehead, Corrina Silvester, Ray Russell, Gary Husband, and Nick Nicholas. These intricate complex songs feature exceedingly perfect arrangements, super intelligent lyrics, and some truly superb lead vocals. The Fetch seems to exist in that perfect arena where the past meets the present. Twelve cool moody reflective cuts including “The Fetch,” “It’s The World,” “So Simple,” and “Earth and Stars.”
babysue (August 2015)
The Fetch is a highly enjoyable album that defies easy categorisation – Linda would not have it any other way! – and one that any lover of ‘the song’ in all its forms will enjoy, a must for those of us who remember, even at some years remove via the arcane delights of record collecting, the belting jazz rock of Affinity and Linda’s more eclectic 1970 solo album Pieces Of Me.
Linda, having rediscovered her muse, is eager to make more music, and with the tantalising prospect of UK gigs in the hopefully not too distant future, things are looking good for Linda Hoyle, and I for one will be following this late blooming with anticipation.
The Progressive Aspect (August 2015)
The drift may get spiritual as it does in ‘Snowy Night’ when BJ Cole’s steel kisses Linda’s silvery vocals and in the celestial soundscape of ‘Earth And Stars’ that’s based on a Henry Purcell melody, but the singer never veers too much away from jazz, an integral part of her artistic manner. So, although the graceful hope of ‘It’s The World’ is covered with a fiddle-embroidered patina, a brassy uplift wraps the deceptively introspective, if full of funny moments, ‘Confessional’ – rendered nocturnal thanks to Gary Husband’s gentle shots and splashes and Ray Russell’s strum.
The jolly ‘So Simple’ takes the motion further, though, its joie de vivre defying time, as if there was no gap in Hoyle’s career. Yet she’s an art therapist nowadays so she knows the secret of the ‘assembly required’ method: it’s not about putting things together but about gathering kindred souls for a common purpose. And if this goal was to fetch such a gem, it was worth the wait. ****1/2
DMME.net (August 2015)
Visionary lyrics and a voice that drips expression are never far from view, and The Fetch lines up among this year’s most unexpected comebacks, as well as one of its most welcome.
Goldmine Magazine (July 2015)
Linda proves to us that she certainly has not finished singing because a disc like this can only be created by talented musicians, and each of them has contributed in a glorious way.
Keys and Chords (July 2015)
Hoyle’s impeccable craft and vocal style sound a bit precious against a shifting musical background that scans English folk, fusion, and a bit of prog rock to match the motif of her album cover art.
EL Magazine (July 2015)
…only slightly more mainstream than Affinity’s adventurous jazz-blues-psych-prog hybrid, with Hoyle’s vocal approach pitched somewhere between Barbra Streisand and Julie Driscoll. Highlights include a confident version of Nina Simone’s powerful ‘Backlash Blues’ that benefits greatly from Spedding’s sterling guitar work…
…this prog-era curio…is sure to be favourably received by those unwilling to part with a three-figure sum for an original copy.
John Sturdy, Record Collector (August 2002)
Her powerful voice is very much in the Maggie Bell/Jo Ann Kelly mould…and she is more than ably supported by an excellent band of musicians…
Altogether a quintessential piece of 70s Rock from an era when albums of this quality were the rule rather than the exception.
Steve Ward, Classic Rock Society (August 2002)
With the current interest in Eva Cassidy I would have thought that now is the right time to re-release this album…as in some ways this has similarities…
It is an interesting album, thoughtful and provoking, and one that is worth seeking out…
Feedback, (August 2002)
…an 11-track set that pursues Affinity’s affinity for jazz-rock and includes Hoyle’s own recollections of the songs and the sessions within the accompanying booklet.
Jo-Ann Greene, Goldmine (September 2002)
…They don’t make ‘em like this anymore…it’s just so ecquisite…
Modern Dance, (Issue 41 November 2002)
Hoyle and writing partner Jenkins(keys) crafted impressive, progressive rock/jazz numbers of considerable power and nuance. No wonder the vinyl of this is/was so collectable, it’s bloody good.
Colin Bryce, Mohair Sweets (November 2002)
…she pays a vocal tribute to many of the great blues singers who inspired her, including Bessie Smith, Mildred Bailey and Laura Nyro…And damn fine it is too!
Tony Shevlin, East Anglian Magazine (November 2002)
…music that was ambitious and personal, rather than calculated to appeal to the masses. Hoyle sings impressively…Jenkins’ arrangements are imaginative and satisfying. Spedding’s vicious, menacing solo on Nina Simone’s ‘Backlash Blues’ is outstanding.
Jazzwise (December 2002)