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Grant
Serpell: drums
Mo Foster: bass
Mike Jopp: guitars
Linda Hoyle: vocals
Lynton Naiff: Keyboards
Album: Affinity 1970 (Germany) Vertigo Records
reissue: 1993 (Germany) REP 4349-WP Repertoire Records
reissue: 2002 (UK) SJPCD 111 Angel Air Records
LP: I Am And So
Are You |
CD 1993: I Am And So
Are You |
Eli's Coming / United States Of Mind (Vertigo 6059 018)
I Wonder If I Care As Much / Three Sisters (Vertigo 6059 007) 1970
More Affinity CDs...
The 2002 CD version
of the "Affinity" album, I Am And So
Are You *additional
tracks |
For further
information go to |
Album: If You Live Eli's
Coming (Single) |
The "Live Instrumentals 1969" songs were recorded before the first official album release in 1970 when vocalist Linda Hoyle had an operation. During her absence the other four band members played instrumental music at Ronnie Scott's Club in London. The first nine tracks on this CD were recorded by the four-piece at the club in January 1969. An extra four tracks are taken from an FM radio broadcast and the final tracks features the University of Sussex Jazz Trio, which was an early incarnation of Affinity:
Album: Live
Instrumentals 1969 Jive Samba |
For further
information go to |
For further
information go to |
During the recording of this album the line-up of Affinity had changed to: Grant Serpell: drums / Mo Foster: bass / Mike Jopp: guitars / Vivienne McAuliffe: vocals / Dave Watts: Keyboards. Album: 1971-72 Moira's
Hand |
Fronted by vocalist
Linda Hoyle Affinity's one and only LP is now worth around BP60
on the collectors' market. Not bad for a band whose entire
recorded output consists of just the "Affinity" LP and
the single "Eli's Song"/"United States Of
Mind" (Vertigo 6059 018) which is in itself worth around
BP10. Ably supported by guitarist Mike Jupp, bassist Mo Foster,
organist Lynton Naiff and drummer Grant Serpell, Affinity were
one of several UK jazz-rock groups signed up by the influential
Vertigo Records. But although the band's seven-track debut was
well received by the critics, it didn't dissuade the group from
splitting up soon after its release in 1970.
Linda Hoyle continued to record for Vertigo, releasing the
"Pieces Of Me" LP (Vertigo 6360060) in 1971 on which
she was backed by Chris Spedding and Soft Machine members John
Marshall and Karl Jenkins. The LP was a much more varied one than
Affinity's, ranging from ballads to hard rock, and though it
wasn't a commercial success, it's now worth something like BP125
to a dedicated devotee Vertigo Records collector. Drummer Grant
Serpell went on to join Sailor, playing on hits like "Girls
Girls Girls" and "A Glass Of Champagne", whilst
organist Lynton Naiff gigged with Toe Fat, the band led by
ex-Rebel Rouser Cliff Bennett. Mo Foster later resurfaced in Ray
Fenwick-led Fancy, in the mid 70s.
Taken from the 1993 reissue of "Affinity"
Affinity had its
origins in the mid-60s at the University Of Sussex when three
science students - pianist Lynton Naiff, drummer Grant Serpell
and double-bass player Nick Nicholas - formed the US Jazz Trio.
One year later another science student, Mo Foster, who had
originally played bass guitar in his school band, adapted to
playing drums for the trio when Grant Serpell graduated.
After University, and incorporating members gathered from other
University bands, Lynton and Grant formed the pop-group
"Ice" and achieved moderate commercial success. Sadly
within a year they had disbanded.
Still keen to pursue a career in music, Lynton and Grant invited
Mo to revert to bass guitar in a proposed new jazz-influenced pop
band. The guys held auditions for a guitarist and were delighted
to find ex-Tridents guitarist Mike Jopp who had both jazz and blues
chops. (More importantly he also had his own amplifier and a
car!).
They also held auditions for singers but finally realised that
the only person for the job was Linda Hoyle, a qualified English
teacher who they had earlier met through a friend at University.
With a loan guaranteed by Mike Jopp's father the band bought some
Impact amplifiers, a Hammond M102 organ, a Gibson EBO bass
guitar, some microphones, and, eventually, a grey Ford Transit
van.
They spent the summer of 1968 "getting it together" -
writing and rehearsing - in a rented bungalow on the edge of
Brighton. The name "Affinity" was taken from the title
of an Oscar Peterson LP.
At the end of the 60's an exciting new hybrid music form,
"Jazz/Rock", was evolving. Musicians such as Miles
Davis, Brian Auger, Jimi Hendix, and bands such as Blood Sweat
and Tears, Cream, Chicago, Lifetime and Colosseum were all
experimenting with this blending of jazz improvisation with the
power of rock rhythms. This liberating and exciting approach
suited Affinity perfectly since it separated the band from other
contemporary new outfits such as Yes, genesis, Led Zeppelin,
Family and Humble Pie.
Affinity's first-ever London gig took place on 5 October 1968 at
the Revolution Club in Bruton Place, just off Berkeley Square.
As a result of hearing a tape of a broadcast on BBC Radio Jazz
Club the late Ronnie Scott agreed to manage them and to book them
into his club where they played alongside countless world-class
players including Elvin Jones, Gary Burton, Les McCann, Stan Getz
and Charles Mingus. (They may not have been earning much at this
point, but they did get to see these incredible artists for free
- every night).
Live work was plentiful: there was a thriving discotheque and
club scene in London, the college circuit paid well, there were
European and Scandinavian tours (which didn't pay well!),
festivals, the occasional TV show (two sings were recorded for
"Disco 2", the predecessor of "The Old Grey
Whistle Test"), and even the occasional jingle session
(Linda, Mike and Mo recorded an advert for Shredded Wheat -
"There are two men in my life"...) Things were looking
good. The band was able to buy the ultimate instrument, the
'split' Hammond B3 that had once belonged to Brian Auger.
Affinity recorded a critically-acclaimed first album for the
Vertigo label and DJ Anne Nightingale who proclaimed that Linda
was "the girl most likely to succeed in 1970."
Lynton and Mo started to write for a second album (see "Yes
Man") and the band was lined up for a USA tour, but in
January 1971 Linda announced she had decided to leave the
business. It was a sad, but inevitable, decision: the band had
worked hard for two and a half years and yet had little to show
for it. The fun had gone.
The remaining contracted gigs were honoured and the guys went
their separate ways.
Linda Hoyle recorded a solo album "Pieces Of me"
co-written with Karl Jenkins, and backed by Soft Machine members
Chris Spedding, John Marshall, Jeff Clyne and Karl. Linda
renounced live performances and now teaches Art Therapy at the
University of Western Ontario, Canada. She still sings and
occasionally works with Juno nominee guitarist Oliver Whitehead.
Lynton Naiff niched himself into the field of orchestral
arrangement on pop records leading to various projects with
artists such as Queen, Jimmy Page and Robert Plant.
Mike Joop joined the Mike D'Abo Band together with Mo and
Grant. This particular line-up recorded a couple of albums and
toured America. Mike quit playing professionally in 1973, became
a guitar-dealer, and, after many years as a specialist audio
consultant for Sony and Fairlight, now has a successful career in
broadcast television with his own company, Hyperactive Broadcast.
He still plays and has a collection of interesting guitars.
Mo Foster met ex-Manfred singer Mike D'Abo - an encounter
which led to his career as a studio player. He has since recorded
and toured with artists as varied as Jeff Beck, Phil Collins, Gil
Evans, Gerry Rafferty, Joan Armatrading, Hank Marvin, Maggie
Bell, Van Morrison and the London Symphony Orchestra. Mo has
produced three solo albums, and his first book "17
Watts?", an anecdotal history of British rock guitar, is
published by Sanctuary.
Grant Serpell played with Geno Washington and then Mike
D'Abo before becoming a founder member of SAILOR, a band which
achieved recording success - "Girls Girls Girls" - in
the mid 70's in most countries except the States. When SAILOR
temporarily disbanded (for 11 years!) he pleased his mother by
getting a "proper job" as a Chemistry teacher. The
rebirth of SAILOR in 1989 surprisingly resulted in hits all over
Europe, so for eight years he juggled two careers, eventually
quitting teaching in 1997.
Taken from the 2002 reissue of "Affinity"
Reviews of the "Affinity" album and re-releases:
Their sound is great, organ led
progressive rock reminiscent of their Vertigo label mates
Cressida but occasionally they do venture into Jazz Rock
territory with the use of a brass section a la Chicago,
Colosseum, etc etc.
In Linda Hoyle they had a wonderful vocalist with a powerful rock
voice in the Maggie Bell mould and the combination of her vocals
and the heavy organ driven sound makes for inspirational
listening
Of the originals 'Night Flight' and 'Three Sisters' are fine
examples
but 'Yes Man' stands head and shoulders above
everything else and is a wonderful piece of progressive rock
which incorporates a fantastic instrumental section and complex
tempo changes galore, and was written for a never to be released
second album, hence it's appearance here as a bonus track.
Steve Ward, Wondrous Stories (April 2002)
The reissue of Affinity's only
album (originally released in 1970) with an added eight bonus
tracks is pure class. Jazzy progressive psychedelic rock
propelled along by Lynton Naiff's exquisite Hammond playing and
Linda Hoyle's stunning vocal work. Solid from start to finish and
I can't recommend it enough
Absolutely one of Angel Air's
very best releases.
Colin Bryce, Mohair Sweets (April 2002)
Vertigo label
collectors unite! Of the bonus material, both sides of the band's
super-rare single ('Eli's Coming/United States of Mind) are
included (yep, the Three Dog Night song) plus two songs cut for
radio sessions and four more intended, in some form, for the
band's second album. Of course, that never happened, and Affinity
remains this remarkable band's sole legacy. It's one to be proud
of.
Jo-Ann Greene, Goldmine
(August 2002)
...Colourful 60's
rock...Swirling organ and a sumptuous horn section...
Hartlepool Mail, (November
2002)
A lot of
thought, heart and emotion went into the making of this
record
Would make a nice gift for someone who enjoys today's
adult oriented rock.
Mike Reed - Banzai
(February 2003)
Reviews of "Live Instrumentals 1969":
...Nine live tracks
recorded in January 1969 and at a time when long sideburns and
frizzy hair was de rigueur ... and that was just the women! Some
jazz standards expertly played and some less familiar, this is a
real archive find. The music hasn't dated at all.
There is some great Hammonding
from Lynton Naiff and authoritative jazz rock chops from Mike
Jopp. Bassist Mo Foster went on to work with Ray Fenwick in Fancy
and Jeff Beck amongst others but this release captures a superb
band and drips with cool soul jazz that is perhaps now best
enjoyed with a good wine, and with the headphones on. Nice.
James Rutherford, Get
ready to ROCK! (January 2003)
While Mo Foster and
Grant Serpell kept the rhythm section nailed it allowed guitarist
Mike Jopp and organist Lynton Naiff to play melody or go off at a
tangent as they desired. Given how powerful their arrangements
are it is probably of little surprise to see that Lynton later
worked as an arranger for bands as diverse as Gene, Gay Dad and
Page/Plant! Good sleeve notes and photos as well as powerful
jazz make this an album that can easily be enjoyed.
Feedback, (February 2003)
everything's
intelligently arranged and tastefully played
John Sturdy, Record
Collector (March 2003)
They are polished and
classy and the sound qualiy is very good. I found it surprisingly
accessible
Any aficionado of the Hammond/guitar relationship
should add this CD to their collection.
Alan Taylor, Pipeline
(Spring 2003)
...Serves as a
reminder that the band were damn good.
Modern Dance, Issue 43
(March 2003)
Letztes Update: 15. Juni 2003