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This album has already been reviewed but I thought I would review it again in hopes that others will come across this review and give Linda Hoyle a listen.This album by Linda Hoyle is one of the forgotten/undiscovered gems of he early '70s. Released on the much revered Vertigo label, why this album didn't go anywhere is one of those mysteries in the music world. Hoyle had a great bluesy voice, and with people like the great Chris Spedding on guitars, John Marshall-drums, and Karl Jenkins-keyboards/oboe (both who played in Soft Machine), and Jefff Clyne on bass (from Ian Carr's fine band), plus a bunch of tunes written by Hoyle and Jenkins, this album should've been recognized as a fine first solo effort.Hoyle was in the late-great jazz-rock band, Affinity, one of Britain's first bands (and a personal favorite since the days of "import" vinyl LPs, with that slightly mysterious cover photo) to combine those two genres. The band's first (and only) album is a small classic of the genre from that period. And the other releases under their name have some good music for fans (like me) of late '60s/early '70s British jazz/blues/rock. Also look for the album from Ice, which was recorded just before Affinity was formed.Tiring of the grind of gigging and making little money, Hoyle quit Affinity. Originally a school teacher, she left the band and then released this fine effort of period music. Stylistically this album is slightly directionless, which is possibly why this set of tunes didn't make it's mark. Perhaps if she went in one direction stylistically the album would've had more of an impact. But taken as individual performances, Hoyle's beautiful voice shines through the various arrangements (hard guitars/strings/keyboards/up tempo/ballads), and once you hear her voice you too will wonder why she didn't "make it". Songs like "Backlash Blues" and "For My Darling" show her range with different arrangements. The former song is a tough, no nonsense workout, while the latter is a beautiful ballad with strings and Hoyle's beautiful voice soaring above it all. "Pieces Of Me" has a great, screaming, visceral Spedding guitar solo with Hoyle in an assertive mood, and Marshall's drumming sounding like some of his work in Soft Machine. She does a good job with Laura Nyro's "Lonely Women", sounding similar to Nyro, with a "just right" piano accompaniment from Jenkins. "Morning For One" is another subtly arranged beautiful ballad, with Hoyle's strong yet sensitive voice out front. And then listen to "Barrel House Music" which follows it, with Hoyle sounding like some kind of modern Bessie Smith. But these tunes are just the ones that stick in my mind--every song has a strong appeal for fans of this period of British music.Affinity has always been a personal favorite of mine (in all their various line-ups), but Linda Hoyle was the real find for me way back then. If you're looking for a great singer in a jazz-rock vein, get the first Affinity album. And listen to her voice, her inflection, and the way she captures a song vocally in that setting. This solo album is a continuation of her efforts with her old group, and she deserved (and still deserves) to be better known. After this, Hoyle sadly quit the music business and moved to Canada and taught art therapy. I've heard she still very occasionally stepped up to the microphone when she felt like it over the years. This is a small gem of an album from a singer that deserved much better.