The cover art, finished at the last moment, required a final all night effort by the Angel Air production team.

"[6] Music critic Tom Semioli wrote in the Huffington Post "[...] Linda Hoyle follows Pieces of Me with a new studio album entitled The Fetch.

Fortuna is a highlight, a slightly world-weary tale backed by a Hammond-led slow blues containing a delightful organ solo by Jim Watson [...].

– 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.

Third Confessional is a brooding jazz ballad and reminds me of the Affinity cover of the Sebastian/Yanovsky song Coconut Grove, again the vocal tone so pure and smooth.

'You try to fuck with a lady luck' sustains that sass as lyrics in the following blues of Fortuna, organ and horns pumping out some proper oomph.

Ninth Maida Vale begins with snippets of radio announcement, including references to jazz and Affinity and Linda Hoyle and Mo Foster, so echoes of the past, and the song is quirky as lyrical reflection on that past, referring to music contracts and tube stations and the BBC and black and white and two track tape, so personal recollections on recording and living, and a guitar sound from The Stylistics.

Penultimate track Earth and Stars is as 'psychedelic' as it gets, not that Affinity and Hoyle ever were, but the backwards vocal loops and effects are entirely atmospheric, with an electronic choral layer that is gorgeous [...].

"[8] Dmitry M. Epstein wrote in Let it Rock "[...] the title track [...] finds Hoyle's ethereal voice flying over the sea of tribal percussion which, eventually, takes her into a trance-like bluesy chant only to burst it with explosive chorus, before this sense of movement is carried over to "Cut And Run" with the glide of producer Mo Foster's fretless bass that ushers in a mesmerizing flow rippled with Doug Boyle's electric and Oliver Whitehead's acoustic guitars.

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.

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.

"[9] Goldmine Magazine remarked "Long ago and far away, Linda Hoyle was vocal and focal point of Affinity, one of the more incendiary of the jazz rock bands flaming on the edges of British prog.

"[13] babysue commented "These intricate complex songs feature exceedingly perfect arrangements, super intelligent lyrics, and some truly superb lead vocals.

"[14] Distorsioni wrote "Now, after an impromptu reunion with Affinity in 2006 Linda Hoyle back dramatically on the scene after 44 years with this wonderful "The Fetch", ideal continuation of a musical journey abandoned too quickly".