FINCH

Using a JAN AKKERMAN-like guitar tone, this Dutch band plays a music that makes me think of contemporary bands like CAMEL, YES, and even ELP more than FOCUS. As a matter of fact, I think if you took Caravan-Camel keyboard player, Jan Schelhaas, and put him with Starcastle's rhythm section and Andy Latimer (playing Jan Akkerman's guitar) you'd have a better look at the music on this album--and what GREAT music it is! Blues rock with great melodies and an electric guitarist worthy of checking out (Joop Van Nimwegen). Still, the FOCUS similarities and influences are doubtless.

1. "A Passion Condensed" (20:05) (9/10 overall): - a) Part 1 (1:04) the most obvious FOCUS reference opens the album. (9/10) - b) Part 2 (4:15) a fast-paced exercise in CAMEL-CARAVAN fusion. (9/10) - c) Part 3 (2:55) the music smooths out and even takes on a bit of a bluesy flash with strumming guitars, bouncing Fender and Hammond and slashy riffs from the guitar to glue it all together. Nice finish. (9/10) - d) Part 4 (2:59) slowing things way down with electric guitar arpeggi, the Wurlitzer takes over allowing the guitar to then take the lead--providing a nicely emotional and melodic song. (8.5/10) - e) Part 5 (5:47) jumps out of the prettiness of the previous section with a near-Led Zeppelin raunchiness. Great drama in the base and rhythm while the lead screams and soars in his Jimmy Page-like bluesy-ness. But then, suddenly, it falls back into the dreamy syrupy-ness of the previous section while the guitar lead slowly recedes. And then, crash! Boom! Bang! The guitar leaps back into the fore and a very impressive JAN AKKERMAN-like solo ensues --complete with speed, accuracy, and melody! (9/10) - f) Part 6 (3:05) segueing from the previous section with some very quick staccato hits, the song almost heads into "Hocus Pocus" territory with some unusual synth and guitar sounds chosen to carry the melody. But then for the final minute and a half searing guitar and sizzling synth exchange machine gun lead riffs dueling between repetitions of the main theme. Nice way to finish! (10/10)

2. "Scars On The Ego" (8:51) (9.25/10 overall): - a) Part 1 (2:21) opens with a riff straight out of Todd Rundgren's UTOPIA before switching to a "Black Mariah" sound and structure. Interesting! (9/10) - b) Part 2 (6:30) a slow key- and guitar- arppeggi-based opening serves to establish a foundation for a very nice if simple Wurlitzer melody line. I like the effected bass?it's like something I've heard from Percy Jones before. The "chorus" has a CAMEL sound and feel to it, but then the second verse opens with some searing STEVE HILLAGE-like guitar. Back to the Black Mariah theme before changing tempo and letting a heavily effected and high speed TODD RUNDGREN like guitar solo preempts a disco-like section over which a cheezy synth solos. Blistering Rundgren guitar precedes a totally UTOPIAn close. (9.5/10)

3. "Beyond The Bizarre" (14:24) (8.5/10 overall): - a) Part 1 (2:58) slow, heavy guitar arpeggio with piano accompaniment opens this Russian-sounding dirge. In the second minute the music fills out the soundscape in a very FOCUS-like rich bluesy emotionality. (8.5/10) - b) Part 2 (2:57) the pace quickens and a nice rhythm section backs the speed-soli of the guitar and keyboard. Again, the melodies are so catchy! (9/10) - c) Part 3 (2:59) the piano in this opening section sounds like the slow section of Derek and the Dominoes' "Layla" (part 2), but then a bouncy four chord piano section ensues for the screechy guitar to lay down a simple, melodic lead. Switch to swirling organ for the background before shifting to the final section. (8/10) - d) Part 4 (5:30) long, drawn out, pause-filled keyboard play teases the listener with its emotional melody before we switch to piano arpeggi and strumming acoustic guitar (to emphasize the previous "Layla, Part 2" theme while also mirroring the ending to FOCUS songs like "Focus II" and "Moving Waves" and "Birth"). (8.5/10)

Some great music in the vein of fellow countrymen FOCUS and especially with the guitar sounds and stylings of JAN AKKERMAN in mind. Whether a tribute or mimic or not, this is very good instrumental music with very good instrumentalists and great theme melodies.

4.5 stars; a near-masterpiece of progressive rock music.

Finch's second album "Beyond Expression", as I already say in my review about the first "The Glory of Inner Force" is a must in any prog collection , specially in instrumental music terms. In this album they brings again the same symphonic/jazz prog mix ! The first track "A Passion Condenser" is a clear example, the music starts with with a very brief symphonic overture ( a "eruption" overture) and soon the jazzy and groovy main theme takes the scenery, a "easy" but strong "riff", the second part comes with a hammond-organ solo followed by a meditative phased guitar/electric piano melody and an almost "crying" guitar solo and a symphonic passage in the same mood of "overture theme ( in fact seems like a readaptation) , in the third part a moog/guitar duo is the absolute detach and at last returns the main theme... simply fantastic ! In the second track "Scars on the Ego" starts with a hard rock theme and closes with a moog/guitar duel, but the highlight go to distorted bass guitar solo (starting 3 min 57 sec ). The third track " Beyond the Bizarre" sounds like a farewell with a middle section martial theme and a rock- ballad conclusion. The musicians are perfect and creative, and the album flows easily !!! My rate is 5 stars !!!

I think with certain tranquility, which this first album of FINCH "The Glory of Inner Force" (as also the second album "Beyond The Expression" figures between the top progressive instrumental list of prog rock albums in all times, IMHO this albums rivals with another gems like RETURN TO FOREVER "The Romantic Warior" or GRYPHOM "Red Queen to Gryphon Three". They produces a symphonic prog music mixed with jazz with a great virtuosity ! All for musicians are highly qualified... but I detach Joop Van Nimwegen and his Ackermann/Howe style and Peter Vink clearly influenced by Squire. Vink's style is easily comparable with Squire .... is enough listen in track 3 "Pisces" a solo passage starting 7 min 36 secds ! Nimwegen style also is easily identified in trac 1 " Register Magister" by the "mellow" guitar phrase starting 1 min 57 sec an Ackermann allusion and in the final passage guitar solo starting 7 min 46 sec a Howe invocation. The album don't have any weak points and "hang out" you breath in countless moments. One and probably most fantastic moments is guitar/bass duet in track 4 "A Bridge To Alice" starting 4 min 39 sec until 5 min 33 sec, simply outstanding. Obiviously my rate is 5 Stars !!!

Seventies Dutch band Finch's first two works `Glory of the Inner Force' and `Beyond Expression' were full of ravishing instrumental runs and frenetic energy, but for their third and final album in 1977, the group delivered their most purely symphonic work in `Galleons of Passion', more often in the dreamy and romantic style of groups like Camel, Focus and Rousseau and the spacey keyboard sound of bands such as Eloy. It may sometimes lack the overall power and finesse of the two discs before it (although there's still welcome traces of it throughout), but its lush and tasteful instrumental pieces are very easy to simply relax with and enjoy.

Opener `Unspoken is the Word' is instantly recognisable as the band from the previous albums, just a bit more mellow and subdued. Humming spacey drones and whirring keyboards softly rise, electric guitars fire majestic symphonic themes in the manner of Focus, plodding drums carefully lift the tempo and bass purrs gently, with a dreamy middle that lifts in victory in the finale being particularly heart-warming. The first half of `Remembering the Future' has a darker edge with gutsier churning guitars and Eloy-like synths groaning with drama, oddly reminding ever so slightly of parts of Pink Floyd's `The Wall' that would arrive a few years later! But the second section abruptly moves into racing jazz/fusion-like burst with buoyant bass soloing that, despite sounding cool, seems completely at odds with the first half. `As One' then closes the first side with a precious Andy Latimar-like guitar and synth rumination that Camel fans will adore, and the way it builds in excitement and slow-burn pay-off is masterful.

`With Love as the Motive' is the perfect title for three part suite that opens the second side, and the piece holds several beautiful themes that reprise sweetly throughout that would have fit perfectly on many Camel albums. Initially bristling with danger from deep-space synths and fleeting wilder guitar splinters, it soon morphs into a grand and regal symphonic motif full of embracing romance and grandeur. Album closer `Reconciling' is lively and full of confidence, a smorgasbord of first-rate busy soloing from all the players. It's a supremely upbeat track full of zest and spirit, with plenty of exploding fiery guitar embers, delicious electric piano and Hammond organ sprints and even some cool funky breaks, and the constantly repeating spiralling Moog-runs are playful and very addictive! It's a truly upbeat closer that will leave listeners with a smile on their face, and it's the perfect composition for Finch to close out their career on.

There's no denying that parts of `Galleons of Passion' sound a little directionless and drained, perhaps with a subtle sense of a group `running on empty', especially when compared to the endlessly energetic previous two albums that had such a momentum and excitement. But the LP still holds a respectful dignity with perfectly lovely playing, and there's something refreshing about a group that released three strong and consistent albums (in the space of only three years!) and got out before the rot of disco, punk and AOR popularity of the time distilled their music in any way. It means their entire discography can stand proud, and it's a perfectly satisfying end to this talented group.

Three stars.

I was quite surprised by this album. I remember listening to it some time ago and getting the feeling of just another instrumental jazz rock album by a band that was obviously influenced by Mahavishnu Orchestra. Upon listening to Beyond Expression recently I feel that I was unfair and did not pay very much attention to a very good prog band. Yes, the music here is more akin to jazz rock/ fusion than to symphonic prog, but still there are enough elements of the latter to make a big difference to the flurry of faceless fusion acts that seem to sprung from everywhere during the 70´s. There also some heavy explicit blues moments too. But, being dutch, the fine melodies are not absent either. And after repeated spins I found this album to be more pleasant, creative and original than I originally thought it was.

As one expects the musicianship of the band members is simply astonishing. Joop Van Nimwegen is a tremendous skillful and creative guitarist that leads the music in here. His style is close to fellow countryman Jan Akkermann, although obviously less classical influenced. His playing is very technical and precise. The remaining members are not far behind him, but just like Mahavishnu orchestra, this is clearly a guitar led band. What surprised me the most is the variety of styles they played, the mood swings and the melodic approach, something not very usual for the jazz rock acts in general. So I guess, they are indeed a symphonic prog band after all, only with a heavy leaning towards fusion.

Rating: 4 strong stars. Very fine Instrumental album by a terrific, underrated, band. Guess I´ll have to look for their other works. Holland rules!

Of course there is a back story! In Manchester there used to be this cavernous cellar of a record store named Yanks, later to change its name to Power Cut. It was extant from around 1975 to about 2000. The name Yanks came from the fact that they seemed to import loads of stuff from the USA that I assumed had reached 'cut out bin' status. The sleeves were the heavy US card and all the albums had the import cut off or puncture in the corner...ie sleeve clipped off or hole punched through. They sometimes had different sleeves to the Euro/UK release too. The best thing about them was the price! Again, assuming they were bought as massive job lots to save from the incinerator, Yanks used to knock them out at Ã?£0.99, Ã?£1.49 or Ã?£1.99...at a time when new albums were Ã?£5-Ã?£6...like I cared some of these were 2 or 3 years old...then considered a lifetime in the faster moving pop/rock market!!So of course it was easy to buy 6 albums for your Ã?£6 and take a punt...although most long haired/prog stuff would hit the mark to varying degrees! Finally we get to Finch! I totally had no idea who they were but liked the idea of four 10 min plus tracks and the cover suggestion that this was my kinda stuff! And at £0.99 how could you go wrong. I still have this and the import puncture in the top right corner! And near 40 years later this still gets a regular turn! I discovered they were Dutch and prog come latelies...maybe the record companies in 75-77 wanted some of the Focus action...but probably already in retreat from the new wave.....which made this gem all the more precious! Glory Of The Inner Force was their first of 3 albums (have to admit to not owning the other 2) and it compares to one of my other all time favs from 1975, Chocolate Kings by PFM. Not necessarily stylistically but in the long term impression it left. Eschewing such fripperies as vocals, the band concentrated on what they did best. Extended compositions, dexterous musicianship, using as many time signatures as 10 mins would allow and being better than the sum total of whatever influences they came from or displayed. The opening Register Magister starts with a very strong guitar/keys entwined riff that suggests Genesis and King Crimson and then hits its stride...admittedly an ever changing one...with a definite hint of fusion and more melodic passages perhaps closer to say Be Bop Deluxe than any direct prog references. I can hear similarities to Druid and in this track and definitely throughout the album, parts that if someone said it was from a Mars Volta cd you wouldn't be at all surprised. Paradoxical Moods has something of a Streetwalkers vibe and for sure they had listened to (earlier)Yes and is highlighted by a keys heavy section that could have been Uriah Heep at their best. Yes, the guitarist has his Jan Akkerman moments (Focus inevitably) but hell, that's no bad thing! Pisces is a very angular track and I can hear a touch of Return To Forever in there. A Bridge to Alice is the most ambitious. Definitely a King Crimson sound and one that veers towards an eastern scale then a gorgeous Focus (baroque) meets Allan Holdsworth acoustic interlude before a touch of VDGG menace takes the song forward with a side order of Kansas and The Enid thrown in. Overall, the keys and near poppy (but thankfully short) melodic/catchy passages don't work for me....am guessing this is what gets them the symphonic prog tag....but as a treasured punt that worked big time it would be a near 4.5 stars but losing the half for the too jarring symphonic sections....! May your unexpected discoveries give you as many years of repeated plays...

This band makes me smile. They knew how to make real progressive rock, which is to say knew how to have a great time without sacrificing the arithmetic of music-making. In some ways perhaps inferior to the wonderful debut, perhaps not, Finch's Beyond Expression delivers. 'A Passion Condenser' ~ an apt title if ever there was ~ is twenty minutes of very well-planned arranging but executed with such ease and alacrity that it hardly seems anything more than what it is. If you know what I mean. Packed tight as a radioactive element, the cut rises and falls into unashamed hard blues which morphs into fusiony flash, quiet reflection, anthemic swells, mousy synth squeals, old-school porn, all played with passion. 'Scars on the Ego' could be the soundtrack to a bad 1970s cop show and 'Beyond Bizarre' is rough and classy symphonic fusion a la Colosseum II, Cleem Determeijer's sweet piano and commanding synths mingling with van Nimwegen's clever, chiming guitar lines, yielding probably the best thing on the album.

The somewhat abrasive nature of this release will not appeal to all progophiles. For the rest, it will tickle a musical funnybone and remind of the spirit of days long past.

The upbeat jazz rhythm and guitar tone are heavily reminiscent of Camel. In fact, if anyone liked Camel but thought they could've rocked out more, he would find satisfaction in Finch's second album. My greatest criticism is that the guitarist is too industrious, frequently erupting in a blitzkrieg of high-pitched notes.

"A Passion Condensed" I found the initial synthesizer a bit rough, though the lead guitar is satisfying and the rhythm section is in overdrive for much of the piece. The softer side of Finch emerges midway through, perhaps to offer the listener a respite from the rapid jazzy rock that filled the first eight minutes. The scathing guitar work is too busy, flying about like a hummingbird on uppers over a chord progression identical to "Breathe" by Pink Floyd.

"Scars on the Ego" The second and shortest piece offers the keyboardist an opportunity to shine through various sonic textures, and thankfully, the guitarist shows his more placid capabilities. Though the electric guitar solo is still riddled with activity, it serves well as a crescendo tapering off into the halcyon haze.

"Beyond the Bizarre" Gentle and melodic, this is perhaps the most solid of the three compositions, because even when it becomes heavier, it is not perforated with rapid-fire guitar. Indeed, the lead player infuses the piece with appropriate bends and phrases that accentuate the rhythmic shifts. The smooth, happy-go-lucky keyboard runs are reminiscent of "Cinema Show" by Genesis.

Beautiful caricature of the super-arty European stuff prevalent in the mid 1970s. If one wanted to sample that classic sound for the purposes of exhibition or time travel, Finch's Glory of the Inner Force would be a great place to start. In fact the only thing holding back this tremendous piece of work is the period in which it's stuck, with the hippie dance grooves and distantly tinny recording to prove it. No complaints mind you, it is indeed glorious. Or, at least, was. I mean someone had the patience to listen to this stuff, it sold reasonably well for an instrumental rock album.

Influences here are more global than local with only a portion of their Dutch roots audible, the rest from progressive blues-jazz and British artrock. Each player is excellent, none stealing the show, composer/guitarist extraordinaire Joop van Nimwegen and keyboardist Cleem Determejer's unison circulars push off the convincing if dated 'Register Magister' laced with great little organ phrasings and guitar work. This was a case (among many) when one band impacted by others in turn had an impact itself. 'Paradoxical Moods' is rhythmic, has a little jazz and more delicious conversing between guitar and keys, very American with a strong live feel, finished with flair on Leonard Bernstein. A mood continued into 'Pisces' showing van Nimwegen's fondness for Steve Howe's raw energy, later swelling on orchestration and up with brilliant 13-minute 'A Bridge to Alice', its secret faces, quiet ambitions, subterfuge, deceptions and misdirections, a remarkable achievement for a rock quartet. Plus we get the sweet two-part single 'Colossus' as a bonus, a cut that reminds of everyone from Colosseum to UFO to early Scorpions.

Should be highly pleasing for anyone with a soft spot for progressive rock-fusion at its most ridiculous and wonderful, a definitive time capsule and a snapshot of a great moment in music.

An all out progressive assault, Finch breaks the doors open with this 1976 release. Still heavily influenced by the usual symphonic groups, Finch takes this release a step further and introduces some Allman Brothers influence. It's not clear how much the group members listened to the Allmans, but "A Passion Condenser" is heavily reminiscent of certain Allman Bros staples, like "In Memory of Elizabeth Reed, "You Don't Love Me", even "High Falls". It's a shame few other progressive groups took this approach. This element gives the music a happy, intimate feeling many progressive records lack.

Beyond Expression is an essential album for the discerning collector. A flying space sperm with a flaming mohawk on the cover wraps up this classic package.