GLORY OF THE INNER FORCE

This quartet takes its roots in the Q65 group and released three albums in the middle of the 70's, all three in the typical "Dutch school". It's clear that these guys heard Focus and Solution or even Cargo, even if they were completely instrumental and generally harder-rocking than the afore-mentioned. Nevertheless their symphonic jazz-rock was at best enthralling (with exciting and virtuoso interplay) and at worst very cheesy, especially in the more symphonic bits. Founding member bassist Peter Vink (claiming his name's Emglish translation is Finch) and drummer Klaase provide the strongest of support for guitarist virtuoso Joop vanNimwegen and Paul Vink on keys. Upon the recording of their debut album in 75, Glory Of Inner Force, Determeyer replaced Vink on keyboards. Graced with a superb esoteric artwork and a title to go along with it, Finch's music was clearly influenced by Mahavishnu Orchestra (even the title could fit a MO album), Focus and Yes.

Just three tracks on the debut album, starting very strongly with the bombastic Register Magister, where all four members go on to show the musical skills while remaining at the service of the music. The following Paradoxical Moods, where a haunting mellotron gives much depth to Joop's guitar antics and an awesome organ solo, courtesy of Determeyer. They really thrive on fast, odd time signature jams as well as slow moody sections and jump happily from one to the other without forcing it

On the flipside, Pisces is another fine majestic piece (no pun intended), bur marred by the borrowing of a theme, reprised by the bass midway through the track until the end of it.The album closes on the brilliant Bridge To Alice, where the Yes influences seep out and impose itself as the album's highlight, even though it's not helped by being placed last in the track order. Indeed the formula of wall-to-wall solo plastering is exciting at first, but by the end of the album's one must admit that the cup is filled and one more solo would be the drop that overflowed the bucket. This is where the beauty of the vinyl (choose you side first) or the shuffle button become evident.

The Cd reissue comes with two bonus tracks, the two sides of a non-album single from the same year. Both Colossus I and II are short tracks that are somewhat similar to the album's music, although it's plainly audible it's not the same sessions. One wonders why such a risk and expense were taken on (relatively) average instrumental tracks, as the ideas are good, but you don't have to be Nostradamus to see that they were not original enough to create an impact, especially for non-sung music. But both tracks fit well enough the album to enhance the album's content. If you must have only one Finch album (it sold relatively well, back then), make sure it's this one, as this one is as close to perfection as they ever got.

A Dutch instrumental-progressive group who display the musical aura of YES with elements of a more fusion-influenced FOCUS. IMHO this masterpiece of progressive rock spends its time concentrating purely on the instrumentation, delivering complex and fulfilling moods and grooves. "Glory Of the Inner Force" was FINCH's first album and consists of four long and complex tracks with 2 bonus tracks released on a vinyl 7" to "Glory". The musicianship and playing of this band is highly energetic and highly efficient. Mellotron fans will love the keyboard talents of Clem Determeijer who also adds some tasty Hammond and moog. Leader and guitarist Joop Van Nimwegen is also multi -talented musician whose playing reminds me at times of Jan Akkerman. Bass and drumming is also quite exciting and propulsive making this album a treat to listen to time and time again. FINCH's . "Glory Of the Inner Force" is a wonderful 70's prog album that must be owned by all good music lovers out there...

I was just completely blown away by this album! I heard comparisons to FOCUS so I had to get this album. Well, guitarist Joop van Nimwegen sure got his Jan Akkerman chops down, but in my opinion, plays faster. The band was rounded out by keyboardist Cleem Determeijer, drummer Beer Klaase, and bassist Peter Vink. The opening cut, "Register Magister" just blew me away, with those intense riff and inspired compositions. "Paradoxical Moods" starts off a bit PINK FLOYD/FOCUS-like but eventually the band gets jamming and Cleem Determeijer starts wanking his organ. "Pisces" and "A Bridge to Alice" might not be as intense as the first two, but they are still amazing piece. Also of interest is this was the only FINCH album to feature Mellotron. I own the American vinyl copy released on the Atco label (in Holland, it was released on the Negram label), with the same basic cover, but different color clouds in the background (blue, rather than orange).

I quickly snatched FINCH's following two albums, both have great material, but don't quite match the raw intensity of this album. Without a doubt, the album you must start with if you're not familiar with FINCH.

If spastic, hyper, jazzy, intense instrumental progressive rock is your thing, Finch delivers. There's plenty to absorb without the distraction of a vocalist (where would a vocalist possibly find a good pocket to sing in here?), the music being busy and kinetic through each of the 4 long songs.

What separates Finch from some other instrumental combos in the prog/jazzrock/fusion realm is the solidity of their arrangements. Nothing sounds improvised or off-the-cuff. Where bands like National Health, Kenso and Happy The Man seem to come from an improvisational background, Finch delivers solid structures at every turn. Myriad parts are layered on top of each other, constantly shifting mood from one bar to the next, all of it sounding "written" rather than "jammed". Joop Van Nimwegen's guitar solos are fired off with a certain electricity that must've been improvised to some degree, but his sense of structure and timing make for some extremely memorable moments. His style is like Steve Howe (the melody) meets John McLaughlin (the speed). The Rickenbacker of Peter Vink grumbles and does some nice acrobatic turns ("Paradoxical Moods"), while the keyboards and drums color the tunes further with their nimble, fusion-esque intensity. The entire ensemble is like early Camel on a gritty acid excursion, maintaining a cool control while teetering on the brink of collapse. Their most energetic and raw excursion. A top-notch work of transcendental prog-rock indulgence.

The debut album from one of the best prog bands to come from the Netherlands during the 70s: "Glory of the Inner Force" is a record full of musical glory and lively force. Right from the starting point, the opener 'Register Magister' shows a bombastic explosion of sound, fed by the fire of hard rock and the sophistication of jazz rock, ordained by the progressive laws of variations and unexpected twists in melody, rhythm and mood. Each individual musician's skill is top-notch, and all four of them know how to work effectively in togetherness: this opener is a clear example of how the band can use the melodic structure of the main motifs and expand their potential strength without over-indulging in excessive improvisation, always keeping the focus on the logic of the motifs themselves. As points of reference, I could cite Akkerman and McLaughlin as major influences on van Nimwegen's guitar playing, while keyboardist Determeijer sounds clearly inspired by the Canterbury scene, but mostly what these guys do is find their own voice while challenging each other during the performances. The rhythm section is awesome, too: they remind me of van der Linden-Ruiter in terms of energy and precision. The high standards of Finch's intensity level is reaffirmed in 'Paradoxical Moods' - including an incendiary organ solo by Determeijer and some of Klaase's best drum rolls in the album. This piece sound to me very reminiscent of 72-73 era Focus, since its framework is heavily leaned on jamming: finally, the closing section is similar to early Camel with a harder edge. Things certainly don't get much softer with the opening section of 'Pisces', which once again sees the band mainly focused on jamming (once again Determeijer exposes his talent brilliantly, this time on electric piano), until a slower section gets in and gives room for an intense guitar solo by van Nimwegen, and somewhere in the middle, a bass extravaganza by Vink, too. I feel the symphonic ending comes somewhat abruptly, not too naturally, as if its potential bombast had been aborted, but all in all, it's still a great track. Things go back to plain perfection with the majestic closure 'A Bridge to Alice', which is also the longest and most intense piece of the album's official repertoire. All throughout the series of successive motifs there is a predominant somberness performed in a bombastic ambience. Somewhere in the middle there is a captivating acoustic guitar solo, and immediately afterwards, a spacey section that enhances the air of mystery that is displayed in many places all over the track. What a splendid closure! But the CD edition has got some more for the avid prog fan: a bonus track titled 'Colosus', divided in 2 parts that occupied both sides of a single. It is a catchy piece, indeed, but not simplistic: the prototypical Finch sophistication is overtly there. Overall rating: the maximum mark, which is just what every masterpiece deserves.

Guessing it's Italian-Prog at first, I was amazed by this awesome album. A sort of - When Camel met Yes and played soem fusion together, the album includes many great sequences. Fourth part may be the best, but all include some melodies so great, burned in my brain forever. Wonederful!

MASTERPIECE!!! Here, on progarchives, i've read some comprison of Finch and Focus, so i quickly went to get the album. What I've discovered is 50 minutes of astounding music with amazing amount of energy, hard and furious sound and at the same time very melodic and listenable. And I must say it was kind of shame for me that after more than decade of listening and exploring classic and progressive rock I found the album which is one of best I've ever heard. As many said before, general mood of the sound is similar to Focus, but some parts, especially guitar and organ solos, remind me of some great solos of Deep Purple. I thing here is noticable influence of the classic music too. Frantic and agressive nature of the music, and fact that there is really not one single boring second on this album make this album absolutely flawless!

Hubba, hubba, hubba. It took me a good three years to find this album - I wasn't disappointed. Beer Klaasse's drumming is a bit off here and there (which is odd - he's great on the follow-up, Beyond Expression) and the sound is a bit threadbare, but this is a real lost classic. One reviewer summed it up as Camel meets Yes and they decide to play some fusion. Right! The Focus influence, especially with Van Nimwegen's Akkermanesque phrasing (which also owes a lot to McLaughlin, but he was only a kid so we'll forgive him) is evident too. Good tunes, which in symphonic rock often get overlooked - very tasteful and sparing mellotron, and some lovely, almost kitschy harmonic developments into the big climaxes, esp on tracks 1 and 4. Reading how much they sold back then makes it all the more amazing that it's taken so long for their qualities to be recognised. Not quite Focus- level, but in prog's all-time Top 20. And just where IS Van Nimwegen now???

I bought this album in mid-06 through mail order for $17.00,and I can say it was money well spent! If you like guitar rock along the lines of FOCUS or a heavier sounding YES,then this may be for you. Well, onto the songs...''Register Magister''starts off with a cool sounding guitar riff,before turning into a guitar rock song.''Parodoxical Moods'' has some funk influences during the first few minutes,and a short piano solo toward the end. ''Pisces'' starts off a rock song,then mellows out a bit about 3.5 minutes into the song,and pretty much stays that way until the end,except for a heavy sound during the song's last 30 seconds. ''A Bridge To Alice'' has a haunting intro sound,and a acoustic guitar solo about 7 minutes into the song.The acoustic solo runs for a few minutes,and sounds beautiful.Each song on this album has an average running time of 10 to 11 minutes each(there are 4 songs on the album).On a scale of 1 to 5, I give this a 4.25. In my opinion,there are some albums out there that should have gotten more attention,and this is one of them! I recommend this,as it has grown on me!

Wow! That was something!

Prog is probably the only musical genre to be known for the vast amount of forgotten/obscured masterpieces. Neither Metal nor Punk rarely care for their Past, while Prog had its most interesting times in 70s. Almost every album from that time is a guaranteed gem (with some exceptions), and getting an unknown/obscure and expensive item usually means some kind of discovery. What more can I add? FINCH suits this description perfectly, with their complex yet melodic fusion, related more to Symphonic Prog or accessible side of Canterbury scene. This one is a Must for those who seeks music from those times which is rare yet good. It is almost brilliant. Highly recommended, should not be missed!

In 1975 (or 1976?), the owner of the local prog-record shop (Platent), informed me that he had organized a concert in the local theatre, which was quite unusual, as, at that time, virtually no pop concerts at all were organized in Deventer, and this guy apparently hired the local theatre? I never heard of Finch, and the record was sold out of course (small shop, normally only 1-2 copies in stock), but a true concert in Deventer!, and wondering: Is it possible to enjoy a concert, sitting in pluche seats?

It surely was. Even stronger, this 15 year old boy was happy to sit, being fully overwhelmed, especially by the stunning bass playing of Peter Vink. He could definitely compete with my favorite at that time: Chris Squire.

This is the main reason to write this review: In the reviews I read, the other guys seem to get all attention (Cleem Determeijer was even mentioned as bandleader!). Sorry guys (&girls?) the main driving force was Peter. (Together with Beer), he was not only the architect of the band, but live the absolute driving force, and absolute virtuous bass player. Listen to "live 76", which was released a couple of years ago, and you know what I mean.

In 79 I attended another concert, in which I heard maybe (probably) the best bass-solo ever.

Without intending to downsize the skills of the other guys: please join me in expressing: Hail to Peter ;-), one of the two best bass players I know (next to Chris).

It is a pity that this band had to live their lives in Holland..., and never hit the major halls.

(why is Focus so overestimated?)

I am always torn when I review albums that I just don't get. Since Finch is obviously such a respected name, part of me feels unqualified to comment, and opting not to throw my hat in the ring. If Finch were classified as fusion or jazz rock, or at least heavy prog, where I feel they belong, I would indeed remain silent, since there is little in those genres that I enjoy. Since I am a symphonic prog fan, I feel obliged to weigh in so that my cohorts are at least aware that Finch might be beyond our ken, so to speak.

No denying the abilities of all four members to play well, especially Jan Van Nimwegen on guitars and Peter Vink on bass, whose runs even stun the instrumentally challenged like myself. But this music is just too dense, incessant and half baked from a compositional perspective that I find it hard to recommend to fans of lighter or mid level symphonic prog. It really is instrumental virtuosity on display and little else, so if you like that you are all set, and may the inner force, and intestinal fortitude, be with you.

Wow !

This is moslty fast moving mostly loud jazzy instrumental prog with very few spots to breathe, I am not sure I agree with the people that compare this band to Focus. But, then I am not really sure who I could compare them to. And after all, maybe Focus isn't such a bad comparison if you splice in something like Billy Cobham as well. Definitely highly recommended.

May the Force Majeure Be With You

A rather unusual and healthy hybrid this one, which manages to straddle symphonic, fusion and jazz at various points throughout it's 50 minute duration, without pitching it's tent in any particular camp.

Given that the compositional credits are exclusively that of a virtuoso guitarist, these pieces are mercifully free of the sort of fretboard wankery as evidenced by those other masters of understated restraint like Vai, Petrucci, Satriani et al. Speed and dexterity are admirable qualities, but apply just as readily to typists as guitar players. Jan Van Nimwegen might cite Jan Akkerman, Kenny Burrell and Steve Howe as influences while Vai, Petrucci and Satriani just might as well namedrop Mavis Bacon as their creative muse.

Van Nimwegan's compositions are all beautifully constructed and paced throughout and never betray their origins as conceived on guitar i.e Jan is a composer who plays guitar, not a composer of guitar music, and it is not inconceivable that these pieces could be arranged quite satisfactorily for any number of rock, jazz or orchestral forces such is their strength and durability. The motifs and themes employed all have a beginning, development and conclusion, with the various transitions from one section to the next all seamlessly negotiated. We always get the impression that, unlike some other pseudo-prog, these are not little unrelated instrumental passages glued together by a skilled but unscrupulous arranger.

Things kick off with a very angular and beguiling guitar motif which is transposed intact by various interval leaps and the effect is redolent of Steve Howe of Yes in one of his more inspired moments. The entrance of the drums is thrilling and Beer Klaasse (the sleevenote dept were stoned off their tits possibly?) lays down a subtle yet driving pattern which underpins the music perfectly. Beer's playing is a real pleasure throughout this album as he displays an unerring intuition for when to get busy and when to play simply as befitting the musical materials at any given time. Yep, (I couldn't resist it), Beer has taste, feel and class in equal measures. Similarly, the bass chappie who lent the band their name (Petr Vink - Dutch for Finch) shares many of the qualities of his buddies by being a player capable of mind bogglingly rapid runs and stark relief when either is called for. His ballsy and guttural Rickenbacker tone lends itself well to the music and gives the tracks the visceral weight of rock but the light and shade of a jazz player. Cleem Determejer's keys are mainly deployed in a supporting role to the guitar and to my ears at least, his parts seem to be mastered a tad low in the mix? This is a shame as his piano, organ and synth work is unfailingly appropriate and imaginative but apart from the occasional solo which uncloaks itself from the shadows, his work is rather buried in the background.

All the tracks are uniformly strong but special mention must go to some of the highlights as follows:

Pisces - has a truly cinematic LOOK BEHIND YOU ! intro and the frisson induced by the ostinato guitar dischord is a real goosebump raiser. There follows a jazzy electric piano solo which would even elicit a grin of satisfaction from Herbie Hancock as heard on some of the latter's work with Miles Davis. The slow and moody breakdown section illustrates that Finch have a firm grasp of one of the more elusive elements in prog, i.e. less is more

A Bridge to Alice - Straight from the top shelf of Creepy Tunes R Us to be filed under 'uneasy listening' for sure. The breadth of stylistic changes on this track alone is mind blowing and encompasses strident rock riffing, swinging jazz and European classical phrasings as motivitic sources. Van Nimwegan reveals his most overtly jazz influenced leaning here on a sublimely beautiful and ethereal guitar section that is redolent of Kenny Burrell or Joe Pass had either been born into European influences. (or shared the same brand of smokes as the hirsute Flying Dutchman)

Colossus Parts 1 & 2 - From what I can gather these are segued bonus tracks omitted from the original album and culled from a very highly sought after vinyl only single release. The influence of Focus is evidenced here quite strongly as the composition sources it's inspiration from musical ideas that would find a comfortable home in the European classical canon. Part 2 announces it's arrival with a ghostly organ riff that will orbit your cranium for weeks afterwards. Wonderful scuttling sprint on Hammond from Determejer answered by call and response from the guitar. Possibly a contender for best track on the album.

Many reviewers have felt cause to remark on this band's debt to their fellow countrymen Focus, and although the echoes are evident in places, I feel that an instrumental band led by a guitarist who draws his inspiration from prog, European classical music and jazz is inevitably going to draw comparison from the most famous of all Dutch groups. Although Akkerman and Van Nimwegan are very distinct and original guitarists, they do share a fondness for dispensing with, or stripping away a lot of the habitual blues licks and scales from their playing, which lends their individual styles a very recognizably European sound.

Apart from the frankly silly title, this is a very strong album and should be all the evidence needed that the Netherlands has made a significant contribution to prog that is not restricted to just the output of their most celebrated sons, Focus.

Not well-known (or underestimated) but highly impressive album, isn't it?

Finch was a typical rock outfit, formed of a guitarist, a bassist, a drummer, and a keyboardist. However, they could have a different musical flavour from another one. A bit different. I guess they should not play much seriously or not be hard-liners, but play naturally and be happy to play. As a liquid diet, their sound we can taste, digest and absorb easily and can get enough nutrition of high quality. The type of music style they have might be different from another one.

From start to finish, all tracks are already flexible and comfortable for us listeners. Rhythmical keyboard sounds are fantastic...basically, I always feel in this album, other sharp-edged instruments - guitar, bass, drum & percussions - are slightly behind the keyboard. No, sorry, but all have gentle sounds and can product strictly the superb song. Well at any rate all players hear to be pleasant.

At the last part of A Bridge To Alice, acoustic guitar sounds can always tremble us amazingly. Even only this song listening is my pleasure, really...

Back in the seventies when things were SOOOOO fresh and everything was experimental, I recall the naïve fondness in extolling the virtues of the manic guitar gunslingers, all 6 string outlaws trying to out duel each other and vying for guitar god supremacy. One of the most common questions at the time was who is the fastest axe ripper out there? Alvin Lee, Santana, MacLaughlin, DiMeola, Akkerman and a slew of other rock maestros and I do remember Alvin winning most of the time! There were some lesser known craftsmen as well (Hillage, Mussida, Tolonen, Manzanera) , one of which was Finch's Joop van Nimwegen all unafraid to make a name for themselves that would stand the test of time. This all-instrumental Dutch band's debut is one hell of a ride, so strap on your seatbelts, adjust your headphones and slide shut the canopy, we are flying! Like a sleek fighter, the opener slams on the turbojets right from the get go, propelling the machine into the skies. "Register Magister" sets down a complex intertwining of motifs, mostly led by the absurd keys, pushed along by the physically rotund bass and impelled by some ferocious drumming. Relentless, rapid and resilient, the mood stays firmly focused a guitar-led melody somewhere similar in spirit if not style to a faster paced vocal-less Camel with dashes of Akkerman but I constantly find myself obedient to the Peter Vink bass barrage. His superlative playing is purely scintillating throughout this recording, so bass fans better pay attention. Cleem Determejer's aisance on various keyboards is stunning; these gents knew how to play, again fast and furious. The immense 10 minute "Paradoxial Moods" is even brasher, as they blatantly showcase ultra-sophisticated musical promenades with a quasi-funky attitude, very sexual prog this may be, alternating enraged thrusting with gentle caresses and delicate groping. When Joop lets it rip, mellotron blazing in the shades, this arrangement enters the domain of the incredible, just follow drummer Beer Klaasse, if you can (no jokes here please) or Cleem's classic (and I mean Classic) Hammond solo. Brrrr, scary?.Jon Lord beware! The tremendous "Pisces" is an oddity, deliberately atonal at first, until the manic Vink groove anchors it all into place, shoving this harsh steamroller ever forward, jazzy piano noodlings vie attention with Joop's vivid guitar lines. I tend to see a distinctive and unique style in his playing, way faster in blinding speed foraging than most, yet displaying such a wide palette of sounds from his fret board. The gentle mid-section is sheer beauty, the volume pedal playing havoc with van Nimwegen's instrument, a bluesy slow dance that has enormous restraint, especially in view of their habitual propensity for delirium. When the guitar blasts its urgent solo, you know that you are in the presence of a phenomenal presence, displaying eloquence and a technical prowess that is hard to grasp. Bravo! Vink then unleashes a slithering solo that will captivate aficionados of the 4 string wonder. Can the pace continue like this? Yes! "A Bridge to Alice" is a 13 minute cavalcade of sound and fury, laden with more swift expressions from the four musicians, vibrant yet explorative. Eerily complex and intensely polyrhythmic, the group vision and the technique execution are simply supreme, highlighting the incredible exhilaration of well-played instrumental rock. The spreading guitar runs are monstrous, the raging organ glowing with phosphoric energy and the crucial bottom end is held down rock solid, a necessary prerequisite for prog validation. The mood swings into the pastoral, acoustic guitars jangle breezily, languorously evolving into a murky space feel (that two stroke bass is devilish!) which suddenly takes on added speed and emphasis, eventual walls of mellotron collide with sultry guitar leads. The 2-part "Colossus" takes this another step forward, as Peter Vink exults once again, giving Joop the platform to circumnavigate the pulse and peel off some effective licks, at first mostly highly inspired by classical music, introducing acid-drenched rips that defy description. A buzzing bass puts this appetizer to bed. Part 2 resumes the frenzy with utter conviction, each instrumentalist firing on all cylinders enthusiastically. Actually it must be said that all the material is inherently upbeat with only occasional mood dips into melancholia. Again, the musicianship is jaw dropping.

When the term Dutch Masters was coined, after the success of such bands as Focus, Golden earring, Ekseption, Trace, Supersister, Kayak and Solution , it was entirely justified in view of the incredibly fascinating progressive rock albums they released. Finch is the missing link, the little tyke who could play with the big boys. Colossal! 5 Amsterdam birds (no, not the ones you perverts are thinking of?sheesh!)

Finch isn't as well known as Focus, Supersister or even Earth & Fire, but it should be considered to be one of the best groups of Dutch progressive rock. Arguably the most technical band to arise in this era; it has the amazing neo-classical jazzrock shredding Joop van Nimwegen on guitars, the fast-playing and melodic Peter Vink (Q65, Knight Area) on bass, Beer Klaasse on drums (in the style of Andy Ward) and the classically trained Cleem Determeijer on organs and synths. The band sounds like an even more intense instrumental version of Camel's 'Mirage' period with added touches of jazz, which makes the band interesting for listeners of symphonic prog. The bass-lines of Peter Vink have that Yes-like presence. The lengthy composed guitar solo's by Van Nimwegen are of a unique skill, I don't even think Jan Akkerman could have played them without seriously working on it. The four instrumental tracks are all amazing and full of ideas, though without a singer or instrumental story-line they remain a bit hart to relate to. The band does rock out a lot. 'Glory of The Inner Force' is a proud - if not cocky - prog rock album of amazing musicians. The recording quality is reasonably good, though I would be interested in buying a vinyl re-master with a bit more low-end. Fans of fusion, symphonic and eclectic prog beware.

First, many thanks to Mrs. Evolver for getting me a new USB turntable. allowing me to hear ,y vinyl collection for the first time in years. This one was a great deal, as it still has the 99 cent price sticker on it.

There must be a Dutch sound, as I can really hear a strong similarity to Focus in Finch's music, as well as strains of Yes and The Mahavishnu Orchestra. The four songs (sadly, my LP does not have bonus tracks) are all instrumental epics, the shortest being over nine minutes long. The compositions are rich and complex, the musicianship superb. It's no wonder I have fond memories of playing this album so often thirty years ago.

FINCH were an all-instrumental band from THE NETHERLANDS who seemed to be influenced by country-mates FOCUS as well as YES and MAHAVISHNU ORCHESTRA. The playing is outstanding and the music seems to border Symphonic and Fusion. And that's the problem for me because I wish it was more in the Fusion camp.The lighter Symphonic sounds leave me feeling "meh", especially by the final track when i've had enough. I do like how prominant the bass is though, and the splashes of mellotron on every track is appreciated.

"Register Magister" opens with keyboards galore bfore the bass and drums join in. It settles 2 minutes in as the guitar arrives. The chunky bass is impressive. Piano a minute later and some mellotron. More mellotron 4 minutes in as the guitar solos. It sounds like Steve Howe on guitar to end it. "Paradoxical Moods" opens with guitar and drums before keyboards come in and take over. It settles with organ before 2 minutes. Some laid back guitar and drums take over as bass throbs. Mellotron before 3 minutes. Some scorching guitar 7 1/2 minutes in.

"Pisces" has an interesting intro then it settles in with some nice bass. Piano leads after 1 1/2 minutes with prominant bass.The guitar is back. It calms right down before 4 minutes.The guitar starts to solo tastefully 5 1/2 minutes in. A full sound returns before 7 minutes. "A Bridge To Alice" features some impressive drumming early. Huge bass before 5 minutes as drums pound and the guitar plays on. Organ after 6 minutes before the sound turns dreamy then calms right down. It turns haunting before 10 minutes then starts to build a minute later. Mellotron 12 1/2 minutes in. I like how they at least mix it up a bit in this one.

This is complex and bombastic with lots of solos, but it fails to excite me much. 3.5 stars.

A technically flashy album which sits mainly in the symphonic prog camp - but with enough jazz leanings to make it palatable to fusion fans too. In fact, the results sound a bit like what might happen if the Mahavishnu Orchestra decided to record a tribute album to King Crimson, Yes or Emerson, Lake and Palmer, with the furious guitar heroics of Jan Van Nimwegen being reminiscent of John McLaughlin, the lightning-fast keyboard wizardry of Cleem Determejer recalling Keith Emerson, and Peter Vink displaying a technically advanced, captivating, and original approach to the bass that is as individual and distinctive as Chris Squire's. Glorious AND forceful? Yes, certainly so, but at the same time the band show a mild tendency towards technical showboating and often don't seem to have much of an aesthetic vision beyond "Everything proggier than everyone else".

Glory to the Glory of the inner Force of Finch. The band was founded by two old-members of Q65 - probably the best psychedelic rockband of the Netherlands - together with guitar virtuoso Joop van Nimwegen and keyboardist Cleem Determeijer. They came up in 1975 with this magnificent debut-record. In my opinion this is the best symphonic prog record made in Holland.

Before Finch was founded Jan Akkerman was arguably the best guitarplayer in the Netherlands. Joop van Nimwegen however became some real concurrence to Jan. Joop van Nimwegen seems to be really Inspired by the guitarplaying of Jan Akkerman and maybe also a bit of Steve Howe (Yes). The guitarstyl is mainly faster than in Focus, but with the same kind of intellectual songwriting (Joop van Nimwegen wrote all the songs on this debutrecord).

Besides the awesome guitarplaying in Finch, the bassguitarist does really shine on Finch's debut record. The basslines are active and really fast. This bassguitarist is not just a backgroundplayer, but shines on front of the band! The keyboardist may not be as good as Rick Wakeman of Keith Emerson, but manages to fit by the other excellent musicians and adds some nice atmosphere. The drums are just fine.

In my opinion this is the best instrumental-only record ever made. Finch showed to be better than the Mahavishnu Orchestra or Return to Forever. The same speed, but better songwriting and catchier melodies. A really exciting record - a must have!

Ah, these guys are making it very difficult for me. The style is seemingly right up in my alley as I have a preference for instrumental works with plenty of soloing. The slight CAMEL-ish and at times reminiscent of FOCUS touch would also work in their favor with me. Honestly, I'd like to like this album, but it refuses to grow on me.

So, what's wrong with this album? Simply, too many notes, just too busy for little return. A typical case where less would have been more. Ambitious? Yes. Overkill? Absolutely!

Nervous, overzealous delivery, at times bordering on irritating where the credible bits are obscured by the cacophony of everyone is trying too hard. FINCH would have been really well served by engaging a capable arranger and arriving at a 4-5 star result.

I am truly sorry to say as I'd like to like this work, but the "Inner Force" here appears to be too over the top and remains without "Glory" in my books. Much refinement and substantially more subtlety would be in the order.

Reluctantly, I have to decline even a 3 as this album is unlikely to have another spin at my place. A real pity, but by my criteria I can't even see the point of keeping it in my collection.

Wow, this is a genuine tour de force ride! This is full throttle 100% instrumental album, which wont leave you many time to breathe. Its my most favourite Dutch prog album too.

Stylewise its a mix of classical european symphonic prog ala their countrymen Focus or Yes and a bit of jazzrock and Canterbury played in a very nervous, fast and exciting manner.

All 4 compositions are in 9+ minutes range. Individual tracks are a mix of many evolving and interesting motives, which are often developing into a bix climax and what is always astounding me is the great cooperation of all players.

There are many breathtaking guitar solos, but they are always underlined with great and inventive bass playing (fat ripping Rickenbacker tone) and nice keyboard background. All musicians are top notch, but especially guitar player Joop van Nimwegen is the real MASTER here. This guy amazes me (i am guitar player too) everytime when i am hearing to the first two Finch albums. Hes sometimes really shredding here, but all time with great sense of structure in solos and natural gradation. Hes really very fast playing for this era, but still without technical imperfections which were often notable for many other 70s guitarists. His intonation is precise and he can play very emotionally too - listen to middle guitar solo in Pisces, its so emotional and full of feeling, that listener could even forget that hes hearing to technically perfect and virtouso progrock. Yes, he is a bit similar in playing style to his colleague Akkerman, but i prefer Joop. Hes faster, more aggressive and sometimes plays greater melodies too.

Bass guitar player is second virtuoso in this band, i recommend this album to bass players too. His bass lines are very inventive and sometimes hes playing unisono fast lines with guitar. Keyboard player (mostly Hammond and electrical piano, sometimes Mellotron and synths too) and drummer are great too, this band simply rocks.

Overall, this is a must for instrumental 70s progrock lovers, its a shamefully forgotten group and this debut album especially shows them in their most aggressive and natural position. One of my favourite 70s albums. I recommend especially the latest 2013 3 CD Mythology edition from Pseudonym records, they remastered the original master tapes and the tone is richer than on previous very average sound quality CD editions. 5 stars!

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.

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...

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 !!!

What a debut album by Finch! If you were getting tired or bored of the post-1974 Focus output and their masterful "Hamburger Concerto" than you had an option to board a faster Dutch train, then it would be Finch.

Finch were a group of four instrumental virtuosos but the main attraction was the young guitar player Joop van Nimwegen seconded by a universal keyboard master Cleem Determeijer.

This record contains the rawest and most classically oriented Finch playing. Often, the speed of playing and dynamics are astonishing while not getting over the edge. The guitar sound is quite sharp and fits well into edgier rock. "Register magister" has a lot of interesting style trips in it be it symphonic rock or rock'n'roll, whereas "Paradoxical moods" is closer to the conventional first 70's rock sound with Hammond etc.. "Pisces" is the most symphonic number with great organ and guitar soloing that would be repeated on the next album. This one reminds me of Focus. "A bridge to Alice" does not stand as high as the previous 3 tracks but it has the typical Finch/Focus emotional end that these bands mastered brilliantly. The short "Colosus" tracks are short virtuoso pieces with trademark Shadow-inspired soloing. They are great to serve as band's introduction. This and the next one, more refined "Beyond expression" are among the peak of European instrumental prog rock of the 70's. 4.5 stars

I didn't decide to review this because I thought 'I bet this hasn't got many and I can show off my collection and knowledge' but just because I picked it out to spin this afternoon. I was very surprised to see how many ratings and reviews it has, but that's good yes?

Anyhow, am speculating, but my copy is on Atco so we have to assume the American market thought what we have here might create a splash. I don't know how popular the obvious touchstone of Focus were over there at the time but I do know PFM were creating waves. I also don't know how much of a 'prog' scene there was in the States in the mid 70's....Fire Ballets Night On Bald Mountain was indeed a '75 release but the only other I know in the same ballpark as this album....Cathedrals Stained Glass Stories was '78. It is stretching a point to mention Kansas as a comparison.

Back to Europe. I actually don't hear much Focus in this but several Italian prog bands, especially those with a jazz/rock leaning and I also hear Floyd esque quieter sustained keys chords with understated guitar over that in a few passages. Even Budgie...yup...and their track Parents in Finches Pisces. I might chuck in some Babe Ruth too. If I have a problem (I don't really, I am a big fan of this album) it is that some of these 4 extended tracks sound as if they fall into the 'hey I have this bit and you have that bit and he has his bit so lets put them all in the same key, work on a few bridges (funnily enough in A Bridge To Alice) and call it one song' trap. Also, as it isn't...even though akin to...jazz/rock fusion...there are times when a vocal passage would have cleansed the pallet.

There is light and shade though and definite attack and bombast as all 4 are outstanding musicians but you do sense in the 'shade' passages ie the quiet bits they just can't wait to be let off the leash again rather than invest some of themselves in the subtler moments.

To conclude, this was a speculative buy from a long long gone record warehouse in Manchester...of which I may mention in other reviews ...way way back when you had to discover 'new to you' music that way. Many turned out to be keepers. this especially.

Again it would be a very very 4.25 but as I can't in all honesty give it a 5 then my rating slightly lowers the average even when I think it is above it as it stands (4.13). A flaw PA?