FINCH

As we know, progressive rock music was born in the end of the 60's. During the 70's it was essentially a phenomenon that occurred in the UK. Despite of that, it also appeared in many other countries all over the world. But, it had an important expression in some European countries, like Germany, Italy, France, Sweden and the Netherlands. The most representative Dutch bands in those days, were probably Focus, Supersister, Kayak, Trace, Earth And Fire and Finch.

Finch was a Dutch progressive rock band that continued to be known internationally years after their final concert on 14 November 1978 at the World Forum Convention Center in The Hague. Finch was established by guitarist Joop Van Nimwegen, bass player Peter Vink (vink meaning Finch in Dutch) and drummer Beer Klaasse. The first two earlier worked together in the Dutch formation Q'65. The musical leader was Joop Van Nimwegen. For lack of a good singer, Finch decided to build a repertoire of instrumental rock. Keyboardist Paul Vink soon was replaced by Clemens (Cleem) Determeijer, then a student at the Rotterdam Academy of Music. Finch released their debut album "Glory Of The Inner Force" without much success, despite have been published in the Netherlands and USA. Their second album "Beyond Expression" became popular in the Netherlands. A third album "Galleons Of Passion" was published in the Netherlands and the UK. On that album, Determijer, which wanted to be concentrated on his piano studies, was replaced by Ad Wammes. Beer Klasse was also replaced by Hans Bosboom on drums. In 1978 the partnership was discontinued when Joop Van Nimwegen wanted to quit. So, the frequent personal changes in the band made it impossible to continue.

So, "Galleons Of Passion" is the third and last studio album of Finch and that was released in 1977. The line up on "Galleons Of Passion" is Joop Van Nimwegen (electric guitar and cabasa), Ad Wammes (keyboards and flute), Peter Vink (bass guitar and cowbell) and Hans Bosboom (drums and percussion).

Finch with this third and last album plays a beautiful melodic instrumental rock on "Galleons Of Passion". If you dare to tread thin ice in instrumental music, you can easily fall as it should offer quite a bit due to the missing vocals. But Finch pulls them out of the affair more than respectably, because their music is just bursting with some great melodies and sounds, without sinking into the absolutely easily digestible melodic swamp. Rather, the band knows how to skilfully keep their compositions on the same level. The guitar is dominant in the melody and the keyboards in the wide variety of background music. Due to the melodic part, the tempo is forced to be slow, up to medium tempo. Since there are only five pieces on this album, there is enough time for development and variety in the individual songs. Quite relaxed, the flutes are played briefly, the keyboards run slow and the guitar solos are solemn. It's nice to listen to, really dreamy.

So, "Galleons Of Passion" has only five tracks. "Unspoken Is The Word" starts out with a wailing guitar. Then the keyboards come in and after a while there's a much laid back atmospheric part with guitar on the foreground and layers of keyboards in the beneath of it. Joop shows that he can really play with feeling. The melodies of this song are rather straightforward and accessible. The band sounds quite a lot like Focus on this track. "Remembering The Future" is shorter and starts off with the typical Finch sound of this album before it ends with Peter Vink's unique sounding bass and a bunch of percussion. The sound is very slow moving, but after over two minutes the track turns very percussive a bit in the Latin style. "As One" is very spacial and this is the reason why it has been often described as Focus playing "Shine On You Crazy Diamond". This track is again very melodic and with some great guitar melodies, very clear and very pronounced. "With Love As The Motive" is divided into three parts, "Impulse", "Reaching" and "Sinful Delight?". It's the longest track that again starts off spacial. The track starts out quite menacing and is supported by a repetitive guitar/keyboard riff. All over the track there are cool guitar riffs and spacy string synths, before the rather mellow finale. "Reconciling" is quite (jazz) rocky that features some totally mind blowing intense passages that harkens back to the finer moments of "Glory Of The Inner Force". It has a long terrific guitar solo too. It's a killer way to close this album.

Conclusion: "Galleons Of Passion" basically continues in a similar symphonic fusion style, but the music has become more accessible. More symphonic elements were built in, which, together with an elegiac string treatment, unfold a dreamy character. The sound often unfolds a majestic grace, which then increases to a euphoric climax. Dynamic and explosive arrangements are still woven in, which provide the necessary moments of tension. The striking lead guitar continues to set the pace and duels with fanfare like keyboard runs. The jazz- rock elements were largely thrown way but the dreamy instrumental sequences pile up to a dense elegance. Finch's last album reaches its emotional peak and shines with a sumptuous bombastic sound. "Galleons Of Passion" is definitely the most accessible of Finch's albums.

Prog is my Ferrari. Jem Godfrey (Frost*)

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?

Compositions are still strong albeit simpler and catchier. The album opens on a bland note but soon transfers into a romantic guitar-driven scenery that makes up for a bit of waiting. The second track is the only weak one on the album IMO. It has a more jam feeling, especially in the second part where the rhythm section takes the lead, it reminds me a bit of mid-70's Focus flirting with jazz ("Crackers"). Fortunately we are graced with two excellent romantic instrumentals. In particular, the first one "As one" is a prime example of well constructed reflective piece. Pity this track isn't longer. "With love as the motive" is the richest track, also the longest one. Perfect Moog/ARP symphonic lines, emotional guitar solo and a peaceful outro make it perhaps a strongest track on the album. "Reconciling" is a bit of return to the previous two albums although it doesn't exceed them in any way. It's interesting to hear the funky groove understated by the guitar too.

Overall, this album isn't at the level of "Beyond expression" and "Glory of the inner force" but it is a memorable good-bye by this one-of-a-kind band.

The second piece is notable for including fast fusion tracks with all four players speeding at 100km/hour. The third track is the most symphonic track on this album with great synth layers and emotional guitar playing. The melancholy end of the track is the best ending possible to this album.

This masterpiece belongs to the best instrumental progressive rock works ever and is a proud testament of the mid 70's progressive rock peak that was both mature, well executed and emotional. A must have in any instrumental rock collection due to incredible piece of musicianship.

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

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.

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.