FOCUS

After a long career that began in the late '60s, the Dutch band Focus became one of the classic acts in the European prog scene of the '70s.

Focus was the band of Jan Akkerman, one of the most prolific guitarists in prog history. Their music ranged from jazz to the heavier side of progressive rock, with outstanding musicians. Akkerman's counterpart was Thijs van Leer on vocals, keyboards, and flute, while another great musician, Pierre van der Linden, handled drums. Van Leer and van der Linden are still in the band today, keeping the legend alive, while Akkerman left in the mid-'70s. Since then, the band has had its ups and downs?more downs than ups.

But Focus still lives on, and their latest albums, Focus 12 and Focus 11, are my favorites since Mother Focus (1975).

Focus 12 is a great record featuring Menno Gootjes on guitar, Thijs van Leer on organ, piano, synthesizers, flute, and vocals, Bobby Jacobs on bass, and Pierre van der Linden on drums. The music is remarkably similar to their '70s work, making it one of the standout albums of their career. The guitar work is outstanding?Menno Gootjes is a fantastic player. The record moves effortlessly from jazz-inspired jams to moments of true prog grandiosity.

With Focus 12, the band brings back their signature sound and its still alive and well. The combination of masterful musicianship, dynamic compositions, and a clear nod to their '70s roots makes this album a great addition to their legacy. For longtime fans, it's a reminder of why Focus remains one of prog's most enduring names. For the new guys Focus 12 it's a solid introduction to their unique blend of jazz, rock, and classical influences. Focus may have had its ups and downs over the years, but as long as they keep delivering albums like this, their start to find a new path in their career.

For example Hamburger Concerto is a play of words with Brandenburg Concerto by Johan Sebastian Bach (Not easy to find a bigger or more sacred cow anywhere), they work with the obvious Baroque influence in a delightful way just to make a Concert to.."the hamburger", something that only few and brave genius as Thijs Van Leer would ever dare to do.

But that's not the only reference as we'll see later. The problem is that many people still see Focus as a comedy band or just buffoons, because sometimes their weird sense of humor so intelligent and subtle (Not in the name of the album because it's obvious) that most people don't get it, but nothing more far from reality, this humor enhances a rare and unique exquisite sound, very well crafted and linking several influences with such a skill and beauty that seems hard to believe.

Lets start with Delitae Musicae, a rare inflection that resembles Latin or Medieval Italian (Not sure which one though or if it means delicate music or delicate whisper -Musitae?.Musitar?to whisper-), in a reference to Claudio Monteverdi's: Madrigals, Book 1 delitae musicae, a name that describes perfectly this short introduction to Focus world in any of both senses because it's delicate music and at the same time a delicate whisper.

Delitae Musicae, is reminiscent of the late Mediaeval/early Renaissance using harps and some instruments from the 1500's or 1600's (Lute and harpsichord if I'm not wrong even when the first one is not credited) delicate and wonderful, as a travel in time.

Harem Scarem is a name that has tortured me for decades, can't find a right translation or what they meant, of course the extreme shouts and yodeling by Thijs give an idea of fear (Scare or maybe scream), a very Rock oriented track, frantic and breathtaking from start to end.

La Cathédral De Strasbourg as Thijs said in the DVD Masters from the Vault, is dedicated to the magnificent Gothic construction and the vivid image left in him for life, the track starts soft, dark, in other words Gothic and majestic at the same time, if you haven't seen a picture of the building or better been there, you can't really understand how perfect is the musical description, but then after a soft (and unusual) lyrics and whistle section the song turns towards a more jazzy sound, incredibly beautiful track, one of my favorites.

Birth is a unique song, the brilliant harpsichord introduction by Thijs is simply delightful, but a surprising drumming by Collin Allen (Who replaced Pierre Van Der Linden) changes the atmosphere of the song returning us to the classical Focus sound even when a bit stronger and more Hard Rock oriented than ever before, another outstanding piece of art that reminds me at some points of Ian Anderson and Jethro Tull.

It's now time for the feast, the central piece of the work, the self titled epic Hamburger Concerto, I almost fell to the floor in laughter when I read the name of the parts of this epic (Starter, Rare, Medium I, Medium II, Well Done and One for the Road) simply hilarious to blend Johan Sebastian Bach with Burgers King or Mc' Donald's.

But the music is no joke, simply wonderful 20:19 minutes of pure Progressive Rock, incredible mixtures of styles and genres that go from pure Baroque to the Dutch version of Flamenco (The Flanders region or nation went from Spain to France The Netherlands and part of Belgium, what explains the electric Flamenco style of Jan Akkerman and the use of such instruments as castanets or even hand clapping) with incredible Religious Choral sections and explosions of pure power, so well developed that I won't even dare to attempt to describe, because words are too cheap for the beauty and complexity of this epic, even Mr. Van Leer's usual vocal jokes contribute in this case to make the atmosphere perfect and to enhance the beauty of the music.

Just believe me, those who haven't heard this song will never imagine what Focus means and I can only describe this song in one word: PERFECT.

Early Birth is another strange song, sadly people often impressed by the previous epic tend to repeat it over and over and forget this small gem at the end of the CD and almost never played, and I say gem because if one track describes how Focus used to sound before this album is Early Birth, leaves me hoping it would last at least 5 minutes and with the honey in the lips.

Listening to it carefully seems that it has been cut due to the limitations of the vinyl format because it's abrupt as if some engineer would have shouted We're running out of time and someone just lowered the volume in a forced way (As we used to do in our homes when a cassette tape was running out of space), the only flaw in the album, but so insignificant that I don't care.

Rating, 4 stars not a single doubt, Long live yodeling!

This sounds like the work of a much younger outfit, with Gootjes blasting away with some stunning leads, daring the others to stay with him, yet Linden is still as powerful and dynamic as he was when playing on the stunning "Hocus Pocus" all the way back in 1971 and shows no sign whatsoever of slowing down. Thijs van Leer has always been the master of the organ, in many ways reminiscent of Jon Lord in that he always puts a huge amount of himself into the playing, becoming part of the instrument in a way which is much more than being "just" a player. But here is often lets the guitar take the lead, strident and impactful while he plays more of a supporting role. This feels very much like a much younger Focus, and with Roger Dean yet again providing the artwork it really does feel as we are back fifty years. This album is a delight from beginning to end, one which progheads will do well to look out for.

The opening track jumps straight into business, with asymmetric rythm underpinned by great syncopated figures, courtesy of the keyboardist Van Leer, who then changes gracefully to transverse flute, and intertwines sparkles of melody in between the dense instrumental weaving. The second track is the customary "Focus #" of each Focus album, where they alternate from a calm and melodic section to another one , faster and rather pyrothecnical in style and execution. No problem with that, I just can´t get enough of that old (but still tasty) trick.

There are two tracks paying hommage to two giant figures in contemporary music: (Bela) Bartok begins with a restrained piano motiv, so moody and full of nostalgia, and then mutates in a quintessential Focus melody by the electric guitar, an impeccable exercise of taste, articulated on ample intervals that balance right on the fence between jazz fusion and progressive rock. (David) Bowie is a more intimate affair, a piano solo commencing in the low and middle register, and belating the jump to the high keys. I think I can feel the evocation of the loss, without any sense of depression or sadness.

Anyway, I have to say that the only track that made me feel in the true presence of the formidable outfit that Focus were in their halcyon days, is the fourth one, Meta Indefinita. There the whole band approaches the greatness that lies in their legacy, and one still wishes to hear so many years later. Special mention to drummer Van Der Linden, who holds the tension necessary for the group to shine, and goes for the rhythmic throat of this amazing piece, insuflating a higher sense of density and purpose that I cannot hear anywhere else on the rest of this album.

Tracks 5 and 10, I find them rather mellifluos, self-indulgent perhaps. Nura promises more than it delivers, with a nice keyboard intro, that segues into a somewhat incongruent outburst by the band, with a way too loud guitar contributing almost nothing to the musical substance of the piece. Postiano is another case of good start and not much more after that.

Don´t worry, I think one can possibly listen to the entire album and enjoy it as a whole, but hardly avoiding mixed feelings. There are moments of awe, but also others not so spectacular. Never less than good, however.

Hocus Pocus is their most famous song, and also the most out of place song on this album. It's hard, insanely goofy, and very jammy, miles from what is going to happen later in the album. Still an amazing track, although not my favorite 6/7

Le Clochard is a beautiful acoustic track, I adore it 2/2

Janis is an amazing flute oriented piece. Van Leer is a pretty good flautist, I just love the vibe of this one 3/3

Moving Waves is the title track, and the only one with actual vocals. It's a good track, but not the best on here. 2/3

Focus 2 is also a pretty good track without much to say. Side 1 is full of shorter tracks which are all good, but lack the epicness of other prog stuff 3/4

Eruption is the reason this album is a 5/5. It's one of the greatest prog tracks of all time, and should be put with the all time greats imo. The section at 14:40 is arguably my favorite moment in music...ever. It's just so beautiful. This track alone puts Focus with the all time great prog bands. It also imo makes Side 1 a lot better, they are very different ideas. 23/23 nothing to say apart from it being one of humanity's greatest musical achievements.

FINAL SCORE: 39/42= 92%. Easy 5 stars, Eruption should be discussed a lot more often

"The Ultimate Anthology" is a DVD of Focus and was released in 2004. This DVD is the ultimate and a perfect guide to the music of Focus, the pioneers of the progressive rock in Netherlands and one of the most innovative and creative progressive rock bands to emerge from the 70's. So, this is an impressive and essential live document of the band.

Focus is a Dutch rock band which was founded by the classical trained organist and flutist Thijs Van Leer in 1969. So, initially, Focus comprised the keyboardist and flutist Thijs Van Leer, the guitarist Jan Akkerman, the bassist Martin Dresden and the drummer Hans Cleuver. The band had several changes in the line up all over the years. Thijs Van Leer and Jan Akkerman were the real driving force behind Focus all over the years, and together they produced some of the greatest instrumental rock music ever created. They were responsible for spreading the progressive rock besides UK.

The DVD "The Ultimate Anthology" features some rare footage of many different incarnations of Focus, including the classic 70's line up featuring Jan Akkerman. "The Ultimate Anthology" includes a complete live performance of "Hambuger Concerto" and a stunning footage of Thijs Van Leer leading the band on the triumphant and astonishing come back live tour of Focus in USA in 2002. So, this Focus DVD contains excellent material from the 70's and the addition of some 2002 live material is also very good, and where the new line up is close to their classic 70's sound.

"The Ultimate Anthology" has nine tracks. At the time where "The Ultimate Anthology" was recorded, Focus had four studio albums, "Focus Plays Focus [Aka: In And Out Of Focus]" which was released in 1970, "Focus II [Aka: Moving Waves]" released in 1971, "3" released in 1973 and "Hamburger Concerto" released in 1974. So, the material on "The Ultimate Anthology" belongs to all these four studio albums, which is usually considered the golden era of Focus. Thus, from "Focus Plays Focus [Aka: In And Out Of Focus]" we have only one track, "House Of The King". From "Focus II [Aka: Moving Waves]" we have two tracks, "Hocus Pocus" and "Eruption". From "3" we have three tracks, "Anonymous II", "Focus III" and "Sylvia". From "Hamburger Concerto" we have only one track, "Hamburger Concerto". But, beyond these seven tracks we have also more two tracks. "Focus Medley", as its name indicates, is a medley of several themes from the band's best known musical period. "Hocus Pocus (Reprise)", as its name indicates, is a live reprise of the original song released on their second studio album "Focus II [Aka: Moving Waves]" that opens the DVD.

"The Ultimate Anthology" covers small parts of three different sets taken from two different places in the 70's with Jan Akkerman as still a band's member and footage of Thijs Van Leer leading a completely different band on a comeback live tour to the USA in 2002. "Hocus Pocus" and "Focus Medley" were taken from a 70's TV live performance with the classic Focus line up featuring Jan Akkerman, Thijs Van Leer, Bert Ruiter and Pierre Van Der Linden. They represent two great moments with the hilarious moment of "Hocus Pocus" and with a rare medley of some classic Focus songs with Akkerman leading a jam session that ends with a frantic version of "Hocus Pocus". "Hamburger Concerto" was also taken from a live TV performance. It's brilliantly performed and represents their most famous and elaborated epic. It was also performed by their classic line up but with Collin Allen on drums instead of Pierre Van Der Linden. "Anonymous II" and "Sylvia" were taken apparently in the same place of "Hocus Pocus" and "Focus Medley" were recorded, but in other occasion. They represent another great moment and the performance has the same classic line up. "Eruption", "House Of The King", "Focus III" and "Hocus Pocus (Reprise)" are great tracks which were taken from the USA live tour of 2002. They were wonderfully performed by an entire new support band of Thijs Van Leer featuring Jan Dumee on vocals and guitars, Bobby Jacobs on bass and Bert Smaak on drums, doing almost forget the original Focus line up. The variable video images as would be expected from a compilation with three decades of difference are acceptable and good. In what concerns to the video, considering the varied sources, the sound is remarkably good too.

Conclusion: Any album or video that proclaims to be the "ultimate" of anything has much to live up to and we must be suspicious of that. Here, despite the two completely different periods, at last, is a DVD that lives up to the hype. I'm sure that the devoted Focus' fans will want to buy this DVD immediately, and for those, like me, that remember Focus with a fond nostalgic glow, there is much to recommend on it. So, this is certainly a DVD that will bear repeated viewings and listenings. Thus, this is a nice DVD that shows the magic of the rock music at the time. It's highly recommended, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

A work lavished with atmospheres of diverse dimensions through an instrumentation that flows soberly, from the medieval character that Akkerman's lute accompanied by van Leer's gentle flute conveys in the brief and crystalline "Delitae Musicae" (an adaptation of the 16th century Dutch composer Joachim van den Hove), the folk reminiscences of the spirited "Harem Scarem" and van Leer's unmistakably Tyrolean vocal registers bordering on the burlesque, the heavenly airs emanating from organs and synthesizers in the ecclesiastical "La Cathedrale de Strasbourg", to the renaissance-rock intensity of "Birth" which, after the incandescent harpsichord intro and the wandering flute, delivers Akkerman's excellent guitar solo.

But the ultimate gem comes with the suite "Hamburger Concerto", a huge and superlative piece divided in six parts that condenses the classical, jazz and progressive influences that Focus uses to build it. The epic keyboard opening is joined by a forceful guitar riff, similar to the one later developed by Rush in "In the End" from their "Fly by Night", the sober bass of Bert Ruiter and the correct percussion of Colin Allen, to gradually create hypnotic and solid sound carpets that allow both the virtuoso showcasing of van Leer with his artillery of pianos, organs and mellotrons (iii. Medium I), as well as Akkerman's electric guitar, at times elegant, at times harsh, coupled with van Leer's sung verses borrowed from the Dutch carol "O Kerstnacht, schoner dan de dagen" (iv. Medium II). The final section finds the suite at its instrumental peak, with the opening guitar riff reappearing, complemented by a luminous synthesiser to conclude the piece majestically. Undoubtedly one of the Dutchman's finest compositions.

"Hamburger Concerto" brings the band's most splendid and renowned period to a brilliant close. Unfortunately, the constant disagreements between van Leer and Akkerman regarding the paths to follow and the musicians who should accompany them on the journey, would end up affecting Focus' musical proposal for the second part of the 70's.

Excellent

4/4,5 stars