Looking at the music of Dutch rock band Focus, started in the late sixties by Thijs Van Leer (b /31/03/48) with Jan Akkerman (b 24/12/46). Van Leer still performs and records under the name today (official site here). Akkerman's site here.

.

.

20191028

Focus Under the Bridge London




I have been to Stamford Bridge, Chelsea's ground, more than once but I had not really noticed that under the East stadium near the Shed end there is a venue called Under the Bridge, Last Friday night I and a ministerial friend (who I convinced about Focus last time they were in town) were among a couple of hundred squeezed into this state of the art setting. (A light show is a rare treat at a Focus gig but appreciated - I think the visuals man must have a sense of humour as we had a picture of crocuses as we started on Hocus Pocus or as Jan Akkerman would surely have rechristiened it Focus crocus!). We caught most of Chantel McGregor's set which was of a high standard. She plays guitar and sings with a bass and drums rhythm section. Of course, once Focus stepped on stage were into a whole new zone with each member of the band making a solid contribution that was rewarded with a solo slot for for each - more in some cases. Van Leer was on form with the complete array of two kinds of flute, organ, melodica, scat, whistling, throat singing, lots of vocoder and a brief vocal on the opening song.
The set list began as usual with some very early stuff - Focus 1, a little Anonymus and House of the King. We then had a version of Eruption, good but not outstanding on this occasion I thought. We then moved on to some more recent stuff - Winnie and the simple but effective All hands on deck with the essential Sylvia in the middle.
We then had some songs rarely heard, if ever - Focus 4 (!) from Mother Focus and Focus 6 which has never appeared on a Focus album (I can only find it on a van Leer solo album. You can hear a recent live version here.). Between these we had Who's calling? originally on the Akkerman van Leer Focus collaboration of 1985 but recently revived on the Focus 11 album. Staying with 1985 material we then had a very fine version of Le Tango with melodics, whistling, etc. Before tackling that Thijs remarked on the presence in the audience of former wife Rosalie Peters who wrote lyrics for  this and other songs. We then had two numbers from Hamburger Concerto regularly played back to back La Cathedrale and Harem Scarem. In the second, van Leer takes opportunity to make himself scarce. So we had solos from Menno Gootjes and Udo Pannekeet on six string bass. Van der Linden had had one in Eruption and was to get another very full one on the penultimate track.
The set of over two amazing hours (no-one in the band showing any signs of tiring) closed with the usual Hocus Pocus and then slightly over they plumped for Focus 2 (rather than Focus 3) as the closer. Stupendous stuff.
There was an opportunity to meet the band but there was a rather long queue and so we decided to head off.

20191025

Track by track 132

Archive number: 132
Title: Hoeratio
Main Album: Focus X
Track number: 7
Genre: Progressive Rock with vocal
Studio: Fieldwork Studios, Schoten, Belgium
Length: 5:38
Composer: Bobby Jacobs
Musicians: Thijs van Leer – Hammond organ, piano, flute, vocal; Menno Gootjes – Guitars; Bobby Jacobs – Bass; Pierre Van Der Linden – Drums
Producer: Bobby Jacobs
Label: Eastworld Recordings
Date of recording/release: November, 2012

Alternative version: None
Notes: The band play an atmospheric but languid tune throughout. From 01:12 through to 02:24 van Leer does a voice over reciting from Horace's Ars Poetica the lines below. After this section the guitar leads with a thorough exploration of the fretboard for the next little while before getting back to the march at 04:01 and then van Leer's now more dramatic an unidentified vocal from 04:14. This takes us right to the end where there is a fade.
The words are

Tibia non ut nunc orichalco uincta tubaeque 
aemula, sed tenuis simplexque foramine pauco 
adspirare et adesse choris erat utilis atque 
nondum spissa nimis complere sedilia flatu: 
quo sane populus numerabilis, utpote paruus, 
et frugi castusque uerecundusque coibat. 
Postquam coepit agros extendere uictor et urbem 
latior amplecti murus uinoque diuino 
placari Genius festis impune diebus, 
accessit numerisque modisque licentia maior. 
Indoctus quid enim saperet liberque laborum 
rusticus urbano confusus, turpis honesto?

The meaning

The Flute – not, as now, bound in brass and a rival of the trumpet,
but slight and simple with few stops – was once of use to lead
and aid the chorus and fill with its breath benches not too
crowded, where, to be sure, folk gathered, easy to count because
few sober folk, too, and chaste and modest.
But when a conquering race began to widen its domain and an
ampler wall embraced its cities and when, on festive days,
appeasing the Genius by daylight drinking brought no penalty,
but then both time and tune won greater licence.
For what taste would you expect of an unlettered throng just freed
from toil rustic mixed up with city folk, vulgar with nobly born?

Note on Horace or Horatio (Hoe ratio is a word play - how rational) Quintus Horatius Flaccus (65–8 BC), known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus (Octavian). The rhetorician Quintilian regarded his Odes as just about the only Latin lyrics worth reading: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words."
Horace also crafted elegant hexameter verses (Satires and Epistles) and caustic iambic poetry (Epodes). The hexameters are amusing yet serious works, friendly in tone, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings".
His career coincided with Rome's momentous change from a republic to an empire. An officer in the republican army defeated at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in John Dryden's phrase, "a well-mannered court slave.
The Ars poetica  or "The Art of Poetry" is a poem written by him about 19 BC. In it he advises poets on the art of writing poetry and drama. It has "exercised a great influence in later ages on European literature, notably on French drama" and has inspired poets and authors since it was written. Although it had been familiar since the Middle Ages, it was used in literary criticism only since the Renaissance.
It includes several famous phrases including quandoque bonus dormitat Homerus (l. 359) or "sometimes even good Homer nods off". Today this expression is used to indicate that even the most skilled poet can make continuity errors and that long works, usually epics may have their faults without that detracting significantly from their general quality. In context, however, Horace censures Homer for such lapses. I mention it as perhaps Homer nodded here too.

New Jan Akkerman Album out today

It is called Close BeautyCheck out the details here The track Retrospection explores the Focus link.

20191011

Hocus Pocus in the movies again

You'll enjoy this trailer especially from 1'09" on

20191010

Track by track 131

Archive number: 131
Title: Birds Come Fly Over (Le Tango)
Main Album: Focus X
Track number: 6
Genre: Jazz Pop Vocal
Studio: Fieldwork Studios, Schoten, Belgium
Length: 5:21
Composer: Thijs Van Leer, Roselie Peters
Musicians: Thijs Van Leer – Hammond organ, piano, flute, melodica; Menno Gootjes – Guitars; Bobby Jacobs – Bass; Pierre Van Der Linden – Drums; Ivan Lins - vocals. 
Producer: Bobby Jacobs, Geert Scheijgrond
Label: Eastworld Recordings
Date of recording/release: November, 2012
Alternative version: The same track is on The Focus Family album. Versions of Le Tango appear on the Focus album with Jan Akkerman, on Introspection 4 and in other places.
Notes: We begin with drums then acoustic guitar, organ, flute and eventually a chugging electric guitar in tango time. At 0:54 the vocal begins. The words are

I'm always watching sunrise,
I have at least a life
And for my heart's desire, I can die.

And you my love, my good love,
I see you live your life,
But in my heart I've often seen you cry.

I'm only waiting for the time to pass,
How can I raise my voice or my hand?
Birds come fly over to the sun.

Out of a million lovers,
One only could be mine,
Oh there's a million others passing by

From sun up until sundown
This life is such a strife
And if you lose your love you lose your life.

I'm only waiting for the time to pass,
How can I raise my voice or my hand?
Birds come fly over to the sun.

There is a brief instrumental section announced by a beat from 2:02-02:21 after verse 3. In the subsequent part van Leer's melodica is heard. From 3:28-04:01 the band comes in more strongly again before the final vocal section which features the second three verses repeated. A piano is heard in the mix this time.

20191003

Track by Track 130

Archive number: 130 
Title: All Hens On Deck 
Main Album: Focus X 
Track number: 5 
Genre: Progressive Rock Instrumental 
Studio: Fieldwork Studios, Schoten, Belgium 
Length: 5:44 
Composer: Thijs van Leer 
Musicians: Thijs van Leer – Hammond organ, piano, flute; Menno Gootjes – Guitars; Bobby Jacobs – Bass; Pierre Van Der Linden – Drums 
Producer: Bobby Jacobs, Geert Scheijgrond
Label: Eastworld Recordings 
Date of recording/release: November 2012
Alternative version: 
Notes: The track begins full pelt with drums then the band led by percussive guitar, the flute coming in from 00:06. This goes on until at 00:23 we have the breakdown with a series of three strokes, lasting until 00:44 when the Hammond led band takes up the theme. The flute then leads until 01:01 and the second break down. At 01:16 it is van Leer's scat vocal that comes in echoing the guitar with the band until 01:43. Menno's bluesy guitar then goes on until 02:28 when the scat section is repeated until 02:56. Next comes a radical slow down and a majestic, classical section led by the vocal and guitar. At 04:13 the earliest section is repeated, leading into the scat section (from 04:40). A final six strokes brings us almost to the end (05:25) before a long drawn out cat moan vocal contribution by a finally breathless van Leer.

20190926

Songs played only once in concert

Angel Wings
Anonymous/House of the King
Bésame mucho (Consuelo Velázquez cover)
Blues
Bobby's Bass Solo
Concerto de Aranjuez
Croatian title
De Ti O De Mi
Father Bacchus
Flute introduction
Focus 9 & 10
Focus V & VI
For You, or for Me
Guitar/Bass Solo
Hard Vanilla
Harem Scarem (featuring Menno guitar solo and Udo bass solo)
Harem Scarem (inc guitar and bass solos)
Hoeratio
Jan Akkerman Solo
Jippijippieayo
Just Like Eddy
Le Tango
Little Sister/What You See
Little Sister/What You See/Little Sister
Maximum
My Sweetheart
Profile
Questions answers answers questions
Sneezing Bull
Sonata for Flute
Sylvia (prelude)
Sylvia's Stepson - Ubatuba
The Girl From Bangu
Tommy/Focus III /Hocus Pocus
Tropical bird
Virtuous Woman
Walk on     

Rarely played live songs

Four times
Bass Solo, Blizu Tebé, Bobby bass solo/ arem reprise, Focus 8, Focus X, Hurkey Turkey, Mare Nostrum, Menno's Guitar Solo, No Hang Ups, Rock & Rio, Thijs' flute & vocal solos, Tommy
Five times
Flute & Keyboard solo, Flute Solo (Thijs), Focus VII, Keyboards and Flute Improvisation, 
Twice
Blues in D, Flute Improvisation, Focus IV, Guitar Solo, Hamburger Concerto Jam, Harem Scarem (reprise), Love Remembered, Medley: Focus (Instrumental)/Focus (Vocal)/Anonymous, Pierre's Drum Solo, Sto Ces Raditi Ostatac Zivota

Less commonly played live songs 21-40

21/22 Anonymous II and Focus V 11
23-25 Focus and Hocus Pocus (Reprise) and Sylvia's Stepson 10
26/27 Flute Solo and P's March 9
28 Ode to Venus 8
29-32 Birth and Drum Solo / Hocus Pocus reprise and Hamburger Concerto and Who's Calling?  7
33-37 Drum Solo and Focus 11 and Focus III / Answers? Questions! Questions? Answers! and Hurkey Turkey 2 and Thijs van Leer Solo 6
38-40 Anonymous and Mazzel and Victoria 5

Less commonly played live songs 10-20

After the top 10 the statistics go
11 Aya-Yuppie-Hippie-Yee 37
12 Focus 7 32
13 Birds Come Fly Over (Le Tango) 31
14 Answers? Questions! Questions? Answers! 30
15 Brother 19
16 Tamara's Move 17
17 Round Goes the Gossip 15
18 De ti o de mí and Neurotika 13
20 Focus I /Anonymus 12

Top 10 songs played on tour


Harem Scarem at Setlist fm

Harem Scarem
Facts
Total Plays - 97 times by 1 Artist
From the release - Hamburger Concerto (Album)
First Played in Concert - April 30, 1974 by Focus at Stadsgehoorzaal, Leiden, Netherlands
Most Recently Played - September 23, 2019 by Focus at CLUB CITTA', Kawasaki, Japan

Detailed Statistics by Artist
Harem Scarem stats
Focus

Eruption at Setlist fm

Eruption by Focus
Facts

Total Plays - 117 times by 1 Artist
From the release - Focus II (Album)
First Played in Concert - October 29, 1971 by Focus at De Doelen, Rotterdam, Netherlands
Most Recently Played - September 23, 2019 by Focus at CLUB CITTA', Kawasaki, Japan

Detailed Statistics by Artist
Eruption stats
Focus

See here

House of the King at Setlist fm

House of the King by Focus
Facts

Total Plays - 125 times by 4 Artists
From the release - In and Out of Focus (Album)
First Played in Concert - May 31, 1971 by Focus at Pinkpop Festival 1971
Most Recently Played - September 23, 2019 by Focus at CLUB CITTA', Kawasaki, Japan

Detailed Statistics by Artist
House of the King stats
Focus Drugi način John Wesley Harding La nuova Raccomandata con Ricevuta di Ritorno

Sylvia at Setlist fm

Sylvia by Focus
Facts

Total Plays - 156 times by 10 Artists
From the release - Focus 3 (Album)
First Played in Concert - November 12, 1971 by Focus at Club Zodiac, Amstelveen, Netherlands
Most Recently Played - September 23, 2019 by Focus at CLUB CITTA', Kawasaki, Japan

Detailed Statistics by Artist
Sylvia stats Focus The Breakfast Jan Akkerman De Boertjes van Buuten The Progs Don Airey Ryo Okumoto Progtributes Transatlantic Ginger Wildheart

See here

Hocus Pocus at Setlist fm

Hocus Pocus by Focus
Facts

Total Plays - 324 times by 37 Artists
From the release - Focus II (Album)
First Played in Concert - May 31, 1971 by Focus at Pinkpop Festival 1971
Most Recently Played - September 23, 2019 by Focus at CLUB CITTA', Kawasaki, Japan

Detailed Statistics by Artist
Hocus Pocus stats
Focus Gary Hoey Jan Akkerman Ginger Wildheart TR3 Steve Vai They Might Be Giants Nuno Bettencourt Zakk Wylde Yngwie J. Malmsteen Marillion Pacific Panic Don Airey Future Sight The Vandals Tosin Abasi A Couple Anancies Foo Fighters Generation Axe moe. Zon Anthrax Cult Hero D'AccorD Eläkeläiset First Generation of Number Nine Michael Girard Manowar Max Webster Ningen Isu Raging Slab Brendon Small Stallion Twister Thelonious Monster Transatlantic Ugly Kid Joe WildSide

See here

20190511

Focus Family Album Pie Chart


Track by track 129


Archive number: 129
Title: Amok in Kindergarten
Main Album: Focus X
Track number: 4
Genre: Jazz Instrumental
Studio: Fieldwork Studios, Schoten, Belgium (Mixed at B-Spot Studio; mastered at Tube Mastering)
Length: 5' 00"
Composer: Thijs van Leer
Musicians: Thijs van Leer – Hammond organ, piano; Menno Gootjes – Guitars; Bobby Jacobs – Bass; Pierre van der Linden – Drums
Producer: Bobby Jacobs, Geert Scheijgrond
Mastered: Andy Jackson
Mixed: Bram Bol
Label: Eastworld Recordings 
Date of recording/release: November 2012
Alternative version: Two early versions appear on a rare van Leer solo album called Home Concert. The first is a short piano piece and the second long piece features flute and piano.
Notes: First a sombre mood is set by the cymbals and drums with piano, organ and bass (00:00-00:52) before the guitar comes in too with the jazz melody that meanders along until 02:02 when the guitar takes more of a lead. This continues until 03:49 when something more like the earlier theme is taken up. This is a demanding piece on a demanding theme.
A note on the Dunblane School Massacre (from Wikipedia)
The Dunblane school massacre took place at Dunblane Primary School in Scotland, on 13 March 1996, when Thomas Hamilton, who lived five miles from the school, shot 16 children and one teacher dead before killing himself. The massacre occurred in the school gym where 28 children had been gathered for a PE lesson. Several staff were present. He also fired shots into a nearby classroom where the pupils had been instructed tolie on the floor. A total of 32 people sustained gunshot wounds inflicted by Hamilton over a 3 or 4 minute period, 16 of whom were fatally wounded in the gymnasium, which included Gwen Mayor and 15 of her pupils. One other child died later en route to hospital. It remains the deadliest mass shooting in British history.
Following the massacre two new Firearms Acts were passed, outlawing private ownership of most handguns in Great Britain. The gymnasium at the school was demolished on 11 April 1996 and replaced by a memorial garden. Two years after the massacre on 14 March 1998, a memorial garden was opened at Dunblane Cemetery, where Gwen Mayor and twelve of the slain children are buried.
Van Leer's piece is one of several musical reponses to the event.

Track by track 128

Archive number: 128
Title: Victoria
Main Album: Focus X
Track number: 3
Genre: Prog Rock Instrumental
Studio: Fieldwork Studios, Schoten, Belgium (Mixed at B-Spot Studio; mastered at Tube Mastering)
Length: 5' 28"
Composer: Thijs van Leer
Musicians: Thijs van Leer – Hammond organ, piano, flute; Menno Gootjes – Guitars, Vocals; Bobby Jacobs – Bass; Pierre van der Linden – Drums
Producer: Bobby Jacobs, Geert Scheijgrond
Mastered: Andy Jackson
Mixed: Bram Bol
Label: Eastworld Recordings 
Date of recording/release: November 2012
Alternative version: This track was originally recorded in 1970 with a vocal in Dutch penned by Lennaert Herman Nijgh. The lyric tells the story of a man accused of rape who is knifed by the girl's father! An edited version of the instrumental appears on The Focus Family Album
Notes: The track begins with a solo piano intro. At 00:10 the drums break in and then the guitar led band when the chorus comes (00:52-01:16). The chorus features a background vocal repeating the name Victoria. The verse (to 01:55) and chorus (to 02:18) are then repeated. The break down then comes, featuring organ, flute and a little muted flute before returning to the theme just before the three minute mark. A verse and some chorus work follow until 03:56 when a jam comes in with real jazz flute and some guitar. This plays out to the end of the track.

20190510

Track by track 127

Archive number: 127
Title: Focus 10
Main Album: Focus X
Track number: 2
Genre: Jazz Rock Instrumental
Studio: Fieldwork Studios, Schoten, Belgium (Mixed at B-Spot Studio; mastered at Tube Mastering)
Length: 5' 28"
Composer: Thijs van Leer
Musicians: Thijs van Leer – Hammond organ, piano, flute; Menno Gootjes – Guitars, Vocals; Bobby Jacobs – Bass; Pierre van der Linden – Drums
Producer: Bobby Jacobs
Mastered: Andy Jackson
Mixed: Bram Bol
Label: Eastworld Recordings 
Date of recording/release: November 2012
Alternative version: None
Notes: This is the title track and the tenth in the eponymous series. The drums again briefly introduce the guitar led band. The tune is a playful jazzy, even at times a quirky and teasing, one. The tune has something of a French feel to it. Beginning at 00:02 it goes on to 02:28 before the flute joins in. This flute section then goes on until around 03:40 before being chiefly supersededed by the guitar although it does make some brief comebacks. At 05:02 the piece breaks down and first only piano and organ play and then for the final 33 seconds just solo jazz piano to close the track.

20181114

Focus Live at the 100 Club



It was good to be at the 100 Club on Oxford Street in London reccently to hear Focus in fine fettle on the day they released their new album - Focus 11. We didn't hear any tracks from the new album, although for the very first time they played Song for Eva as found on the previous Focus Family album. Otherwise it was much as usual, starting with the golden oldies Focus 1/Anonymus/House of the King and moving on to a nice version of Eruption then Sylvia and, form the more recent era, All Hens on Deck and finishing with La Cathedrale/Harem Scarem and finally Hocus Pocus. The encoure was Focus 2. No Focus 3 this time round. Two hours of sheer joy for most of us though some of the crowd appeared to be rather distracted. The support act featured Finnish Finnish vi=ocalist and slide guitar expert Erja Lyytinen.

New Album - Focus 11

My autographed copy
I have had opportunity now to listen to the new Focus album several times. It is difficult to review a Focus album early on as their stuff usually repays many, many plays and it is often not until the umpteenth play that the full subtleties of a recording are sometimes appreciated. So far one is very positive certainly.
There are appropriately 11 tracks on the album. As usual, most track are entirely instrumental but with one vocal track. This time it is How many miles? a sort of pop song with fairly juvenile English lyrics but s good track. Two tracks were previewed on the previous stop gap album Focus Family - Clair-Obscur and Winnie. I think they are exactly the same as on the previous album. The other retreads are the opening track Who's calling? a reworking with a nice opening riff of the final track on the 1985 album called Focus and featuring Akkerman and van Leer. The second track, Heaven, will be familiar to some as a reworking of the original version of My sweetheart. This track is on the final Focus Akkerman album Mother Focus but first saw the light of day coupled with Love Remembered in 1974 in a concert in Japan.
The other seven tracks appear to be brand new. The stand out at the moment is Focus 11, the closing track, which keeps up the strong tradition of excellence those tracks all have. All the tracks on the album are van Leer compositons except for Mare Nostrum by the new bass player Udo Pannekeet. Palindrome appears to be a musical experiment that might well have come off. Mazzel is a rare reference to things Jewish. In general, the tracks feature the usual mix of bass, drums, guitars, organ, flute, lots of piano and some occasional vocalisations from van Leer.

20180616

Complete Jan Akkerman


We hear that a 26 CD Jan Akkerman set is being released next month. UK pricing is around £99. Wouter Bessels, who compiled, annotated and mastered the set in collaboration with Jan, kindly put some background info online elsewhere. He says
The booklet will be substantial, yes, to say the least. 66 pages. A biography by yours truly, with several pages of photos from all eras of Jan’s career – including several previously unpublished shots, followed by an album-to-album breakdown, featuring full credits (including never before published facts about who played what on particular albums) and Jan’s own memories about the 23 studio and live albums, taken from recent extended interviews I’ve done with Jan. In addition there’s a cd featuring his personal selection of Focus tracks, with some pre-Focus stuff added (Johnny and His Cellar Rockers, The Hunters and Brainbox) and a cd full of previously unreleased stuff such as basic tracks from “Angel Watch” and “Stingray” (both without string and woodwind overdubs!) and the original demo for “Crackers” recorded in the Summer of 1975 with Pierre van der Linden on drums. That particular demo was recorded during rehearsals for the 1975 Japan/Australia tour of Focus for which Pierre temporarily rejoined the band.
Regarding the mastering: I have been working for almost a year to transfer the analog 2-track tapes – or digital safety copies in some cases – for most of the albums up to 1993. Expect some flat transfers (as some were very good and did not need to be enhanced – less is more), expect some carefully dynamically remastering on some albums (eg. the 1977 guitar in bed album – which sounds pretty hollow and too bright – I have carefully corrected that), a few needle drops (as some mastertapes have disappeared and/or were untraceable) and for the rarities cd: a variety of sources, from 2-track DAT, cassettes to 2-track analog / 2-track digital. ‘Subsequently all cd-masters were checked and prepared for production by Peter Brussee of QPoint mastering in Hilversum (The Netherlands) – no additional EQ’ing a.o. was done during that final process. I can honestly say that Jan’s back catalogue is now fully future proof!’

20180503

Thijs on Radio 2

There was a brief interview with Thijs van Leer on Radio 2 yesterday evening. You can access the clip
here.

20180314

Focus X Pie Chart


Chart showing the proportion of the album taken up by each track

20180307

Death of Hans Cleuver

We are sorry to hear of the sad passing of Hans Cleuver. Born in Indonesia in 1947 he was a co-founder and first drummer for, Focus. From a musical family, Hans Cleuver drummed for the band during two periods - 1969-70 and 1997-98. He was also personal manager to both Thijs van Leer and Jan Akkerman at times and ran the multi-award-winning Cleuver Drumschool in Den Haag/the Hague. He was the husband of singer Bojoura and father to their children who include the drummer Emilie Cleuver.

20171010

Live at The Stables Milton Keynes October 2017


 

It was fun to be at a Focus Concert once again. I have seen them in The Stables. Milton Keynes before. It is a little sterile but it was good to see nearly 400 present. I ended up with a front side row seat just a few feet from Thijs van Leer himself. It was not a great spot in some ways but it gave certain advantages. We had the usual run - Focus 1, Anonymous, House of the King to begin; Eruption, Sylvia and La Cathedrale with Harem Scarem elsewhere; Hocus Pocus to close and Focus 3 with Answers Questions, Questions Answers as an encore. We also had All Hands on Deck, which I have heard before and, for the first time for me, P's March.
Being as close to van Leer as I was I observed how he mostly only used one hand to play the battered old Hammond organ he sat at most of the night. He also played the flute with one hand at times (sometimes combining flute and organ). He also played the haunting alto flute at the beginning, the simple melodica on Le Tango and did various things voice wise - scat, singing, whistling, yodelling, throat singing and oohs and aahs, usually with the vocoder. The high note on Hocus Pocuss are no longer possible but Thijs still has a very good singing voice.
I enjoyed all the solos from the band in the main, including new man Udo's six string bass. Still not sure about all of Menno's.
The evening began with an elderly heavy metal outfit called Burnt Out Wreck who were alright for what they were. After the main event the band happily signed autographs and chatted. I bought the latest offering (already purchased on itunes) and had it autographed. I also persuaded Pierre van der Linden to give me a signed drumstick.

20170918

Track by Track 126

Archive number: 126
Title: Father Bacchus
Main Album: Focus X 
Track number: 1
Genre: Progressive Rock Instrumental
Studio: Fieldwork Studios, Schoten, Belgium  
(Mixed at B-Spot Studio; mastered at Tube Mastering)
Length: 4:03
Composer: Menno Gootjes
Musicians: Thijs van Leer – Hammond organ, piano, flute, spoken word; Menno Gootjes – Guitar; Bobby Jacobs – Bass; Pierre van Der Linden – Drums
Producer: Bobby Jacobs, Geert Scheijgrond
Mastered: Andy Jackson
Mixed: Bram Bol
Label: Eastworld Recordings
Date of release: November 2012
Alternative version: None
Notes: The track begins with drums, then the whole band give a Hocus Pocus style riff at frenetic pace before (at 00:12) a flute led section slows things slightly until things kick off again with the band at 00:23. At this point van Leer gives a voice over as follows

"And ladies and gentlemen we proudly we present Focus
Fo- cus F O C U S
Hahaa! Beautiful!"

At 00:33 the band riff comes in for another 11 seconds and then the flute section follows, this time extended as far as 01:23, where the guitar takes up the lead. At 01:42 the flute returns to interweave with the guitar until 01:55 where there is a brief drum break backed up by the repeated flute riff. At 02:12 a new bassy band Hocus Pocus type riff begins. The guitar leads for a while over this until the flute returns at 02:42, becoming playful ten seconds in as a flute-led acoustic ensemble plays out to a slow fade.
NB This title echoes the earlier instrumental Father Bach (on Mother Focus) by way of reference to the Roman god Bacchus, the equivalent of the Greek god Dionysius, who Wikipedia says is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in ancient Greek religion and myth.

20170901

New Focus Album Out Today September 1

Rather out of the blue a new Focus album appears today. What they have done is to interleave Focus tracks with tracks from members of the band to create an attractive double album adorned with one of Roger Dean's iconic artwork covers. I understand that the CD version is quite lavish in presentation. This is well worth a listen and full of good things. They could have simply produced a 10 track Focus album but by this means one gets something a bit more meaty and this is probably the right move, although why the old method of calling solo tracks a group effort (pioneered by the Beatles [Yesterday] and continued by Focus [Moving Waves, le Clochard]) could not have been followed I am not sure. Some few tracks have appeared before but the bulk is very fresh to most of us. It is called Focus Family Album and is available through the usual outlets.