Happy Christmas from Focus 1972

Track by track 172 (154) Clair-Obscur

Archive number: 172

Title: Clair-Obscur

Main Album: Focus 11

Track number: 8

Genre: Progressive Rock Instrumental

Studio: Unknown

Length: 3:14

Composer: Thijs van Leer

Musicians: Thijs van Leer – Hammond organ; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums

Producer: Geert Scheigrond

Engineer: Geert Scheigrond

Label: In and Out of Focus Recordings

Date of recording/release: November 2018

Alternative recording: Focus Family Album

Notes: This is the same recording as is found on The Focus Family Album

Track by track 171 Palindrome

Archive number: 171

Title: Palindrome

Main Album: Focus Family 11

Track number: 7

Genre: Progressive Rock Instrumental

Studio: WedgeView Studios, Netherlands

Length: 5:34

Composer: Thijs van Leer

Musicians: Thijs van Leer – Hammond organ; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums

Producer: Geert Scheigrond

Engineer: Geert Scheigrond

Label: In and Out of Focus Recordings

Date of recording/release: November 2018

Alternative recording: None

Notes: The track begins with drums then a guitar riff plus a discordant organ sound that cuts through the melody. This pattern continues for the first 49 seconds when a lighter pattern comes in for 15 seconds before reverting to the previous pattern. At 1:26 we are back to the new lighter pattern for another 15 seconds before reversion to the first pattern. At 2:02 a new stately slow march comes in. This lasts down to 2:36 when the original pattern repeats punctuated with a series of short drum breaks (at 2:58-3:05, 3:16-3:23, a longer one at 3:34-3:5, 3:56-4:03 and the longest at 4:14-4:45). The stately slow march comes in again at 4:46 to end the track.

A palindrome is a word, number, phrase or other sequence of symbols that reads the same backwards as forwards, eg madam or racecar, the date and time 12/21/33 12:21 and the sentence: "A man, a plan, a canal – Panama". The 19-letter Finnish word saippuakivikauppias (a soapstone vendor), is the longest single-word palindrome in everyday use, while the 12-letter term tattarrattat (James Joyce Ulysses) is the longest in English.

The word was introduced by English poet and writer Henry Peacham in 1638. It is derived from the Greek roots πάλιν 'again' and δρóμος 'way, direction'; a different word is used in Greek, καρκινικός 'carcinic' (lit. crab-like) to refer to letter-by-letter reversible writing. The concept of a palindrome can be dated to the 3rd-century BC, although no examples survive; the first physical examples can be dated to the 1st-century AD with the Latin acrostic word square, the Sator Square (contains both word and sentence palindromes) and the 4th-century Greek Byzantine sentence palindrome nipson anomemata me monan opsin.

Palindromes are also found in music and biological structures (most genomes include palindromic gene sequences). In music Haydn's Symphony No. 47 in G is nicknamed "the Palindrome". In the third movement, a minuet and trio, the second half of the minuet is the same as the first but backwards, the second half of the ensuing trio similarly reflects the first half, and then the minuet is repeated.

The interlude from Alban Berg's opera Lulu is a palindrome, as are sections and pieces, in arch form, by many other composers, including James Tenney, and most famously Béla Bartók. George Crumb also used musical palindrome to text paint the Federico García Lorca poem "¿Por qué nací?", the first movement of three in his fourth book of Madrigals. Stravinsky's final composition, The Owl and the Pussy Cat, is a palindrome.

The first movement from Constant Lambert's ballet Horoscope (1938) is entitled "Palindromic Prelude". Lambert claimed that the theme was dictated to him by the ghost of Bernard van Dieren, who had died in 1936. British composer Robert Simpson also composed music in the palindrome or based on palindromic themes; the slow movement of his Symphony No. 2 is a palindrome, as is the slow movement of his String Quartet No. 1. His hour-long String Quartet No. 9 consists of 32 variations and a fugue on a palindromic theme of Haydn (from the minuet of his Symphony No. 47). All of Simpson's 32 variations are themselves palindromic.

Hin und Zurück ("There and Back": 1927) is an operatic 'sketch' (Op. 45a) in one scene by Paul Hindemith, with a German libretto by Marcellus Schiffer. It is essentially a dramatic palindrome. Through the first half, a tragedy unfolds between two lovers, involving jealousy, murder and suicide. Then, in the reversing second half, this is replayed with the lines sung in reverse order to produce a happy ending.

The music of Anton Webern is often palindromic. Webern, who had studied the music of the Renaissance composer Heinrich Isaac, was extremely interested in symmetries in music, be they horizontal or vertical. 

Just as the letters of a verbal palindrome are not reversed, so are the elements of a musical palindrome usually presented in the same form in both halves. Although these elements are usually single notes, palindromes may be made using more complex elements. For example, Karlheinz Stockhausen's composition Mixtur, originally written in 1964, consists of 20 sections, called "moments", which may be permuted in several different ways, including retrograde presentation, and two versions may be made in a single program. When the composer revised the work in 2003, he prescribed such a palindromic performance, with the 20 moments first played in a "forwards" version, and then "backwards". Each moment, however, is a complex musical unit, and is played in the same direction in each half of the program. By contrast, Karel Goeyvaerts's 1953 electronic composition, Nummer 5 (met zuivere tonen) is an exact palindrome: not only does each event in the second half of the piece occur according to an axis of symmetry at the centre of the work, but each event itself is reversed, so that the note attacks in the first half become note decays in the second, and vice versa. It is a perfect example of Goeyvaerts's aesthetics, the perfect example of the imperfection of perfection.

In classical music, a crab canon is a canon in which one line of the melody is reversed in time and pitch from the other. A large-scale musical palindrome covering more than one movement is called "chiastic", referring to the cross-shaped Greek letter "χ" (pronounced /ˈkaɪ/.) This is usually a form of reference to the crucifixion; for example, the Crucifixus movement of Bach's Mass in B minor. The purpose of such palindromic balancing is to focus the listener on the central movement, much as one would focus on the centre of the cross in the crucifixion. Other examples are found in Bach's cantata BWV 4, Christ lag in Todes Banden, Handel's Messiah and Fauré's Requiem.

A table canon is a rectangular piece of sheet music intended to be played by two musicians facing each other across a table with the music between them, with one musician viewing the music upside down compared to the other. The result is somewhat like two speakers simultaneously reading the Sator Square from opposite sides, except that it is typically in two-part polyphony rather than in unison.

(See Wikipedia)

Track by track 170 (164) Winnie

Archive number: 170
Title: Winnie
Main Album: Focus 11
Track number: 6
Genre: Progressive Rock Instrumental
Studio: Mosh Studios, Sao Paulo, Brazil
Length: 5:13
Composer: Thijs van Leer
Musicians: Thijs van Leer – Hammond organ, Flute; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums
Producer: Geert Scheigrond
Engineer: Geert Scheigrond
Label: In and Out of Focus Recordings
Date of recording/release: November 2018
Alternative recording: Focus Family Album
Notes: This is a slightly shorter edit from the version on The Focus Family Album

Track by track 169 Mazzel

Archive number: 169

Title: Mazzel

Main Album: Focus Family 11

Track number: 5

Genre: Jazz Rock Instrumental

Studio: WedgeView Studios, Netherlands

Length: 4:23

Composer: Thijs van Leer

Musicians: Thijs van Leer – Hammond organ; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums

Producer: Geert Scheigrond

Engineer: Geert Scheigrond

Label: In and Out of Focus Recordings

Date of recording/release: November 2018

Alternative recording: None

Notes: Mazzel is a Dutch slang word for luck (used in phrases for good luck, also so long or bye) taken from Yiddish (as in Mazzel tov, good luck)

The track is led in by the electric guitar before the whole band joins with choppy jazz type progressions. At 01:33-01:44 (and 03:28-03:42) the guitar becomes a little more mournful and then it is back to the jazz. Plenty of variation but no prgression. From 01:44 flute or synthesiser is introduced.

Track by track 168 How many miles?

Archive number: 168

Title: How many miles?

Main Album: Focus 11

Track number: 4

Genre: Progressive Rock Pop Song

Studio: WedgeView Studios, Netherlands

Length: 4:48

Composer: Thijs van Leer

Musicians: Thijs van Leer – Hammond organ, flute, vocal; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums

Producer: Geert Scheigrond

Engineer: Geert Scheigrond

Label: In and Out of Focus Recordings

Date of recording/release: November 2018

Alternative recording: None

Notes: These are the lyrics to the track

How many miles between

my love and I?

My love, where have you been

all my life?

How many stars have seen

us weep and cry?

With tears of joy that mean

us man and wife?

Let me reflect your energy

that moves my soul to ecstasy.

Let me become your melody

be sung in perfect harmony.

Amazing grace, your face divine,

now let me be your Valentine.

Let me become your bird so free

on wings made for eternity.

How come you shine so bright

you lucky star?

This fragrance of your soul

smells from afar.

How is it possible

your answer's yes?

My deepest joy, my love,

forever jazz …

let me reflect your  energy ...

The track begins (00:00-00:09) with drums before breaking into a bouncing instrumental ensemble with guitar and flute. Then at around 01:09 a slightly cheesy pop song comes in and lasts until around 03:27. We then revert to the bouncing instrumental but this time with a spoken van Leer voice over reiterating the lyric until the fade.

Track by track 167 Theodora Na na na

Archive number: 167

Title: Theodora Na na na

Main Album: Focus 11

Track number: 3

Genre: Jazz Rock Instrumental

Studio: WedgeView Studios, Netherlands

Length: 4:27

Composer: Thijs van Leer

Key: C#

Musicians: Thijs van Leer – Hammond organ, piano, synthesiser; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums

Producer: Geert Scheigrond

Engineer: Geert Scheigrond

Label: In and Out of Focus Recordings

Date of recording/release: November 2018

Alternative recording: None

Notes: The piano and guitar begin this laid back track with piano and guitar and some sort of synthesiser in the background. At 00:12 the drums and bass come in and then at aound 00:16 the flute too. As the track progresses there are more electric guitar licks and a regular return to the beginning. It is quite meandering on the whole and peters out rather than coming to any definite conclusion, although it does actually end.

Focus at Bush Hall, W London April 2023

Shortly after arriving home from the conference I headed out again to West London, to a new venue for me, where Focus were playing - Bush Hall. Bush Hall is a lovely old building and it was an all seater gig. Not good with numbers but several hundred filled the place, with few empty spaces. Nice to meet Elias Weine Weg who had come all the way from Norway to be there. Some nice old geezers did a semi-acoustic blues to set things on their way. Then came the mighty Focus - on form with their usual set. The only surprise all evening was when one of Menno's guitar strings snapped and he had to abandon his favourite Gibson for another green one (didn't seem to make any difference). I probably know ths set (complete with solos from all four) too well to enjoy it to the max. It would be nice to hear live some of the other stuff they have on record.

Track by track 166 Heaven

Archive number: 166
Title: Heaven
Main Album: Focus 11
Track number: 2
Genre: Progressive Rock Instrumental
Studio: WedgeView Studios, Netherlands
Length: 4:26
Composer: Thijs van Leer

Key: G
Musicians: Thijs van Leer – Hammond organ, piano, flute, voice; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums
Producer: Geert Scheigrond
Engineer: Geert Scheigrond
Label: In and Out of Focus Recordings
Date of recording/release: November 2018
Alternative recording: None
Notes: We begin with several seconds of choppy organ with a drum beat at 00:04 and guitar led band joining in. At 00:09 a riff comes in and then is varied a little until 00:37 when a repeated piano trill comes into the mix, the drums becoingmore stilted. Then at around 00:59 we have a four note chanticleer or cockerel sound played on organ then guitar then with flute domnating. That section carries on through to 01:55 where it is superseded by an organ and piano led theme that reverts quite soon to the four note theme. Shortly after a rising theme dominates before, at 02:41 we are back with the organ theme from the beginning. That develops, giving room for some nice guitar work and jazzy piano. At 03:40-03:48 van Leer's voice is heard scatting. The band contonue until 4:05 when a more laid back version of the four note section comes in and we end with a drawn out note on guitar.

Track by track 165 Who's calling?

Archive number: 165

Title: Who's calling?
Main Album: The Focus Family Album
Track number: 1
Genre: Progressive Rock Instrumental
Studio: WedgeView Studios, Netherlands
Length: 5:28
Composer: Thijs van Leer
Musicians: Thijs van Leer – Hammond organ; Menno Gootjes – Guitars; Udo Panekeet – Bass; Pierre van der Linden – Drums

Producer: Geert Scheigrond
Engineer: Geert Scheigrond
Label: In and Out of Focus Recordings
Date of recording/release: November 2018

Alternative recording: Focus by Thijs van Leer and Jan Akkerman

Notes: This reworking of the flute led 1985 track begins and ends with distorted staccato solo electric guitar and provides the sort of loud and brash opener that often opens a Focus album. The electric guitar is joined by drums around 04:00 and then the full band. Over the furious paced rhythm an organ backed guitar comes in around 00:22 with a yearning melody that reaches something of a climax around 01:45. The original riff comes in again at 01:50. This riff over the organ cpntinues until 2:22 when the guitar lead comes in again and the previous figure is more or less repeated, coming to a similar climax around 03:45. At 3:50 a more violined theme comes n and the guitar increasingly breaks down as Menno works up and down the fretboard at increasing speed until a fade begins only cut off by the repeated riff from the beginninng.

Focus - Hamburger Concerto Period

 

Liner notes 8 German In and Out

These liner notes are from the 1970 German pressing of the Focus debut album

We are now living in the progressive rock era of music. Every week, hundreds of albums by new rock groups from England and America flood the market. The percentage of those that are successful is very small, indeed. It seems, therefore, that the last thing that we need is another rock group, especially one with the apparent handicap of being from Holland, which is known primarily for windmills, wooden shoes, and tulips, rather than rock groups.

Focus, however, is a very unique group, and rock music, as we all know, is an international language of its own.

JAN AKKERMAN, the lead guitarist of Focus, is one of the best rock guitarists in the world, and is perhaps the best in Europe at the present time. Jan, who was the leader of the Dutch pop group Brainbox, left that group to help form Focus.

THIJS VAN LEER, the group's organist, HANS CLEUVER, who plays percussion, and bass guitarist MARTIJN DRESDEN, comprise the rest of Focus, and like Jan, all had been successful with other Dutch bands prior to joining forces, in fact, the four were considered among the best musicians in Holland.

All of the material in the album was written and composed by Focus members. The songs are all in English, the only language in which the group writes and performs.

In Europe, fans and critics have already begun to sing the praises of Focus. Many are hailing them as the first continental "super-group", but we will not venture to voice our opinion until the group meets the test of the severe American audiences. This will happen soon, as an American tour for Focus is being mapped as this album goes to print. Who knows, maybe someday Holland will be famous for Focus too.

Liner notes 7 Bojoura

These liner notes by Thijs van Leer originally appeared on the 1970 album The Beauty of Bojoura and the 1972 album Jesus Christ Superstar - the best of Bojoura, which he had a large part in assembling

Asked to think up the title for this new Bojoura album, I couldn't but suggest to entitle it "The Beauty of Bojoura", impressed as I am by her inward as well as her outward beauty. In addition to a talent for singing she also possesses a fine feeling for languages. This not only manifests itself in her fluency when speaking such languages as French, German, English, Bulgarian or Dutch, but also in the remarkable richness of metaphor in the lyrics she writes. This figurative language has been a great inspiration to me when setting a handful of her poems to music. On the other hand, Bo and I have equally enjoyed doing our versions of songs from the repertoire of such groups and singers as Peter, Paul & Mary, the Doors, the Rolling Stones, Tim Hardin and Tom Paxton.

Bojoura's inward beauty as well as her outward beauty impress me quite a lot.

In addition to a talent for singing she also possesses a fine feeling for languages. This not only manifests itself in her fluency when speaking such languages as French, German, English, Bulgarian or Dutch, but also in the remarkable richness of metaphor in the lyrics she writes.

The figurative language has been a great inspiration to me when setting some of her poems to music. On the other hand, Bo and I have equally enjoyed doing our versions of the hit songs from the Rock Opera "Jesus Christ Superstar" and songs from the repertoire of such groups and singers as Peter, Paul & Mary, The Doors, The Rolling Stones, Tim Hardin, Tom Paxton, Jo Stafford and Gordon Lightfoot.

Liner notes 6 Nice to have met you

These liner notes appear on the van Leer solo album Nive to have met you from 1978

Tys van Leer is a household word throughout his native Holland and other parts of Europe. His classical roots as a flutist and as a composer, showcased in the CBS albums "Introspection 1, 2 and 3," have earned him superstar status abroad. From these classical seeds, carefully cultivated since childhood, Tys branches out into other musical genres.

The rest of the world sampled Tys' artistry when he toured with his trendsetting rock band, Focus, in the early 1970s. Their single, "Hocus Pocus", was an international success, memorable not only for its musical composition, but for one of Tys' additional talents - yodeling. Turning to yet another music form, he captivated the audience at the 1977 Montreaux Jazz Festival. While the flute remains Tys' featured instrument, he is also accomplished on the piano, organ, oberheim, harmonium and mellotron.

Everywhere Tys travels, people accept his music with admiration and appreciation. When Tys arrived in the United States in November, 1977, to make plans for this album, he was overwhelmed by the sincerity and friendliness of those he encountered. And, at the end of every conversation, a phrase which struck him as being typically American recurred, "...nice to have met you."

In February, Tys returned to New York City to begin recording. He brought with him several new compositions and a title song to express warm feelings for his many new American friends, "Nice To Have Met You."

The sessions began on a high note. Two of his new friends, Ralph MacDonald and Tom Scott, collaborated their production talents with the brilliance of Tys' music. The joy and intensity that characterized Tys' meetings with artists he's long admired is evident in the music that resulted. And, as the end of each session, many musicians would approach Tys with compliments to his music and the ever-familiar phrase, "...nice to have met you."

With this album, the world will be able to savor the genius of this multi-talented Dutch musician. It is, indeed, so nice to have met you, Tys van Leer.

Liner notes 5 Cyril

These liner notes appear on the 1973 album Cyril by Cyriel Havermans

In the beginning five musicians* gathered in Holland and formed a new group. They captured the ears of the Continent and England. They became the hottest and most progressive group in America.

The group is Focus.

The members of Focus are all individual and extremely accomplished musicians. One of the members was particularly interested in vocals and the fuller use of the voice, not only in lyrics, but as an additional instrument. Since FOCUS was primarily instrumental in approach, he decided to leave the group and explore on his own. The parting was amicable. The man is Cyril Havermans and he's out of Focus.

When MGM Records Senior Vice President Toni Scotti first heard Cyril's demos, he recognised a new force in music.

On his debut LP, Cyril is fully backed by his friends from Focus and presents a selection of his own material. He employs basic and primitive sounds with modern progressive forms and combines them into a completely fresh experience. Flute and full throttle guitars mingle with strings and an assortment of percussion instruments. The harmonic structure and polyrhythmic approach paints an aural picture. It is the work of a man who thinks individually about his music.

*It is unclear why the number five is given. Probably whoever wrote this was rhinking of Focus, a four man band, plus Cyril.

Liner Notes 4 Brainbox

These liner notes appear on the self-titled Brainbox album, issued in 1969

Without any exaggeration Brainbox may be called the sensation of 1969! The extremely carefully chosen combination of the group is responsible for that. This all links up with the prevailing tendency to combine the talents, which are spread over certain pop-groups, to one strong formation.

The group has only been formed some months ago, but in those months it clearly appeared, that Brainbox can create music on a level, which is higher than most groups ever reach.

This long-play recording will add inexpressible strength to the above mentioned. The versatility of titles, the original interpretation and the exceedingly progressive attitude of each individual member makes this record an awe-inspiring document in the pop-culture today.

At the moment these words were being written, their single "Down man" is busy "knuckling down" the United States of America. The leading trade-journals Billboard and Cash Box unanimously are of the opinion, that this combination belongs to the best of today's pop-scene.

Let us hope, that this recommendation will result in the international acceptance for the most international sound of BRAINBOX!

Liner Notes 3 Ship of Memories

These appeared on the reverse of Ship of Memories when it came out in 1976

The key to success for any rock or music band lies not only in their individual skills but in their ability to mould those special talents into a formula of sound and substance which will be, by nature of those merits, sought out by the mass audience. Undeniably, the two founder members of FOCUS, Thijs van Leer and Jan Akkeman, along with the varying other members from Hans Cleuver and Martin Dresden through to Bert Ruiter and Colin Allen, have achieved just this goal - with flying colours. But it was the magical mixture of van Leer, Akkerman, Pierre van der Linden and Cyril Havermans (later replaced by the redoubtable Ruiter) which produced both on stage and on record the greatest moments of FOCUS' musical pageants. "SHIP OF MEMORIES" contains much of the magic from this prolific period as well as other items of equal importance from other stages in the carrer of this unique band.

My first encounter with the band, other than a quick glance at their first album "In And Out of Focus", was in Holland. At the suggestion of Seymour Stein I visited a small farming town in the north of Holland - the town had one of those unpronounceable names - during the last months of l97O. The original drummer and bassist - Hans Cleuver and Martin Dresden respectively - had just been replaced by Pierre van der Linden and Cyril Havermans. The performance that night was formidable - although I doubt the greater part of the crowd present were in much of a state to appreciate it. The beer flows heavy and fast in that part of the world ! A few months later all was ready to record. Sound Techniques and engineer Jerry Boys were booked and "Moving Waves" was set to Ampex 8 track. It was in this same studio and with the same engineer and equipment that "In And Out of Focus" had been made during the preceeding year. "SPOKE THE LORD CREATOR" comes from this period. Produced by Hubert Terheggen, the Sound Techniques legend states the recording date as 26th January 1970. The main melody part is stated by Thijs and Jan is left to solo - it serves well to show the direction in which the unit was heading even at this early stage, as did "House Of The King", still one of their best compositions.

The success of "Moving Waves" far surpassed all our wildest dreams. It also spawned a huge single hit in the shape of the bizarre "Hocus Pocus". Sadly, time - a little too much time - elapsed before we could get back into the studio again. It was not until mid-1972 that we embarked on "Focus 3" at Olympic Studios with engineer George Chkiantz. You know, this was only supposed to be a single album, but so much material was recorded in a three week period we decided to make it a double album project. Once again the album was successful and another single, "Sylvia" proved to be a chart entry. Incidentally, the recording of this material marked the arrival of Bert Ruiter and the departure of Cyril Havermans, who went his way to follow a solo career.

A further year was to pass until we were able to get back into the studios again - and as the saying goes, this is where the story really starts! The twelve month period between May'72 and May'73 had been filled to the brim with work for the band. Tours of Europe and the like left little ar no time to put together new material for another record project. An appearance at London's Rainbow Theatre on May 5th 1973 was recorded and subsequently released as the "Live At The Rainbow" set. It was only released as a stop-gag in view of the fact that there was disagreement with regard to the new material we had recorded in the last two weeks of that month of May. Those two weeks - almost immediately following on the tale end of a British tour - were booked at Chipping Norton in the heart of The Cotswold Hills. There had been not time for Preparation but it was essential to try and get something down on tape toward a new album. It was not a very fruitful period - at least that is how it appeared at the time, but on reflection ...

Musical ideas within the band were scarce and fatigue was fast setting in as too were certain discontents, of which I was to learn more as the two week period wore on. The first two days were spent working on the sounds of the various instruments until everyone was happy. Engineer Dave Grinsted had a very hard time with Pierre's drum sound - he had just purchased a Ludwig transparent framed kit and in terms of recorded sound it was disappointing - at least to Dave and I it was. Pierre was over the moon about it. And so the business of making music got under way. Of the items recorded about half are included here. "P'S March" is in true Focus style and was recorded as a single although it has not seen the light of day until now. This was about the only item completely finished to the satisfaction of Thijs and Jan - completed in fact, as I recall, during the very first few days of our sojourn in Chippy. Thijs is featured here on organ, Mellotron, clavinet, flute, alto flute and piccolo. The band took the tapes to New York some months later where they remixed it but I have remixed again for the reason of continuity. "Can't Believe My Eyes" was one of the first items we recorded and according to the tape box was called "Can't Believe My Ears" and subtitled "Dance Macabre". I have no idea how it got changed although I doubt it matters much.

As I recall, "Focus 5" was recorded without Jan being present in the Studio. Indeed, a certain amount of the material used here was initially committed to tape whilst Jan was in his bedroom resting. It was his apparent unwillingness to work on this project at this particular time that caused a great Ideal of soul searching in the hearts of the other members of the band. I suffered those "pin-jabs" too for it was my job, amongst others, to get an album out of these sessions. Proceedings were not going according to plan - it really looked as if we were about to lose everything. I talked to Jan but could get nothing out of him. Thijs talked to him with similar results. Bert just looked on - he was ready to work. Pierre wouldn't speak to anyone and grew the "long face" look which he wore for most of the two week period. Dave Grinsted, laconic as ever, just stood by - what could he do anyway ? It was in this kind of atmosphere that we recorded almost forty minutes worth of music - most of which we subsequently decided was not good enough to keep. Strange how one's outlook can change over the years. Anyway, back to "Focus 5". Jan's quitar part was added days after the track had been laid down - very late one night when all we really wanted to do was to rest.

Despite all these factors, the results are magical. There is a quality about the guitar lines - I find it hart to put it into words. Meanwhile ... Thijs had been working on a sequel to "Eruption", which had appeared on the "Moving Waves" album. He admitted freely to not having had enough time to work the piece through thoroughly but he would attempt to get something of it down on tape. "Vesuvius" was the piece and it sounded good - even in its very raw state. We recorded a fair amount of the work, but not having Jan present for the greater part of it, proved too much of a handicap and it was shelved. However, a section from the improvisation which did feature Jan is included here under the title "Out Of Vesuvius". What happened to "Vesuvius" you may ask. It was re-written and appears on record as "Hamburger Concerto". And so we come to "Ship Of Memories" which features Pierre van der Linden on drums and harmonium. Pierre's uneasiness during this time may have been related to his apparent insecurity within the band. Remember that he was subsequently replaced by ex-Stone the Crows drummer, Colin Allen. The inactivity during the fourteen days in Chipping Norton, gave Pierre the change to write this item, which in its full form is over five minutes long. In a sense it was his way of saying to the others in the band: "I too can offer something in the way of composition". Being in a free position to do this lifted the gloom from his face, at least. The day following the recording of this song the sessions came to an end. Our next sessions were some nine months later - at Olympic again.

The remaining titles which make up this set were made in different parts of the world with the band themselves handling the production. "Glider" for instance was made in Brussels at Morgan Studios with Pierre on drums. This is full of interest. Jan is featured on electric sitar as well as guitar-the only time I can remember him using one on record and there is the phantom "rhythm machine" to the forefront. I wonder how Pierre felt about this. In any event, the tune was shelved - later re-written and re-recorded in Los Angeles with Colin Allen and appears on the "Mother Focus" album under that title. "Red Sky At Night" is another odd item. Recorded again at Morgan in Brussels it features Thijs and Jan. Thijs makes use here of the Moog bass, thus substituting the bass guitar of Bert. David Kemper on drums. And finally, "Crackers", which would appear to have been made between the U.S., Belgium and Holland. Jan features acoustic guitars on this number, an instrument missing from much of the band's material since "House of The King".

Working with and alongside the members of Focus, their manager Yde de Jong, and Production manager Hubert Terheggen, has been a rewarding experience. We have had a great deal of fun and there have also been times not so fun-filled. It must be that way with any relationship. But no one can take away the beauty and power of the music. Nor can they take away the memories of how it all happened. I for my part, am grateful to have had the chance to be involved with such talent. "Ship of Memories" will become a prized possession.

Mike Vernon

October 1976

Liner Notes 2 Introspection

These liner notes were penned by the Dutch TV presenter Willem Duys for the van Leer solo album Introspection, which came out in 1972

It seems unfair that some people are so much more talented than others. THIJS VAN LEER is one of those more.than usually gifted musicians. He could have been a concert pianist for instance. Born the last day of March 1948, he caressed the keys when still the tiniest of toddlers, started studying seriously when he was all of three years old and became the often praised pupil of locally famous pianists like Maria Stroo and Gerard Hengeveld. When he was thirteen, he became interested in jazz and pretty soon played fine harmonic variations on "Stella by Starlight" and other beautiful ballads.

Van Leer Senior, however, was not very happy to see a possible Mozart gradually becoming a probable Bill Evans. Being an extraordinary flute player himself, he started to teach young Thijs the intricates of this old and difficult instrument.

Meanwhile, the musical prodigy did very wekk in school. He finished his Gymnasium-studies in record time and even proved to have more arrows to hus cultural bow than people had expected: during an inter-scholar match, he proved himself and exciting actor in Shakespeare, did some declamation of his own poetry, played jazz and flute abd finally sang a song he had just composed in true Richard Rodgers-style: music and lyrics. It was then that I had the fortune to discover Thijs van Leer and I took him to his first recording session in 1967. This resulted in a single nobody took notice of. I also introduced van Leer to Ramses Shaffy, who was just forming a new cabaret group and soon young Thijs made his professional debut on stages all over the country.

Meanwhile he studied the History of Art, took lessons in harmony and counterpoint at the Amsterdam Conservatory and painted many pictures. Success had to come one way or another. It came when he formed his own group with equally talentes Jan Akkerman, a guitar player of great virtuosity and this group, called FOCUS, has now won prizes in Festivals all over Eurpe, as well as the 1971 Edison Award, apart from being a top-selling bunch of record makers.

This is the first solo LP Thijs van Leer has made. It goes back to Bach in some numbers, it shows his classical training, it proves his ability as a flute player. It also shows his remarkable sense of style and form. Whether you hear Fauré's lovely Pavane or Van Leer's own Focus I and II, you will be thrilled by the whole conception and reakisation of his music.

A word of praise should be printed for Rogier van Otterloo, who wrote so many fine arrangements for Rita Reys and others and who came up this time (being a pianist and flute player himself) with truly lush orchestral backgrounds, in which a prominent part is played, or rather sung, by young soprano Letty de Jong.

So there it is: an LP featuring a still very young but unusually gifted performer named Thijs van Leer, whose name you're bound to hear many times in the future and whose kind of music should appeal to anyone with good ears and taste.

Liner Notes 1 In and Out

These liner notes appeared on a release of the first Focus album that came out in 1973. They are written by Seymour Stein, CEO of Sire Records.

Slightly over three years ago, I saw a group perform in Holland. Without a doubt they were the most original band I had ever seen. Their music, a unique blend of classical, jazz and rock was a refreshing change from the hard driving rock, extremely popular in England and the United States at that time. I was equally, if not more so impressed with the personalities, depth of musical knowledge, ability and drive of the group's motivating forces, Jan Akkerman, guitarist and Thijs van Leer, the band's organist, flutist and vocalist.

The group was Focus and had been formed in mid 1969 as a trio by Thijs van Leer with bass guitarist Martin Dresden and drummer Hans Cleuver. Guitarist Jan Akkerman, then with Barinbox, one of the top Dutch pop groups, joined to make it a quartet in November 1969.

After several months, two trips to Holland and some heavy meetings with Hubert Terheggen, the head of the Focus management team, Focus was signed to Sire Records and shortly thereafter, this record "In and out of Focus" was released. The record recieved the critical acclaim of both FM radio and record reviewers, but strong sales never materialized.

That was three years ago and the group has undergone many changes. After a year of moderate success, Jan Akkerman decided to rejoin drummer Pierre van der Linden also ex-Brainbox. They formed a new band and asked Thijs van Leer to come with them. Cyril Havermans joined on bass guitar and they continued to call the band Focus. Bert Ruiter replaced Cyril Havermans in September, 1971.

In the past year, Focus has emerged as the first truly progressive band from continental Europe to achieve prominence in Great Britain and the United States. Why they succeeded, where countless other groups failed, was because of their totally original sound both on records and in personal appearances. Their music is far removed from the rock cliche we have been used to for the past six years. This is the key to their success.

Their more recent albums, "Moving waves" and "Focus 3" and their three triumphant tours of Britain resulted in Focus winning both the Melody Maker Brightest hope 1972 and New Musical Express "Best talent of 1972" awards. Focus is fast being recognized as super-stars here in the United States and American audiences are anxiously awaiting the first Focus tour scheduled for early spring of this year. This, their first album is important because it traces the current success of Focus, back to the inception and early roots of the group and should not be overlooked. It is for just this reason that we have repackaged and made available again "In and Out of Focus".