Longest Focus Tracks

The 10 longest Focus tracks are

1 Anonymus 2 (26:19)

2 Eruption (22:57)

3 Hamburger Concerto (20:15)

4 Beethoven's Revenge extended (18:42, short version 10:49)

5 Who's calling (16:14, short version 07:33)

6 Maximum Live (13:58, studio version 08:40)

7 Answers? Questions! Questions? Answers! (13:50, live version 11:28)

8 Virtuous Woman (10:57)

9 Beethoven's Revenge (10:49 - the extended version is 18:42)

10 European (Rap)sody (10:25)

Track by track 76 Maximum

Archive number: 76
Title: Maximum
Main Album: Focus Con Proby
Track number: 8
Genre: Jazz Rock Instrumental
Studio: EMI Studios, Hilversum, The Netherlands
Length: 08' 38”
Composer: Thijs van Leer, Bert Ruiter
Musicians: Philip Catherine - Electric guitar; Thijs van Leer – Electric Piano, Hammond organ, Synthesisers; Voice; Bert Ruiter – Bass; Steve Smith - Drums
Producer: Yde de Jong
Engineer: Jan van Vrijaldenhoven/Mike Stavron
Label: LP – EMI
Date of recording/release: Recorded/released 1978 LP – 1978 CD – 1998
Alternative version: A longer slightly slower live version is found on Live at the BBC
Notes: The band begin together (00:00-00:17) with a laid back introduction soon supplemented by something more upbeat led by electric piano then guitar (00:18-00:29). The bass then takes us on with the band led sometimes by guitar, sometimes by electric piano (00:30-01:09). Two guitar-led crescendos that tail off (01:10-01:25) are followed by two successive choppy piano riffs (01:26-01:32 and 01:33-01:41). The second is then supplemented by a soaring guitar before reasserting itself (01:42-01:58). We then return to the beginning and a slower pace, occasionally lifted by the guitar (01:59-02:43) and getting a little more jaunty at times with some guitar runs (02:44-03:25). A dreamy and meandering middle section (03:26-04:09) comes to an end with the drums announcing a very long and earnest guitar break (03:26-07:12). This eventually comes to an end and we settle back into the original groove to close (07:13-08:38). There is some wonderful playing throughout but it gets lost in the mix and somehow never really gels making it inferior to the live version.

Track by track 62 Maximum (Live)

Archive number: 62

Title: Maximum (Live)

Main Album: Live at the BBC

Track number: 3

Genre: Live Funk Instrumental

Venue: New Victoria Theatre, 17 Wilton Road, London SW1V 1LL (now Apollo Victoria)

Length: 13' 58”

Composer: Thijs van Leer

Musicians: Philip Catherine - Electric guitar; Thijs van Leer – Electric Piano, Mellotron, Hammond organ; Voice; Bert Ruiter – Bass; David Kemper - Drums

Producer: BBC

Engineer: BBC

Label: Hux Records

Date of recording/release: Recorded March 21 1976 but only released (on CD) June 1 2004

Alternative version: A shorter version can be found on Focus Con Proby

Notes: This is a number said to date back to Akkerman days. (Some claim to be able to hear its strains on a much later Akkerman solo album). The band begin together (00:00-00:24) with an introductory groove that is followed by a drum-announced electric piano-led burst (00:25-00:29) and a slower groove (00:30-00:52). Another funkier riff (00:53-01:08) then precedes a similarly slow keyboard-led section (01:09-01:37) ended by the guitar. The guitar then leads us into more funky stuff (01:38-02:10) before the main funky riff breaks in again (02:11-02:17) and another slower meandering section follows (02:18-03:26). Here the mellotron is more prominent. The guitar and keyboard lead off on familiar lines (03:27-03:36) but is then more distinctive and percussive (03:37-03:57). At 03:58 a brand new Bach-influenced keyboard section enters. This is punctuated first by a screaming guitar (at 04:09ff) then van Leer's screaming voice (04:31ff). At 04:45 we break down with first the more staccato-style guitar then (04:56) the Bach-influenced keyboards. At 05:07 the screaming guitar is backed by distinctive drumming and we move on via screams from the guitar (05:10-05:18) and van Leer (05:30-05:40) to yet another breakdown (at 05:44). The rises, falls and breaks continue until 07:40-08:27 where there is a decided slowing of pace that eventually picks up in a different vein, led by the guitar (08:28-12:09). Catherine uses pedal effects here and plays some beautiful lines now backed by van Leer's organ as well as other keyboards. We finally break back into the funky groove again at the end, which alternates with the established tune to the end (12:10-13:49). Applause follows and van Leer can again be heard – this time saying 'thank you very much' (13:50-13:58)