Focus
In And Out Of Focus

Focus.
A name that often evokes thoughts like: "they are nothing more than the Dutch Jethro Tull". In short, much like Osanna in Italy. There are always those who love them and those who hate them for this fact. But perhaps the issue is another: if it's true that this great Dutch band often used the flute willingly, it's also true that half the time it was played in a much more classical style. Moreover, the band has its own style, completely different from that of the Tull. The progressive rock of Focus, as is characteristic of other Dutch groups like Ekseption, stems from the passion and fusion of jazz and classical music, passing through rock.

The great genius of the band is named Thijs Van Leer, who, besides being an excellent composer, is the flautist, but more importantly the keyboardist of the band. In addition, he sings, reaching for high notes worthy of the Ian Gillan of the golden times. Helping him is another great figure, Jan Akkerman, undoubtedly the best guitarist that the Netherlands can boast of. The project of Focus is clear: Focus, already from the name, as in English, means to focus, and in this case, they want to focus attention on music and musical evolutions that each of us as musicians try to set for ourselves. A kind of research, therefore. "Many have seen music as a revolution" stated Thijs Van Leer, "but I see it more as an EVOLUTION". From this, we assume that music aims at something cultured, even if in this debut album, "In And Out Of Focus" from 1970, this research is still at a germinal stage. There are sporadic pop contaminations that will finally thin out in later albums.

Focus... (Vocal) opens, with the velvety voice of Thijs van Leer and the legendary guitar of Jan Akkerman in the foreground. The excellent drum intro by Hans Cleuver introduces us to a good pop track, "Black Beauty", with a notable melodic line. Pop is also the song "Sugar Island", a sort of allegory about Cuba and Fidel Castro. "Anonymus" is the first song that truly stands out, with a flute played in the style of Ian Anderson, a sizable jazz piano and guitar solo, and a small bass interlude, played by the talented Martijn Dresden. "Anonymus" is the first truly pure prog track on the album. After a brief drum solo, the ending arrives slowed down. And what to say about "House Of The King"? Undoubtedly the most famous hit by Focus, it even remained for years as the theme song for an Italian television program, on Rai if I'm not mistaken. The flute is wonderful, Jethro-like, the acoustic background is ingenious, the guitar interlude is well placed. The perfection of the '70s made into a song. "Happy Nightmare" (Mescaline) is another romantic-pop piece, with choirs and an almost Hawaiian-like guitar. "Why Dream" almost recalls the early Pink Floyd in the singing, and it's a likable track as well, where we finally hear a great solo by Jan Akkerman. Last but not least, "Focus" (Instrumental), a reprise of the initial theme of the album: a stunning slow piece, with a goosebump-inducing guitar, small progressive passages dictated by the organ, key changes, and flute again at the end.

Focus, the principal among the many underrated names of the rich (and often snubbed) Dutch rock scene, a group that's worth rediscovering and considering because we are not facing one of the usual underground bands, but we are in the presence of one of the essential bands.