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FOCUS - Focus III (1973)
After a solid debut and a better second release (Moving Waves), FOCUS had really crossed the borders
of Netherlands and were gaining a solid fan base all along Europe and even in USA, so they had to do
something specialr not to loose this popularity, instead they did something better, they took the risk
and went for a double album.“In and Out of Focus” presented us a band worried to make sober and solid music, with echoes from
the 60’s and a delicate style of jamming, then moved towards a more spectacular instrumental sound,
using the voice almost only as an extra instrument in “Moving Waves”, but in “Focus III” we find a more
mature band that reached the balance between pomp and virtuoso attributes, a band with enough
courage to go further to the past up to the Medieval era in search for their roots, but using a clear
Flemish style or Hard Rock when required, in other words a band with the guts to be different, not just
a bunch of guys following the model that came from UK, they took the best of both worlds to create
something exquisite and unique. The album is opened with “Round Goes the Gossip” a vibrant track that starts with a drum intro that
leads to an elaborate and complex multi instrumental passage in which Thijs Van Leer uses his versatile
voice to create strange sounds, part in joke part completely serious and complementary of the music.
The peculiar way of playing the organ is shocking, les lush but extremely complex, jumping from
melodic passages to jazzy cacophonies, just can describe this song with five words……..Progressive
Rock at it’s best. “Love Remembered” is the perfect contrast, instead of the usual aggressive style of Thijs flute, he goes
for a delicate and melancholic melody, the drums play a crucial job supporting all the weight of the
song and Ian Akkerman adds his subtle touch with the guitar, only three minutes long, but it’s said that
you’d better leave the listener with the taste of honey in the lips rather than saturated, again incredibly
beautiful and melancholic song. The story of “Sylvia” is quite original, before joining FOCUS, Thij’s Van Leer was a chorus singer for a
pair of well known Dutch crooners, as he tells in the DVD “Masters from the Vault”, tired of making
oohs and aaahs, he and Sylvia (another singer of the chorus) asked their bosses to allow them to sing
one song each one, they allowed but Sylvia’s song was terrible, so Thij’s wrote this track for her, but
the girl hated it and he just kept it hidden somewhere with all his music. When the band was working on “Focus III”, they were short of material, so Thijs remembered this
track, searched for it, deleted the lyrics and recorded it with the band, surprisingly was one of their
biggest hits. But what to say about the song? Not specially complex or frantic, mostly a catchy melody with an
excellent guitar work and some subtle yodeling, the Hammond touch is a perfect addition, but that’s
how things work, it became a world hit despite they have better tracks. “Carnival Fugue” begins with a dramatic piano intro in which Thijs makes his formal training evident
while Jan Akkerman adds soft and barely listenable guitar sounds, but then the classical influence gets
evident, both piano and guitar start a tandem work with clear Baroque leanings, until out of nowhere a
radical change happens and the band enters into Fusion territory in the vein of “Miles Davis”, that leads
to a humorous Psyche oriented passage with Bossa Nova hints, this guys keep surprising me, no matter
how many years pass. Now is the turn for “Focus III” an incredibly beautiful song where Akkerman creates a fantastic
atmosphere working with Thijs as one man, dark, somber and mysterious is one of my all time
favorites, and despite not being a very long track, seems that never ends because it morphs
into “Answers? Questions! Questions? Answers!”, one of the most dramatic epics that FOCUS has
released, the pass of decades has not damaged it, by the contrary it has turned into a timeless classic
that always makes me tremble. The incredible organ performance enhanced by the magical style of Jan
Akkerman playing the electric guitar with the delicacy of a Flamenco guitarist is simply unbelievable,
this track flows perfectly from start to end as a 1,000 pieces puzzle where everything fits in its right
place. Won’t even attempt to comment it more because words can not describe the beauty of this epic, or how
the psychedelic atmosphere of the first break, thick as the morning mist falls into the audience, almost
a magical experience. In the CD I got, “Elspeth of Nottingham” comes before the complete version of “Anonymous 2”
something very adequate, because this travel in time to the 1300’s with lute (I guess because is not
mentioned) and piccolo prepares us for another epic that must nbe listened as a whole and not
divided. The album is closed with “Anonymous Two” which begins with the Hocus Pocus main section but
immediately moves towards a frantic flute and drum section a la Jethro Tull, Thij’s Van Leer proves us
his dexterity rocking as an expert, while Akkerman, Ruiter and Van der Linden give a heavy Rock
support, showing us how a band is supposed to work, one guy takes the lead in a semi solo and the
rest keep working to enhance the effect. But in this track not only Thijs is the star, there’s a turn for each musician to shine with controlled solos,
because even though they are essentially playing alone, they keep coordination among all the
members to maintain the general atmosphere of the song intact. In the original version the album is closed with the excellent “The House of the King” already released
in their debut album, but IMO it would sound out of place in “Focus III. After 70 minutes of great Progressive Rock, the album reaches its end, and always feel tempted to play
it again immediately, a sign that it ever bores me. Even though by my words everybody can notice I’m a FOCUS fan, won’t give 5 stars to this fantastic
album, because I believe their next release “Hamburger Concerto” is much more solid and I reserve
the maximum rating for that one. I’m sure some people won’t enjoy this album as much as I do, because FOCUS is not for everybody,
especially for people who grew listening British and Italian Symphonic exclusively, maybe because they
are too eclectic or simply because it’s not easy to get used to the Dutch masters’ style, but the quality
of the album is beyond any doubt as the fact that no Prog collection is complete without “Focus III”. Four stars that would be 4.5 if the system allowed it.
by Ivan_Melgar_M
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MOON SAFARI - [Blomljud] (2008)
If happiness were a crime, these guys would definitely be in prison.
Simply put, [Blomljud] is one of those albums that can pull even Oscar the Grouch out of a bad mood.
Moon Safari's tight vocal harmonies, splendidly simple melodies, and pleasant tone color choices all
make for an album not soon forgotten. Many of the lyrics are inspired by nature: the trees, forests,
the sun, and (of course) the moon. In a way, the lushness of the music enhances the lyrics because
it, like the lyrics, reflects nature's beauty.
Moon Safari never allow [Blomljud] to get stale or rotten. The instrumental sections are not filled
with mindless noodling revealing only technical ability, but rather with masterfully crafted lead
lines that both show technical prowess and expose an astute ability to maintain balance. It is
clear, then, that Moon Safari is not all about themselves, but rather all about the music: this is
certainly rare sight in modern prog. The music is produced at the highest level, and there are no
real flaws in this gem.
It is clear from the unmistakable happiness of Moon Safari's music that these men truly love music.
It not only is their passion, but it is what makes them happy. In a genre (perhaps even an industry)
completely dominated by the likes of angst-filled, hopeless lovers, depressed musicians, and
melancholy lyricists, it is a bit of sweet rejuvenation to hear an effort that is not only so
well-crafted but also so joy-filled.
4.5 stars! Truly an Excellent addition to any prog music collection.
by Inverted
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URIAH HEEP - Wake The Sleeper (2008)
Wow ,there was a lot of hype surrounding this release ,did it live up to it ? Absolutely - in spades ! While
we had to wave goodbye to beloved drummer & founding member The Bear Lee Kerslake,who also
w/Bob Daisley wrote most of Ozzy's first 2 albums - but that discussion's for another time - just
expressing his pedigree !New drummer Russel Gilbrook seems to have energized the lads on this
release .If you notice most of the tunes on this album were co-written by Mickey Box & Phil
Lanzon ,exactly the combo Heep needs ,check out the organ / guitar drenched songs within .No mistake
here as the early Heep was fuelled by guitar / organ .Some of their heaviest & humblest -sorry couldn't
resist :0) ,since their earlier classic period .As good as Sonic Oragami & Sea of Light were ,& there wasn't
a bad track on either as well as flawless production ,this one's catchier & heavier .In this reviewer's
opinion their finest since their also underrated masterpiece 1982's Abominog .Classic Rock magazine has
rated this album very highly even putting it in the running for album of the year ! No surprise once you've
heard it .So if you love classic hard rock & Heep in particular pick this up & witness a band slayin' 'em !
The lads have worked 'ard on this one & should be rewarded !
Long live Heep !
by nordwind
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LOCANDA DELLE FATE - Forse Le Lucciole Non Si Amano Più (1977)
I just can't get into this one at all.I read how beautiful and pastoral it was supposed to be,but found it to
be neither for the most part.I think the vocals probably inhibit my ability to feel the wonder or emotion for
that matter.Sure there are flashes here and there,but there are so many Italian bands and albums that in
my opinion overwhelm this one with their majesty,beauty and emotion.
I like the way it starts with the instrumental A Volte Un Istante Di Quiete.I really like the piano and
drumming in this one, as well as the flute led section 2 1/2 minutes in. Kind of downhill from there for
me. Forse Le Lucciole Non Si Amano Piu opens with piano as reserved vocals come in.The vocals and
sound gets more passionate after 1 1/2 minutes.I like the guitar 3 minutes in. Profumo Di Colla Bianca is
spacey to begin with.Lots of synths as drums beat casually.Vocals a minute in then piano.A fairly relaxing
song. Cercando Un Nuovo Confine features lots of acoustic guitar with fragile vocals early before piano
arrives.I really like the vocal section 1 1/2 minutes in and later at 6 minutes.Some nice flute as
well. Sogno Di Estunno opens pleasantly until guitar and aggressive vocals change the mood.Synths and
piano are prominant during the calm sections. No Chiudere A Chiave Le Stelle is laid back with relaxing
vocals a minute in. Vendesi Saggezza opens with piano and synths.Vocals begin fairly restrained but get
passionate quickly.The guitar 2 1/2 minutes in with flute and drums is the best part on the whole album.It
goes on until about 3 1/2 minutes.One minute of heaven.Back to vocals,piano and synths.A nice full sound
with guitar 7 1/2 minutes in.I like the first and last songs the most.
Without question a good album, that personally doesn't have what i need to give it 4 stars.
by sinkadotentree
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RETURN TO FOREVER - The Anthology (2008)
Return To Forever (RTF) had two phases. RTF Phase I consisted of Chick Corea, Stanley Clarke, Joe
Farrell, Flora Purim and Airto Moreira and produced two albums. The self-titled first album seems
to be favoured by jazz purists. The second, Light As A Feather, was more widely popular, with songs
like Spain being regularly heard on campus radio and played by college jazz bands in the early
1970s. Corea, Clarke, Moreira and Tony Williams also performed with Stan Getz and recorded the Getz
album Captain Marvel in 1972. The album consisted of Corea-penned RTF I tunes and should really be
considered an RTF I album. The compilation album Return To The Seventh Galaxy contains material
from both phases of RTF, with some live material, including a rocked-up live RTF II rendition of Spain.RTF II began in 1973 with Corea, Clarke, Bill Summers, Steve Gadd and Mingo Lewis, then became a
foursome with Lenny White replacing Gadd and Lewis, and later Al DiMeola replacing Summers. RTF II
definitely had a heavier jazz-rock sound than RTF I. The Anthology compilation contains the four
studio albums recorded by RTF II, so you if want to hear RTF I you'll have to look elsewhere. RTF II
was one of the most popular fusion bands of the 1970s, and a listen to The Anthology will show why.
The music is inventive, the playing is first rate, and the energy is captivating. Some songs are
stronger than others, and fans will have their favourite tunes. One of mine is Corea's Song To The
Pharoah Kings, which shows the group's impeccable musicianship, with the song building in intensity
until it breaks into a wonderful DiMeola guitar solo. DiMeola also played this song as a solo
artist. The Anthology was released to coincide with the RTF II reunion tour, and we can hope for
some new material. Fans of RTF II should also check out Clarke and White's Vertu project. Despite
the fact that the music is similar to RTF II, Down Beat magazine's reviewer unfairly panned the
self-titled Vertu album when it was released in 1999. However, in its August 2008 issue Down Beat
has devoted a favourable cover story to the RTF II reunion that's worth a read.
by DocB
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