Hamburger Concerto by Focus album (1974).
Hamburger Concerto is the fourth studio album by the American rock band Focus and is one of the pinnacles of Dutch and international progressive rock.
Focus is one of the most important progressive rock bands in the Netherlands. Born in Amsterdam in 196 thanks to the multi-instrumentalist Thijs van Leer, they are famous for their unique mix of rock, jazz and classical music, and they depopulated in the 70s with hits such as "Hocus Pocus" (with its characteristic yodel) and the sweet "Sylvia".
Starting as a trio, they found their winning formula with the arrival of virtuoso guitarist Jan Akkerman. Their first album, "In and Out of Focus", was released in 1970. With "Moving Waves" in 1971 they achieved worldwide success. Albums such as "Focus 3" and "Hamburger Concerto" became real pillars of the genre, defining their symphonic and technical style. After the breakup in 1978, there were several reunions in the 80s and 90s. In 2002, Thijs van Leer put the band back together permanently. To this day, they are touring all over the world and continue to release new albums, such as "Focus 12" from 2024. The history of Focus is full of line-up changes, but Thijs van Leer has always remained the point of reference.
The band that recorded "Hamburger Concerto" in 1974 consisted of:
Thijs van Leer: Hammond organ, piano, harpsichord, ARP synthesizer, flute and vocals (including yodeling and backing vocals).
Jan Akkerman: electric guitar, acoustic guitar and lute.
Bert Ruiter: electric bass.
Colin Allen – drums, percussion
Colin Allen, former drummer of Stone the Crows, joined the band, replacing Pierre van der Linden, who had decided to leave shortly before the recordings due to differences over the more structured musical direction that the album would take. This change of drummer is a topic that still has fans and critics discussed, especially considering the differences between the two musicians.
Pierre van der Linden, the previous drummer, had a jazz background and his style was characterized by dynamic, fill-rich drumming, improvisation and a technical and frenetic use of cymbals. His contribution was fundamental to the chaotic energy of songs such as "Hocus Pocus".
Colin Allen, on the other hand, brought a more linear, solid and rock approach. Thijs van Leer himself explained that the band was looking for a cleaner and heavier sound, less fragmented by the continuous drum phrasing, to give more prominence to Bert Ruiter's melodies and bass.
It is said that Pierre van der Linden left the band at the very beginning of the making of this album because he did not like to play on such rigid and predefined structures. He preferred improvisation, while "Hamburger Concerto" required an almost "metronomic" precision, which then led to the arrival of Colin Allen.
The album is a mix between European classical music and pop culture, like a gourmet burger with a touch of rock. The title itself is a play on words: Focus take the noblest musical form, the Concerto, and combine it with the symbol of fast food par excellence, the Hamburger. A nice way of saying that they take pieces of Bach, Brahms or Renaissance music and "chew" them with their unique style, made of rock and jazz.
The entire second side of the album is dedicated to the title track, a suite of over 20 minutes inspired by Brahms' Variations on a Theme by Haydn. And here comes the fun: the subtitles of the sections follow the stages of preparation and cooking of a burger. It starts with "Starter", a solemn introduction, and then moves on to "Rare", where the music begins to take shape. "Medium" represents the beating heart of the song, while "Well Done" is the final climax, the explosion of energy. Finally, "One for the Road" accompanies the conclusion.
But the Hamburger Concerto is not just a play on words and musical genres. The album also touches on deeper and more environmental themes. Songs like "La Cathédrale de Strasbourg" take you on a spiritual and European journey, trying to capture the acoustics and grandeur of Gothic cathedrals through the piano and Hammond organ. An almost mystical experience.
With the opening track "Delitiae Musicae", Focus take you back in time, to the Renaissance courts. The lute, played by the talented Jan Akkerman, recreates the atmosphere of those times, suggesting that progressive rock is actually the natural evolution of the cultured music of past centuries.
After the worldwide success of songs such as Hocus Pocus and Sylvia, the band decided to abandon the simplest structures to devote themselves to a more complex fusion of classical music, jazz and symphonic rock. An album that demonstrates all their creativity and talent.
This album is a real gem, almost all instrumental, and stands out for its masterful use of the Hammond organ, harpsichord and flute. It is the culmination of Focus' Symphonic Prog, where rock and European cultured music blend perfectly.
Unlike Genesis or ELP, Focus have a more "European" and genuine approach to classical music. Despite the classical structure, the album pulsates with Jazz-Fusion rhythms. The improvisations are anything but improvised: Akkerman's guitar goes from a clean and jazzy sound to powerful rock distortions, supported by Bert Ruiter's bass that keeps a constant and well present groove.
The style oscillates between delicate, almost meditative acoustic sections, and powerful instrumental rides with the Hammond organ at the ball and van Leer's unique vocal style, which uses the voice as an instrument (yodeling, whispers and vocalizations), without traditional lyrics.
If the previous works were more fragmented, here the style becomes monumental. The writing is richer and more layered; the final suite is a striking example of how the group manages to maintain stylistic consistency for 20 minutes, moving from solemn symphonic themes to jam sessions of pure rock.
I have the Polydor – MP 2385, the first Japanese pressing of the album released in 1974. It's a treat for collectors, especially for the sound quality.
"Delitiae Musicae" is a Renaissance piece that immediately catapults you into a sixteenth-century court. Jan Akkerman plays the lute impeccably, with a performance that perfectly respects the style of the time. Thijs van Leer accompanies him on the recorder, creating a solemn atmosphere that immediately showcases the group's cultured roots.
"Harem Scarem" is a super energetic and catchy Hard Prog / Jazz-Rock track, the most dynamic on the album. Here you can immediately feel the influence of the new drummer, Colin Allen: his drumming is solid and powerful, much more precise than van der Linden's jazz style. Bert Ruiter supports him great with a pulsating bass line, while Akkerman goes wild in one of his most distorted and fastest solos.
"La Cathédrale de Strasbourg" is a pastoral and baroque piece, inspired by the French cathedral, with an evocative atmosphere. Van Leer is the real protagonist, playing the piano and Hammond organ with mastery, and giving us an almost "ecclesiastical" acoustic. And let's not forget his vocal contribution, that characteristic melodic whistle, which in the Japanese press is incredibly clean and faithful to the original sound.
The famous whistle that you hear in the song is not a special effect, but it is Thijs van Leer whistling live. It was so precise that in the studio they didn't have to do any retouching.
"Birth" is a track that blends chamber music and heavy rock, an intriguing mix of Symphonic Rock and Proto-Metal. Van Leer's harpsichord intro is a real technical gem, paving the way for a sonic explosion thanks to Akkerman's intertwining of heavy riffs and lute melodies. The rhythm section, composed of Ruiter and Allen, works with incredible precision in the constant tempo changes, creating an engaging and nuanced atmosphere.
"Hamburger Concerto" is the six-part symphonic suite, the highlight that occupies the entire B-side, inspired by Brahms.
I. Starter: Van Leer opens the dances on the organ with a majestic and imposing main theme.
II. Rare: Akkerman takes matters into his own hands with the electric guitar, moving with ease from jazz-fusion to blues.
III. Medium: Here you can feel the real strength of the group; Colin Allen proves that he knows how to keep up with the rhythm of long suites with constant tempos and well-managed dynamics.
IV. Well Done: The symphonic highlight, where van Leer shows off his unique yodels and vocalizations, making this track truly special in the prog scene.
V. One for the Road: The perfect closure, with Ruiter's bass providing a solid, circular finish.
And do you know why the sections of the suite are named after the cooking of meat? It's not just an artistic idea, but a real joke to their record company. The band wanted to say that music, even if "cultured", is often consumed as junk food. A perfect example of the typical humor of Dutch musicians of that time.
Despite being a serious and symphonic album, Thijs van Leer couldn't resist inserting his own personal touch: yodeling. In the final suite, there are brief yodelling moments that give a human touch to the complex structure inspired by Brahms, a bit of madness that had become Focus' trademark after the success of Hocus Pocus. Jan Akkerman, on the other hand, was so passionate about early music that he used a real Renaissance lute for this album. In 1973, Melody Maker magazine had elected him "Best Guitarist in the World", even surpassing Eric Clapton and Jimmy Page. With this album, Akkerman wanted to show how good he was, alternating the lute with his legendary Gibson Les Paul guitar.
Although the 20-minute suite took up half the record, the album entered the Top 20 of the UK charts. It was a time when people were willing to listen to very long and complex songs, and this consecrated Focus as one of the very few non-English or American bands to dominate the world scene. An essential album in a Prog collection.
My Version
Label: Polydor – MP 2385
Format: Vinyl, LP, Album, Gatefold
Country: Japan
Release date: Jul 1974
Tracklist
A1 Delitae Musicae 1:13
A2 Harem Scarem 5:51
A3 La Cathedrale De Strasbourg 4:57
A4 Birth 7:45
Hamburger Concerto (20:18)
B1.Ⅰ Starter
B1.ⅠⅠ Rare
B1.ⅠⅠⅠ Medium Ⅰ
B1.Ⅳ Medium ⅠⅠ
B1.Ⅴ Well Done
B1.Ⅵ One For The Road
LineUp
Bass, Autoharp, Triangles [Triangles], Finger Cymbals [Chinese Finger Cymbals], Hand Claps, Bells [Swiss Bells] – Bert Ruiter
Congas [Conga Drum], Tambourine, Chestnuts, Cabasa, Wooden Block [Wooden Block], Gong [Chinese Gong], Timbani, Hand Claps, Idiophone [Flexatone], Cuica – Colin Allen
Lute, Timpani, Hand Claps, Guitar [all guitars including Akkerman (himself)] – Jan Akkerman
Organ, Piano, Harpsichord, Electric Piano, Flute, Alto Flute, Synthesizer [ARP Synthesizer], Recorder, Mellotron, Vibraphone [Vibronette], Accordion, Organ [The Organ Of St. Mary the Virgin, Barnes], Hand Claps, Voice [All Voices], Whistles – Thijs van Leer
Listening link on the main streaming platforms at the following links:
Spotify: Both the original Hamburger Concerto version and the 2020 Remastered Edition are available.
Apple Music: You can find the entire album on the dedicated page of Apple Music Focus
Note: All links to the musicians’ works are in the TAGS under the article title or on the "Artists"
