The Best of Focus: Hocus Pocus

Running length
16 tracks
Running time
77:47

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Tracklist

    Track     Duration Listeners
1 Hocus Pocus 7:06 93,672
2 Anonymus 6:33 12,819
3 House Of The King 2:55 22,539
4 Focus 9:49 1,276
5 Janis 3:07 18,271
6 Focus II 5:20 19,195
7 Tommy 3:22 6,963
8 Sylvia 4:34 32,131
9 Focus III 4:50 14,651
10 Harem Scarem 5:50 11,946
11 Mother Focus 3:03 8,953
12 Focus IV 3:58 7,946
13 Bennie Helder 3:29 7,709
14 Glider 4:38 6,784
15 Red Sky at Night 5:49 6,562
16 Hocus Pocus (US Single Version) 3:24 1,102

About this album

Focus is a Dutch rock band which was founded by classically trained organist/flautist Thijs van Leer in 1969, and is most famous for the instrumental pieces “Hocus Pocus” and “Sylvia”. The band broke up in 1978, but reformed in 2002 and has been recording and touring since.

They have found also renewed fame due to the use of “Hocus Pocus” by guitarist Gary Hoey on his 1993 album Animal Instinct, and as the theme for the Nike 2010 World Cup commercial, Write The Future, directed by the Mexican filmmaker Alejandro González Iñárritu.

At the release of their first album Focus Plays Focus (aka In and Out of Focus) (1970), Focus comprised keyboardist and flutist Thijs van Leer, guitarist Jan Akkerman,[1][2] bassist Martin Dresden, and drummer Hans Cleuver. The album was little noticed outside the Netherlands, where a small but avid fan base developed. Akkerman left the group to form another band with bassist Cyril Havermans and Pierre van der Linden, a drummer he had previously performed with in Johnny and the Cellar Rockers, The Hunters, and Brainbox. When Cleuver and Dresden left Focus shortly after, Van Leer joined Akkerman, Van der Linden, and Havermans as the new lineup of Focus.

In 1971, the group released Focus II (aka Moving Waves), which brought the band international acclaim and a hit on both sides of the Atlantic with the radio edit of “Hocus Pocus”. This rock classic consists of Akkerman’s guitar chord sequence used as a recurring theme, with quirky and energetic interludes that include alto flute riffs, accordion, guitar, and drum solos - along with Van Leer’s whistling, nonsensical vocals, falsetto singing, and yodeling.

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