Two symphonic prog epics from 1974.

These two symphonic prog epics also turn 50 this year. Both are phenomenal, with the fact that one, from Focus, is widely celebrated (not unjustifiably), while the other is somewhat underestimated and often overlooked. That's also a reason why I included the "Credo" suite from Refugee in this poll, although I'm aware that "Hambourger Concerto" is the absolute front-runner.

Refugee was a short-lived sympho-rock trio from London. Swiss ex-Yes keyboard player Patrick Moraz was accompanied by ex-members of The Nice: Lee Jackson on electric guitar, 12-string acoustic guitar, bass, electric cello, and lead vocals, and Brian Davison on drums and percussion. The Refugee's self-titled, only album was recorded in early 1974 at ART Studios in Geneva, in Patrick Moraz's native Switzerland, and was released in March 1974 on Charisma Records.

Of the album's two epic tracks, "Credo" is one. It's a powerful 18-minute work of art. Eight breathtaking passages of orchestral splendour and ecstasy comprise the epic music, which is truly amazing and must be heard. Jackson, whose singing on this record I personally like, was the author of the lyrics, and Moraz wrote the music. With magnificent keyboards that have propelled symphonic rock in all its majesty, it's an excellent way to end the album. "Credo" further demonstrates why Moraz is among the greatest progressive keyboardists of all time and why he ought to be acknowledged and given more credit for his extraordinary abilities as a composer and performer. It perfectly clarifies why Yes invited him to take Wakeman's place.

Focus is without a doubt the most renowned Dutch group that is well-known outside of the Netherlands out of all the groups that fused rock and classical music components in the 1970s. This band's distinctive sound and style of playing have sparked interest around the globe; they were especially accepted in the U.S. The band's two primary players were ingenious guitarist Jan Akkerman and talented keyboardist, flautist, and singer Thijs Van Leer. Focus was the epitome of Dutch progressive music in the 1970s, playing then-fashionably and truly creative sympho-rock with sparkling guitars, keyboards, and flutes. 

Recorded in January–March 1974 at Olympic Sound Studios in London and released in April of the same year on Polydor and Atco, "Hamburger Concerto" is the band's fourth studio album. In the UK charts, it reached number twenty. 

In my opinion, Focus' "Hamburger Concerto" is their greatest work to date; other albums obviously don't have the same spark and intensity as this masterwork. "Variations on a Theme by Haydn" by Johannes Brahms actually serves as the basis for the 20-minute-long title tune; the composition also includes the first two verses of the Dutch Christmas carol "O Kerstnacht, schoner dan de dagen."

The interaction between Van Leer and Akkerman on this masterpiece tune is simply amazing. Van Leer lays down some incredible organ and synthesiser work, while Akkerman's guitar displays the influence of flamenco, which gives a special Mediterranean charm to this great track. Unquestionably a symphonic prog classic, "Hamburger Concerto" is one of those exceptional works that masterfully combines incredible musicianship, originality, melody, and even comedy into a cohesive one-piece.

(On another note an older guy I really like the jazzy Mother Focus listen to it a lot- but not the follow up to Hamburger that was expected-)