DUNCAN BROWNE

— First review of this album —

After his fourth album streets of Fire (1979) Duncan Browne's momentum in the music business was gradually lost. The next and final album during his lifetime (Songs of Love & War was a fine, posthumous release from 1995) was not a regular album but a soundtrack for a TV series called Travelling Man, "composed and performed by Duncan Browne & Sebastian Graham-Jones" as indicated on the album cover. So, who was that other guy whose musical participation is altogether missing from the album info here? Wikipedia: "Sebastian Graham-Jones was a British actor and director known for such films and television series as Ace of Wands, Travelling Man, Because of the Cats, The Little Drummer Girl and Shadow of the Noose. Jones was also a theatre director and musician. He died of cancer at the age of 56." The Granada TV series, broadcast in the U.K. in 1984-85, starred Leigh Lawson as Lomax, a man searching for his missing son and hunting down those who framed him. Graham-Jones co-directed the series instead of acting in it.

The main theme is a melancholic instrumental piece in a slow tempo. The pan pipe [synth probably] is not the only reason why I'm thinking of the CAMEL instrumental 'The Stationary Traveller' from the same year! Or more precisely, the beginning of it. But this one doesn't really progress, like the far superior Camel piece does in a gorgeous way. The production sounds a bit hollow, very much of its time. Nevertheless, the piece is quite beautiful.

'Andrea's Theme' is also nice. Could that be a real pan pipe after all? This instrumental piece is almost equally calm and melancholic, and a little bit more varied and dynamic in structure than the main theme. At least if the production was better, one could compare it musically to the calm pieces of CLANNAD at that time. Anyway, the soundtrack seemed to have convincingly expanded the musical oeuvre of Duncan Browne as a composer. A pity he died too soon.

— First review of this album —

Unsurprisingly the not-exactly-progressive British singer-songwriter Duncan Browne (1947 -- 1993) hasn't received much of attention. This far my only acquaintance was the charming, ripped-down acoustic debut Give Me Take You (1968) which gave me associations to early Al Stewart. After recently adding some singles I'm curious to have a glimpse of his later period. On his third -- and, in this site, the best rated -- album The Wild Places (1978) he was accompanied by keyboardist Tony Hymas and the rhythm section of John Giblin and Simon Phillips. That one and its follower Streets of Fire (1979) featuring the same co-musicians have been compared to Bryan Ferry / latter-era Roxy Music.

Both songs on this single are taken from Streets of Fire. 'Nina Morena' is a fascinating low-key song with a mysterious nocturnal feel. Browne sings in a soft voice, admittedly slightly reminiscent of Al Stewart and Bryan Ferry, and to my surprise I'm also thinking of both Henk Hofstede and Robert Jan Stips of NITS, which band serves as a good musical reference, too. If you know that Dutch art-pop group, think of their later albums such as Wool (2000) or Les Nuits (2005) and the more delicate songs on them. For example 'The Eiffel Tower' from the latter comes pretty close to 'Nina Morena' in the atmosphere. The Nits-like sophisticated percussion is central, and bright short synth crescendos here and there make the arrangement dynamic and exciting. I like this!

Interestingly 'Fauvette' gives me further musical associations. The more rhythmic guitar oriented sound reminds me of DIRE STRAITS (think of songs such as 'Lions', 'Lady Writer', 'Communique' or 'Expresso Love'), and the slightly lazy singing is not very far from Mark Knopfler either, with a hint of Lou Reed. In the light of these highly pleasant songs I believe I'd find the whole album interesting.

According to All Music Guide this period "was as close as Duncan Browne ever got to rock stardom, his records sought after in locales like New York's East Village and played on American college radio stations. Creem magazine critic Janis Schact pegged him as the voice that was 'about to launch [a thousand romances] into the 1980s.' Despite some beautiful and surprisingly hard-rocking music that was sort of new wave melodic, however, there wasn't enough interest or activity to sustain this phase of Browne's career." The 90's saw his early albums being re-released on CD. Duncan Browne was stricken with cancer in the early '90s.

Nothing to be added to the excellent and fervent statement by tzirmay, appart that with such a cast of musicians ( Nick Magnus of Steve Hackett fame as musical director, Nick Potter, bassist of latter days VDGG and Peter Hammill solos, John Giblin of Brand X and then who knows who, Simon Phillips who doesn't need further..., and Colin Blunstone the Zombies frontman and singer of the most lovely ballads of the Alan Parsons Project), how come there's so few movement around it here? I guess the time of publication, 1995, two years after his untimely death, and lovingly finished by his musician friends is at play here. As a testament of his artistic life, summarizing nicely is different signature sounds, Baroque folk Ala Nick Drake of his two first albums, glam/prog/fusion many refer to as Roxy Music alike but that myself I put on the same shelf as Ant Phillips' Sides and not to far from some of the Brand X post Collins' days thanks to the Hymas/Giblin/Phillips input. If one prefer his debut, Colin Blunstone's One Year on which he is featured is a rare treasure too.

Browne was introduced to me generally by vinylprogrock on Instagram, really a very solid source of largely obscure progressive music. I mean, just recently, as I've paid closer attention to his posts, I got a lot of really awesome suggestions (I hadn't heard of Flame Dream, for instance, until just a month ago).

Give Me, Take You opens with Classical-inflected acoustic beauty. This is my first impression, so... The guitar is soft, but the music is full. Space is filled nicely with what sounds like reeds, mostly. And he has a very nice, soft voice. The cadence and the vibe throughout rides along this line.

What exactly does "Ninepence Worth of Walking" entail? Sounds like a rip-off. But it also sounds so lovely and free (I didn't pick up on the irony of my word choice immediately). Reminds me a bit of GENESIS' "For Absent Friends", but also has a really nice lilt that feels so classic, like Paul MCCARTNEY's take on the American Songbook (if I'm even accurately representing it). So warm and homey. [I was not accurately representing it, exactly, as I believe what I was seeking to refer to was Music Hall, the proto-Vaudeville of Victorian Britain.]

Though he, in general, is referred to as "Crossover Prog" here, what you'll expect on this debut is very much Progressive Folk (and I believe that is the correct term, regardless of Folk's broad relationship to Progressive Rock itself--to be honest, this has never been made clear to me). A lot of softness, but also a lot of textures, as I basically mentioned above, that will appeal to many a Prog fan. But, because of the former hesitation, I'm being careful in my rating here. It's always difficult to judge these sort of things: how do we discern the truest meaning of the PA rating system and adjust our ratings according to our own personal tastes and expectations? This was a great example of that very struggle [See below].

Back to something I can really get behind, "On the Bombsite" (wow, what a title!) introduces (for the first time) some rock-oriented drumming (replete with 'Ringo Drag'). It's still beautiful and ultimately lighter than "Rock" may be, but fantastic, bright guitar and excellent, harmonized Folk-Poppy vocals. More appropriately, what's happening here, especially clearest with the horns in the latter section of the song, is Baroque Pop (one of my favorite genres from the Swingin' '60s). Ultimately, "The Death of Neil" strangely sounds like Christmas haha.

I'm a fan of a lot of what he's doing here and I'm excited to see what he gets into in later releases. To repeat, much of this is beautiful, but I'm unsure to what degree it will appeal to a Prog Rock collector. As I got closer and closer to the end, I did start to pick up on the comparisons that had been made, generally, to the MOODY BLUES. It is slight. And it is in tone, mostly.

It pains me to say it, to admit it, but a True Rate of 2.5/5.0.

Once you amass a huge prog music collection, from the golden years to this very day, some sparsely unknown gems that try to vanish timidly before the eagle eye sends the message to the brain "I remember that being really good" and you go hunting for that prize. Duncan Browne is one said artist whose final 1993 album (posthumously released 2 years later with the help of Nik Magnus) "Songs of Love and War" is a terrific jewel, that transcends genres, certainly not pop in the strictest sense, quirky experimental like only the Brits know how to formulate, simple but highly evocative musicianship that seeks no heroes just splendid teamwork. The progressiveness factor enters in the moods generated, from the dreary to the sublime, with searing lyrical content and tons of whimsey to balance things out, chock full of details that stun me very time I return to this disc. Led by Duncan Browne (who reached some fame with Metro, a now mythical pop album mixed with glam and art rock) on guitars and keys , the legendary Zombies/Alan Parsons unfaltering singer Colin Blunstone , the equally magical duo of John Giblin on bass and drummer extraordinaire Simon Phillips as well as a few others like Tony Hymas, Nic Potter, Chris Cozens (Greenslade , Martyn) and Nick Magnus. They all shine and excel instrumentally, in a very laudable manner, tossing sublime movements, riffs, ornaments and focused on the arrangements. I imagine a more progressive Split Enz or 10cc and that should give some insight. This is an album to get ladies hooked on prog, as the romantic feminine is on the menu. Though a well seasoned progger, my dreamer leanings started when I was a child, and I still get those emotional urges today to listen and discover romantic prog in all its stylings.

Each song owns its intrinsic merits close to the heart, unleashing a fury of various emotions all along the setlist, keeping the sounds diverse and inspiring. "Scull Twins" is a dashing pop-prog track that sets the tone with sweet shifts, powerful drumming, a slippery guitar solo and a slight African feel in the chorus. The glorious double chorus of "Misunderstood" with its breathtaking and sorrowful mood will sear any mind within seconds, a ballad that is both original and heartfelt. Nic Potter is handling his bass quite distinctively, as Colin Blunstone puts on a magic vocal performance. A prime romantic moment. Gloom and a tinge of unease greets the listener on the somewhat Gothic "Suddenly Last Summer", a mini-movie score that alters the mood once again to keep things apace and thrilling. The whistling line is as memorable as Hocus Pocus or Jealous Guy, and the double chorus is exalting once again.

"Berceuse" means lullaby in French and this is an acoustic guitar display of the highest order. Soothing panacea, baroque breeze of beauty and grace. Proof this man could play guitar with the best of them. "Love Leads You" starts out like the Fixx' Stand or Fall for 5 seconds before veering into a LOVE song. Before you toss the maple syrup at me, I assure you it is not sugary at all, just a damn beautiful melody enveloped around a masterful pop song, the elevation at the mid-point is utterly convincing and the sharp electric guitar solo is truly perfect. The chorus on the other hand is deadly. Gorgeous corn. The bittersweet torch song "I Fall Again" is excruciatingly appealing, bathing in serene sorrow, acoustic guitar, and big, long bass lines from Potter , deft percussives and a cabaret sax solo. Blunstone emotes with gentle despondence, yet utterly convincing in his pain. Beautiful! Eastern motifs weave through "The Small Hours" as the symphonics creep in menacingly, orchestrations set the mood, a dulcimer (or is it cimbalom?) patch doing wonders for the proggy atmosphere, perfect again! One of my faves is the sputtering genius of "Wild Places 91", a Bowie-esque fantasy reprise from his 1978 album of the same name, owner of an oozing Browne vocal to die for (including a whispering section) and a melody that can slay anything. The longest piece at nearly 6 minutes, it is bright, catchy, and creative, the bubbly John Giblin bass belches, the chorus sticking to the nodes, just plowing resolutely forward with more propulsive symphonics. Speechless stuff. "Journey 93 "is the only okay song on the list and it is a short one. It is also a newer version of a 70s hit but it does not move me the way the rest does.

The instrumental "Sarabande" is as dazzling, if not more so than "Berceuse", an acoustic guitar played with feeling and purpose, immersed in lush orchestrations and keyboards, something Steve Hackett would admire profoundly. Elegant and masterful. The main melody and the lyrical hooks on "Rainer" are so grandiose, you may actually wonder why this was not a world-wide hit, spiritually uplifting in its melancholic romanticism and yet rather somber words. A majestic chorus so heartbreaking should be taught in music school everywhere. The finale is pure liquid gold. Duncan could also sing quite divinely. The subject matter is Werner Fassbinder the famous German movie director. "High Windows" when the tears come falling down, Duncan sings, you know he means it. Another evocative chorus permeates the mood, lyrically a romantic tour de force. Ringing guitar effect highlights the attention to detail as well as the musical creativity within the realm of a pop song. The ridiculously gorgeous "Romantic Comedy" was written originally for a theater play and the cinematic orchestration fits the bill perfectly. You will swear you heard this before but alas, I doubt it. Duncan' s acoustic guitar playing is unmatched and is in no hurry to let the feeling go, as his fingers caress the fretboard. The overpoweringly symphonic "Barry's Lament" has layers of haunting keyboards that astound and elevate the power of listening to this masterpiece.

While surely not ear candy for the experimental/tech/metal crowd, the more folk-oriented proggers out there will fall on their collective butts, most especially if you yearn like I do for sweeping melodies, cool instrumental play à la British, varied soundscapes and sincere moments of emotional bliss. Probably the finest posthumous release in my collection, taken over poignantly by Nick Magnus after Duncan's passing in 1993. I could listen to this on auto repeat forever.

I urge any fan of quality music to hunt this sucker down and put it on the mantle, where it truly deserves to be.

5 metros

I think Duncan Browne's main body of work could be easily divided into two categories : the " solo troubadour-songwriter" period in which his first two albums really belong and the somewhat more interesting for the prog rock fan " glam period " where we find the other pair of his studio releases " The Wild Places " and this one " Streets of Fire ". Alarmingly, his new look on the sleeve of both albums completes this transition. But the music here, though not overtly prog, remains very good. First of all, the team of musicians here is excellent. We have Tony Hymas's Keyboards all over the place with a sound slightly ahead of its time making this album more polished from its predecessor and pointing to the AORish territory of the 80's which in the case of these well crafted compositions (all by Duncan himself) is by no means a bad thing, Secondly, the bass and drums are tight and fit well together as they've been heard clearly at the two more progressive cuts " Streets of Fire " and " Things to Come ". Especially the first one, is something like an extract from the Quiet Sun " Mainstream " or the "801 live" album and not surprisingly, since Simon Phillips had collaborated with Phil Manzanera in that album. Third, we have the great sax player Dick Morrisey who had being played with numerous others (If, Average White Band, Jon Anderson, Peter Gabriel to name a few) so we can find him here shining at the title cut and " She's Just A Fallen Angel", both the best tunes from "Streets of Fire". As I said before, this album is of a little interest from a prog point of view; It contains for sure memorable and melodic compositions with this late Roxy Music feel. Overall, I find it slightly better than " The Wild Places " but by the other hand nothing here holds so well like the classic title cut from that album. Lovers of this sound, can find both albums in one cd at a relatively cheap price. For this site, three stars.

Review: Duncan Browne "Give me Take You" First of all I must say that Browne is my favorite artist. As a result, I know all of his music and I was the one who got him into progarchives. This album is the first of his two baroque folk albums. Those albums are NOT the reason for his inclusion on the site and are VERY different from his work with Metro and his two late 70's albums.. It is a very tender, pleasant, warm but also heavily dated piece of work. Musical influences are Donovan, Dylan and Nick Drake. It has the positive vibe and baroque-feel of Donovan(think "Atlantis"), the folk-inspired guitar playing by Dylan and the intimistic atmosphere of a Drake recording. However, a huge difference with the latter artist are the lyrics(which Browne didn't write himself). Those are very naïve and highly romantic(in a pastoral English kind of way). It are sweet poems about childhood adventure, nature and young man's love(Browne was only 21 himself when the album came out). British 17th and 18th century music must have also been a big part of young Duncan's input. Browne's classical trained acoustic guitar playing is obvious throughout the album, as it is places central in all compositions. The biggest role however, is played by the human voice. Vocal overdubs of Browne's voice and hired choirs of men, women and children(which Browne wrote the score for) give the album a heavenly atmosphere. Sometimes you can hear some drumming/handclaps, piano, strings and wind instruments, but this is definitely not a band effort. The compositions are mostly in the singer-songwriter vein: very repetitive verse-based songs that tell linear stories, very much akin to French chansonniers like George Brassens and Jacques Brel. Browne's voice is already in shape: his McCartney-like tenor is a gift from heaven. It's full of life(yes, you could call it a bit shaky) and warmth and it is always earnest. His guitar playing, though very charming, still needed a lot of improvement. Small mistakes can be heard throughout the record, which is not inexcusable, but it does reflect the state of affairs of the young Duncan. He was in many ways just a boy writing well-behaved, honest songs far removed from his strongly sexual-tinged, enigmatic later work. So if you want a dark, broody prog folk album get a Nick Drake record instead. The biggest problem with "Give me Take You", however, is that almost all of the songs sound the same: they use the same melodic motifs and twists and build up in exactly the same way. That wouldn't be so much of a problem if it were a concept album, but instead of unifying it makes it very hard listening to the album as a whole. If a song passes along on your Ipod, you probably won't hit the "next" button, but when you hear a couple of songs in a row your probably gonna accuse Browne of plagiating his own music! Let's discuss all of the songs apart.

"Give me Take You" *** kicks off with a choir and is very exemplary for the rest of the album, albeit a more orchestral arrangement with the use of strings and woodwinds. Its baroque feel will certainly be able to bring you in a good mood, like a Vivaldi record also can. Pleasant, but certainly not memorable(apart from the beautiful little instrumental ouverture). Extra credit goes to the scoring of the wind instruments, which is very tasteful.

"Ninepence Worth of Walking"***: here Browne's voice is very reminiscent of Paul McCartney. It uses the same kind of vocal overdubs as the first tune. This song will gets your fingers tapping but also has a strange major/minor musical twist with shows Browne's willingness to add unexpected dissonants to his music . Light-hearted song with a sad undertone, which gives it a melancholic quality.

"Dwarf in a Tree"*** is more blues-inspired. Drums and bass are used and in the chorus a harpsichord pops up. Completely Donovan-like and -if I may- also akin to Pink Floyd's earlier work with Syd Barrett at the helm or even David Bowie's debut album. Certainly a shift in style, but one that is rather dictated by the time it was created. At 3.15, however, from out of nowhere, the ouverture of the title-track looms up with treated spoken word on top. Browne's theatre education certainly had to do something with that. A very proggy twist for sure.

"The Ghost Walks" **sounds as if it was recorded in another century, which gives it a unique atmosphere. Such a shame the composition is overly soft(like something a musical student would make) and borrows to many ideas from his other songs. It leaves the listener rolling with the eyes, slightly annoyed... Anachronism in the modern world.

"Waking You" ***is a two-part miniature with Bach-like inventions and simple, yet very effective lyrics. "Waking you and not knowing quite why": say no more! Splitting this song in two is maybe a bit unnecessary(certainly because the second part is almost exactly the same as the first one), but it does show Browne's affinity with artier music.

"Chloe in the Garden"** starts with the sound of a cold breeze, directly summoning the right atmosphere. What follows is probably the saddest song of the album. Strings sound like the quartet used in the opening tune of "Fawlty Towers": This takes away the universalness of the song and makes it, again, very British. Nothing wrong with that ofcourse. Very passable song, only for if your in a sombre mood.

"On the Bombsite"** is a true baroque folkpop song with Byrds-like guitar strumming and full-in drums. Lyrics are pretty silly and childish but effective as written from a little boy's perspective. The vocal inventions are starting to wore out though.

7 very mediocre songs until now, that's not great is it? Strangely enough the true genius of Browne begins to shine on the second part of the LP.

"I was, You weren't" ***hit the right spot in my heart. It's the first song that really struck a tear for me, and it's a pity it didn't last longer. An church-like ouverture played by organ opens up for a simple but beautiful song. The psychedelic vocal overdubs on the end of the song are present again, as is the harpsichord. A timeless song in a dated coat.

"Gabilan"**** could have fit right onto Browne's self-titled second album. It is a fully realized effort: Browne sounds more mature, the vocalizing is very effective and sounds more like wailing ghosts then a church choir(like on the rest of the album). The raindrop like guitar playing accentuates the autumnish atmosphere. Ranks among his best work.

"Alfred Bell"**** starts off like a Beatles song. The more stripped-down sound is a relieve, as it doesn't sound dated at all. While not abandoning his classical/folk roots Browne turns in more of a pop song here, and does it with aplomb. Another highlight.

"The Death of Neil"***** is what I call the true uppercut of "Give me Taking You". What a greatly composed, arranged and performed song. It sounds bigger and more timeless then any other song on the record and would still be an inspiration for young singer- songwriters/chansonniers. It tells the story of an Icarus-like man whose only dream was "to fly on selfmade wings". Browne hands out a great, unexpected melodic twist again which always brings tears into my eyes. The reversed vocals at the end are also a great find. Hidden gem.

"Cherry blossom Fool"*****, the last official track of the album and arguably the most beautiful one. It displays the same melancholic feel as the previous songs and is a perfect closer. The lyrics sound almost Shakespeare-like. Credit goes to Browne's art school friend David Bretton, a gifted poet. Browne portrays himself as a modern day minstrel here, turning out the fifth heartbreaker in a row.

The difference in quality between the first and second side of the LP is remarkable and remains a mystery to me. Anyway, not a hardcore Browne fan? Just skip the dated first side, it's only "interesting" as a child of it's time. The second side is purer, more original and far more memorable.

Now, the bonus track on the reissued edition of the album, "Here and Now"***, is also a worthwhile listen: the most Beatles-inspired song, with excellent use of cello. It's sadness is more subdued and the overall feel is more regal and baroque, similar to side 1 of the album(but better). It doesn't feel as "finished" as the other songs though, and that's a pity.

Check the four and five stars songs on youtube if you're interested. If you like beautiful acoustic folk with arty aspirations and a sad undertone that is present on the entire ride, this one's for you. It's follow up album, however, carries on in a similar vein but is clearly superior to this one. It is less monotone and sounds more mature and modern. That's not all that strange: Browne waited 5 years to release another LP!!!

(A real debut album where all the standout tracks are on side two. 3 stars, because of the dated feel and monotony. )

"In the heat of the moment I just lose control"

It seems a shame, but the late Duncan Browne will forever be conveniently listed under the banner of one-hit wonder (in the UK at least). Ask anyone to name a song by Browne, and if they are able to at all, inevitably the reply will be "Journey". That 1972 single saw him make an appearance on Top of the Pops, while climbing to the upper echelons of the UK singles chart. That "Horse with no name" type acoustic number offered a reasonable reflection of where he was at that time, but it represents a mere point in time in terms of his career.

After the release of that single and the album which complemented it, Browne formed the band Metro, their sole album being released in 1976. Most notable about that album was David Bowie's covering of one of its songs on his album "Let's dance". Browne returned to a solo career thereafter, reinventing himself both musically and in terms of image. The first product of this makeover was the 1978 album "The wild places". It is during this period, and the following "Streets of fire" that Browne moved closest to prog territories, although personally I would contend that he never moved closer than prog related.

For this album, Browne put together a small band, with his guitars and vocals (and occasional keyboards) being supplemented by synthesisers, bass and drums. The result is an album of wonderfully creative atmospheres, strong melodies, and imaginative songwriting.

The strongest statement on the album is the opening title track. Here we have a superbly constructed song which moves from almost inaudible understatement to sweeping crescendo, not once but several times. There is a little Leonard Cohen and a little Bryan Ferry about the song but the main feeling is one of stunning originality. Tony Hymas' contribution on mellotron like string synth also does much to enhance the flavour of the piece.

"Roman Vécu" slows things down, the melancholy, reflective vocal delivering a more orthodox ballad. The fine melody and the arrangement of the song however lifts it from the prosaic, resulting in in a keyboards drenched piece which demands more than a cursory one off listen. There are seven tracks in all, the longest being the 8½ minute three part instrumental suite "Camino real" (no relation to the Steve Hackett number). This quasi- classical composition really does demonstrate how Browne has moved on from his singer/songwriter period and how he is wiling to explore new and unfamiliar territories. There are suggestions of bands as diverse as Yes, Brand X, and Jean Michel Jarre among the myriad of moods and themes which are embraced by the track.

The second side of the album is slightly more conventional, with four songs of between four and seven minutes occupying the side. "Samurai" is an out and out rocker, but the style does not really suit Browne's delivery, his vocals sounding nasally and uncomfortable. Nevertheless, the song will get the toes tapping. This is one of two tracks on the album ("Planet earth" is the other) which was co-written with Peter Goodwin in 1976, when they were working together in Metro.

Although lyrically "Kisasazu - The touch" is set in Japan, it has something of a film noire atmosphere, the moody ambience conjuring images of shady street corners and mysterious women. "The crash" lifts the pace and the mood again, but unlike "Samurai", here we have a pleasantly melodic mid-paced pop-rock song. Browne's slightly tremulant vocal is well suited to this, the most commercial of the tracks. The album closes with "Planet earth", the other joint composition from 1976. This is a sort of "Space oddity" meets ELO song which once again has a strong melody and a building, repetitive arrangement. A fine closer.

Overall, a first rate album which sees Browne venturing well beyond his comfort zone, and doing so with a significant degree of success.

The beautiful cover art and the library categorization under "Prog/Psychedelia" (in Helsinki Library) rose my interest towards this album. I didn't find the music very much of the either genre, but that was OK since I liked it anyway. Actually, based on (perhaps too few) listenings of this album only, I would have put him under Prog Folk here. Browne was an acoustically oriented trobadour and his music is charming, rather peaceful, dreamy and hazy, and a bit fairytale-like, and not without some darker tones too. Very well fitting to the album cover!

Some artists he could be compared to: FOREST (prog-folk band from the early 70's), INCREDIBLE STRING BAND, early AL STEWART, ROY HARPER, MAGNA CARTA, why not even Simon & Garfunkel but with more psychedelic haze and roots in British Folk. This album contains 12 tracks varying from one to 5+ minutes in length. There are some highlights but the whole album is pleasant; if I remember right there were no songs that turned me down.

[P.S. This is my 200th reviewed artist. It was aimed to be my 400th review too (just for symmetry), but I miscalculated and it's No. 401. That makes the ratio of 2 reviews/artist, but I have a lot of only-once-reviewed artists. My most reviewed artists include Vangelis, Mike Oldfield ("only" 14 each though), Peter Hammill, Steve Hackett, Moody Blues and Tangerine Dream. I've been quite reluctant to review the "big" names with hundreds of reviews here. Otherwise my reviews list would look quite different!]

A rise smile upon my face when I saw the late Duncan Browne added to the archives. It was not too long ago I launched a topic on the forum where I mentioned several prog related songs (in my view, done by not yet added artists) asking the readers if they agreed with me there. One of the songs was this single from 1978 Wild Places, a song I absolutely adore since it was created.

I mainly love the darkish instrumental part in the second half of the song but also the soft start with the acoustic guitar and the genius bass tones. I mean this song is actually magnificent from start to finish and will always be a treasure for me until my last breath. B-side Camino Real isn't half as good I have to say and it prevents me to give this vinyl single the full score. But Wild Places alone could have counted on 5 stars for sure, that's how good it is. Simply one of the best classic rock songs with progressive leanings in history. You bet !