Recommended Albums #115

Duncan Browne: Give Me Take You (1968)

The 1968 cult classic Give Me Take You was birthed when producer Andrew Loog Oldham requested that Duncan Browne, formerly of failed folk rock band Lorel, record a solo record for Oldham’s Immediate Records label.

Collaborating with lyricist David Bretton, Browne crafted a baroque folk pop gem of a record, albeit not one with mass appeal.

Give Me Take You possesses a peculiarly English tint in much the same way the Kinks’ Village Greeb Preservation Society has an English flavour–but a rock record this is not.

The mood is more Nick Drake, but with a more antique sound. As for Browne’s excellent guitar work, Steve Hackett comes readily to mind. And the songwriting evokes some of Donovan’s flights of fancy.

From the first notes of the opening title track, with ethereal chamber choir, harp and woodwinds, the album creates its own sad, beautiful world and populates it with sad and beautiful characters.

On “The Ghost Walks”, sympathetic neoclassical guitar frames a portrait of an aging thespian replacing reality in his fading mind with a play of his own making.

“On the Bombsite”, the album’s unsuccessful single, places childhood games of make-believe (“we fought a war in time for tea”“on snow white horses we rode right through our dreams”) against a backdrop of a bombsite as its lyrics hint at the inevitable impermanence of youthful innocence and imagination:

But there came a giant I couldn’t fight, he was too strong“…“I wish that I had never left, now it’s too late”

And indeed, it was too late.

As the Immediate label collapsed, Oldham cut the sessions for the album short to save expenses. Browne was ultimately billed for 2,000 pounds to cover recording costs.

Give Me Take You remained unavailable for two decades until its first CD release, which was patched together from several vinyl sources due to the fact that the master tapes were missing at the time.

In the 2000’s the album received more suitably reverential treatment, with expanded reissues on specialty labels, mastered from tapes, not vinyl.

Listeners again have the opportunity to appraise a quietly introspective baroque folk record created by a relative unknown barely out of his teens.

See where Give Me Take You takes you.

Listen to: “Give Me, Take You”

Listen to: “The Ghost Walks”

Listen to: “On the Bombsite”

Listen to: “The Death of Neil”

Songs You May Have Missed #841

Joe Dolce: “Shaddap You Face” (1980)

Joe Dolce’s “Shaddap You Face” spent Mothers’ Day on the charts in 1981 and will serve as our tribute to moms today.

Though it missed the top 40 in the US (peaking at #53) the song’s popularity elsewhere is astounding. It went to number 1 in 12 countries and was Australia’s top-selling record of all time up to that time.

Inspired by phrases Dolce heard his Italian grandparents and extended family use, the song has hundreds of cover versions in over 50 languages.

The Brits seemingly had diverging opinions about the fact that “Shaddap You Face” kept Ultravox’ “Vienna” from reaching number one, as did the members of Ultravox themselves:

‘That man and his song have plagued us around the world.’ Midge Ure, Ultravox, 1981

“It was one of those occasions when the public’s taste just decided to defy logic. I’ve never met Joe Dolce and don’t intend to. But nowadays ‘Vienna’ regularly appears in polls of the hundred greatest singles ever and I’m still around. Where is he now?” Midge Ure, Ultravox, 2009

‘That was a good song. I wish I’d written it.’ Billy Currie, keyboard player, Ultravox, 1996

It annoyed Midge Ure at the time. This is going to sound terrible, but I quite like that song, I think it’s funny.’ Ultravox bassist, Chris Cross, Mojo Magazine, 2009.

How deep did Midge Ure’s annoyance go? When he co-wrote ‘Do they Know It’s Christmas‘ with Bob Geldof, he insisted that charities had to sign the following legal declaration: “We (insert name of charity here), without let and hindrance do here forth admit that ‘Vienna‘ was a more worthy and better song than ‘Shaddap You Face‘ which is a fond thing vainly invented, and grounded upon no warranty of Scripture; but rather repugnant to the word of God”, and no charity that refused would receive a penny in aid from the project.

Then there’s this: ‘What’s sa matta you, Hey? Hell yes, I know your song – It’s kept us from the Number One spot in England and Australia.’ Sting, The Police, 1981.

And in answer to Midge Ure’s “where is he now?” I’ll submit the following from Dolce’s Wiki page:

(Partner Lin) Van Hek and Dolce co-wrote “Intimacy” for the soundtrack of the 1984 film The Terminator, now part of the US Library of Congress collection. He was a featured lead actor in the Australian film Blowing Hot and Cold (1988). He has continued to perform solo and with Van Hek as part of their music-literary cabaret Difficult Women.

In 2010, two of his photos were selected for publication in the US journal Tupelo Quarterly.

Since 2009, he has been a prolifically published poet in Australia. In 2010, he won the 25th Launceston Poetry Cup at the Tasmanian Poetry Festival His poems were selected for Best Australian Poems 2014 & 2015.He was the winner of the 2017 University of Canberra Vice-Chancellor’s Health Poetry Prize, for a choral libretto, longlisted in the same year for the University of Canberra Vice-Chancellor’s Poetry Prize and included in the Irises anthology He longlisted for the 2018 University of Canberra Vice-Chancellor’s Poetry Prize and was included in the Silence anthology. He was Highly Commended for the 2020 ACU Poetry Prize and included in the Generosity anthology. He was selected as the August 2020 City of Melbourne Poet Laureate.

…as well as this curriculum vitae from Dolce’s webpage: CV | Joe Dolce Music

Where is Midge Ure now?

Video of the Week: When 90s Rock Singers Hung Out

Jon the Dad’s compilation, parts 1-13.

Video of the Week: I Never Knew ‘Staying Alive’ was Such a Complicated Song to Put Together

Julieta Venegas, Artistic Excellence at Latin Women in Music 2026

(via Billboard)

Julieta Venegas brought her brilliant pop ballads – and some powerful political messages – to the Billboard Latin Women in Music 2026 special, which aired live on Thursday (April 23) on Telemundo.

Starting at her piano, the Tijuana-born star, with her hair tied back in a ponytail and wearing gold earrings, performed “La Línea,” a song originally in collaboration with Yahritza y Su Esencia that was released on April 9. The deeply emotional track captures the nostalgia and feelings of separation brought about by the border, also known as “la línea,” a colloquial term also referring to the Tijuana-San Ysidro border crossing…

Read more: Julieta Venegas, artistic excellence at Latin Women in Music 2026

Songs You May Have Missed #840

Katie Melua: “The Closest Thing to Crazy” (2003)

Born in Kutaisi, Georgia and raised in Belfast and London, Ketevan Melua became the UK’s best-selling female artist within 3 years of the release of her debut, 2003’s Call Off the Search.

The album went six times Platinum and spent 6 weeks at #1 on the UK charts.

“The Closest Thing to Crazy”, written by producer Mike Batt (writer of Art Garfunkel’s “Bright Eyes” and the beautiful “Railway Hotel“) went to #10 in the UK.

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