This morning, as I scanned the lower depths of the Billboard Hot 100 from November 29, 1975, I saw the name of a group that tickled some vague place in my memory: Prelude.
I let the circuits connect – it took a few seconds – and came up with a reference: I’d mentioned the folk-rock trio from England a couple of years ago and shared its cover of Neil Young’s “After the Gold Rush” in the context of looking at a chart from November of 1974. Prelude’s cover of the Young song had gone to No. 22.
The chart I was looking at – the one from about a year later – showed Prelude with another cover, this time of Jackson Browne’s “For A Dancer.” As November 1975 came to a close, the Prelude’s single was sitting at No. 100 in its first week on the chart. It spent another seven weeks on the chart and peaked at No. 63, far lower than had the 1974 single. And it was the last appearance on the American pop chart for the English trio. I remembered liking the trio’s cover of “After The Gold Rush,” and the group’s take on “For A Dancer” has its charms as well.
From there, I had a few possible routes. Had Prelude had a third single listed in Joel Whitburn’s Top Pop Singles, I might have dug for some more of the group’s music. I imagine that some of the group’s five albums are floating around out there, and there are two CD collections available, including one that offers everything the group recorded for the Pye and Dawn labels between 1973 and 1977.
And I pondered digging into more of that chart from the autumn of 1975. Despite my mining of that season numerous times, there are likely a few nuggets still to be found. But having found that Prelude cover of a Jackson Browne song, I decided to look for more Browne covers (something I did in two consecutive posts last spring).
My first stop was Joan Baez. On her 1975 album Diamonds & Rust, she offers a sweet cover of “Fountain of Sorrow,” a track I’d not been able to find at YouTube the last time I went digging for Jackson Browne covers. This time, it was available. Now, I enjoy Diamonds & Rust so much that it’s hard to pick out highlights beyond the title track, but, powered by Larry Knechtel’s piano and Jim Gordon’s drumming, “Fountain of Sorrow” is pretty close to the top of the list.
Perhaps the most-remembered accolades bestowed early on Baez had something to do with the purity of her voice, which was remarkable. These days, the same is often said about Alison Krause. The clarity of her voice is, in fact, one of the things that have moved her beyond the bluegrass niche in which she was first placed. Yes, she fiddles well, but, to me, it’s her singing – along with the quality of her backing band, Union Station, and the crafty selection of good material – that has brought her to a wider audience. On 2011’s Paper Airplane, she covered Browne’s “My Opening Farewell” with her customary brilliance.
We’ll close today’s post with a cover that on first thought surprised me and on second thought didn’t. As I’ve mentioned before, I’ve never quite embraced Browne’s two late-1980s albums Lives in the Balance and World in Motion, probably because they were so vastly different in focus from his earlier albums, from 1972’s self-titled debut through 1980’s Hold Out. (I tend to disregard Lawyers in Love from 1983 because it seems to have no focus.)
But when I heard Richie Havens’ take on “Lives in the Balance” (a performance I shared in one of those earlier posts of covers), I began to think that perhaps my main difficulty with those late 1980s albums isn’t the material but Browne’s performance of that material. I’ve come to no conclusion yet, but I think I’m going to have consider that possibility a bit more closely after coming upon a very accessible cover of “World in Motion” by the late Roebuck “Pop” Staples. With some help from Bonnie Raitt (and what sounds like Jackson Browne himself), the track showed up on Staples’ 1992 album Peace to the Neighborhood.