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Dory Previn|We're Children Of Coincidence And Harpo Marx

We're Children Of Coincidence And Harpo Marx

Dory Previn

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The unprepossessing title notwithstanding, Dory Previn's second and last album for Warner Brothers is uncommonly excellent. It reintroduced her as an optimistic soul, utterly bare of the morbidity of yore, or at least able to present it from a far cheerier perspective. Which isn't to suggest she had become cute; she could still prick an over-inflated ego ("The Comedian") and wrestle with ongoing mental anxieties ("Wild Roses"), but she was a far weightier prospect musically. Here she gave her finest vocal performance in "Woman Soul," gingerly experimented with reggae on "Fours" and cheekily rewrote Lear's "The Owl and the Pussycat" as a modern gender-battle piece.

© Charles Donovan /TiVo

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We're Children Of Coincidence And Harpo Marx

Dory Previn

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1
Children of Coincidence
00:04:29

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

2
I Wake Up Slow
00:03:07

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

3
Woman Soul
00:03:43

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

4
The Comedian
00:04:01

Dory Previn, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

5
Fours
00:03:59

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

6
So Much Trouble
00:04:04

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

7
Wild Roses (Love Song to the Monster)
00:03:34

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

8
How'm I Gonna Keep Myself Together
00:03:56

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

9
The Owl and the Pussycat
00:03:41

Dory Previn, Composer, MainArtist

© 1976 Warner Records Inc. ℗ 1976 Warner Records Inc.

Albumbeschreibung

The unprepossessing title notwithstanding, Dory Previn's second and last album for Warner Brothers is uncommonly excellent. It reintroduced her as an optimistic soul, utterly bare of the morbidity of yore, or at least able to present it from a far cheerier perspective. Which isn't to suggest she had become cute; she could still prick an over-inflated ego ("The Comedian") and wrestle with ongoing mental anxieties ("Wild Roses"), but she was a far weightier prospect musically. Here she gave her finest vocal performance in "Woman Soul," gingerly experimented with reggae on "Fours" and cheekily rewrote Lear's "The Owl and the Pussycat" as a modern gender-battle piece.

© Charles Donovan /TiVo

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