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Dory Previn|Mary C. Brown And The Hollywood Sign

Mary C. Brown And The Hollywood Sign

Dory Previn

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Dory Previn's fourth album was the result of an aborted 1973 stage musical. It's a fine collection, but its failure as a theatre production is hardly surprising -- "Jesus Was A Androgyne" is hardly the stuff of aisle-packing contemporary musicals. In truth, she was too elevated for her own good, as lofty material like "Anima/Animus" proved. Even when writing in cliché she impressed: "The Perfect Man" is her take on the tale of the golden man with feet of clay, and should by rights be toe-curling and unimaginative. Instead, it's an arresting piece with a pretty, counterpoint piano accompaniment. Only the grating honky-tonk arrangements elsewhere disappoint.

© Charles Donovan /TiVo

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Mary C. Brown And The Hollywood Sign

Dory Previn

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1
Mary C. Brown And The Hollywood Sign
00:04:45

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1971 Capitol Records, LLC

2
Holy Man on Malibu Bus Number Three
00:04:49

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records Inc.

3
The Midget's Lament
00:04:11

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records, LLC

4
When A Man Wants A Woman
00:02:27

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records Inc.

5
Cully Surroga He's Almost Blind
00:05:17

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records Inc.

6
Left Hand Lost
00:05:01

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records, LLC

7
Perfect Man
00:03:13

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records, LLC

8
Starlet Starlet On The Screen Who Will Follow Norma Jean?
00:02:39

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records Inc.

9
Don't Put Him Down
00:04:00

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records, LLC

10
King Kong
00:03:57

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records Inc.

11
Morning Star/Evening Star
00:03:51

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records Inc.

12
Jesus Was An Adrogyne/Animal/Animus (Medley)
00:04:52

Dory Previn, Composer, MainArtist

(C) 1972 Capitol Records Inc This label copy information is the subject of copyright protection. All rights reserved. (C) 1972 EMI Records Ltd ℗ 1972 Capitol Records, LLC

Albumbeschreibung

Dory Previn's fourth album was the result of an aborted 1973 stage musical. It's a fine collection, but its failure as a theatre production is hardly surprising -- "Jesus Was A Androgyne" is hardly the stuff of aisle-packing contemporary musicals. In truth, she was too elevated for her own good, as lofty material like "Anima/Animus" proved. Even when writing in cliché she impressed: "The Perfect Man" is her take on the tale of the golden man with feet of clay, and should by rights be toe-curling and unimaginative. Instead, it's an arresting piece with a pretty, counterpoint piano accompaniment. Only the grating honky-tonk arrangements elsewhere disappoint.

© Charles Donovan /TiVo

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