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.