You might have expected that British label BGO, in reissuing Dory Previn's early-'70s albums as two-fers, would pair her debut album, On My Way to Where, with her second, Mythical Kings & Iguanas, and her third, Reflections in a Mud Puddle/Taps Tremors & Time Steps, with her fourth, Mary C. Brown & the Hollywood Sign. But On My Way to Where wasn't released in England until after the others, and BGO bloody-mindedly decided to follow the British release schedule, first releasing a two-fer of Mary C. Brown & the Hollywood Sign with On My Way to Where, then following with this disc containing Mythical Kings & Iguanas and Reflections in a Mud Puddle (the second part of the album's title is not listed on this release). While it would have made more sense to do it in the correct order, matching these two albums which followed each other and were both released in 1971, is less jarring than the other pairing. Mythical Kings & Iguanas is Previn's most consistent and accessible album, one on which the confessional tone of On My Way to Where is more tempered by craft. Like Leonard Cohen and Joni Mitchell, the singer is concerned with intimate relations on such songs as "Yada Yada La Scala," "The Lady with the Braid," "Angels and Devils the Following Day," and "Lemon Haired Ladies," adopting the persona of a needy older woman contending with a young, heedless companion. But she also finds space for "Mary C. Brown & the Hollywood Sign," a commentary on her adopted hometown, and "Stone for Bessie Smith," which reflects on the then-recent death of Janis Joplin. Reflections in a Mud Puddle/Taps Tremors & Time Steps, as its double title implies, is really two mini-albums (occupying either side of the original LP). Reflections contains more discursive and less personal songs than those found on Mythical Kings, but the intensely personal, 13-minute, five-song medley of Taps Tremors & Time Steps, (subtitled "One Last Dance for My Father"), is an account of the singer's learning of her father's death, which sets off a series of childhood memories. It is as idiosyncratic as it is compelling, but probably the least conventional part of Previn's recorded work, which means it makes for an odd ending to a CD that began with the more easily engaging material on Mythical Kings.