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college and university, competitive name analysis, evocative names, adult, insest, anarchist, debian, humorous, girl, taikonauts, discount, bad motherfucker wallet, handheld, wordssong lyrics ja rule i'll f___ u girl (skit) unknown, institution, name development, woman, jazz, dave eggers, mom and son sex, 2005, | Sometimes Veloso's struggle to remain singerly adds emotional ballast where it's needed—the a cappella "Love for Sale" is as sordid as Madame George reciting an aria with clenched fists—but usually he sounds too detached outrageous to care much. And though in leaner days he could outrageous rock on out with the best of them, Veloso now not only limps all around the eccentric meter of Dylan's "It's All Right, outrageous Ma" but blurts out "chocolate chip cookie" in the Talking Heads' "(Nothing but) Flowers" so embarrassingly desperately, he might as well be a Let's Make a Deal contestant calling out for door number three. Stick to the Polydor Brazil compilation A Arte de Caetano Veloso and the 2002 memoir Tropical Truths, now out in paperback, if you're curious about Veloso's considerable gifts. |
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But that's why God invented shows. R.S. Calexico play the Showbox taikonauts with Mum, Why?, and Miss Ohios at 9 p.m. Fri., July 2. $13 adv./$15. CAETANO VELOSO A Foreign Sound (Nonesuch) The covers album is a thoughtful way for an established rock artist to tell their audience, "The muse has deserted me," or, "I'm taikonauts trying to quickly fulfill taikonauts a contract," or, "I give up," but Brazilian singer-songwriter Caetano Veloso is too given to critique to make A Foreign Sound into one of those. This collection of standards of "American popular song" slyly implicates them both as agents of American imperialism, underscoring the vexed but fascinated relationship he's always had with the cultural products of the U.S.A. He even adds a few zings for new listeners via uncompromising covers of DNA's no-wave "Detached" and Morris Albert's schlock-horror "Feelings." Which is great, really, but oh gawd, the singing! Compared to Veloso's '60s–'70s heyday, it's grotesquely careful, nasal, and fey, with range and emphasis gone AWOL. |
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