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This washington 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 washington listeners via uncompromising covers of DNA's no-wave "Detached" washington 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. 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 to care much. And though in leaner days he could 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, 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.
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